Tuesday, September 25, 2012
Sunny and cool
Busy work day yesterday. Some library this-n-that done, I’m almost caught up with the tarot students, I started on this week’s work in the Sustainability Course, the World History Course, and the Greek/Roman Mythology course. The dynamics in each class are fascinating to me — the tone set by the professors, the way students interact, the types of people drawn to each class with their stories — but then, I’m a writer. I’m going to go beyond the surface of the course and get into both the interpersonal dynamics of the material and of the people around me. That’s what I do.
Very dangerous, knowing a writer. Everything is material. But that’s part of why it’s so great to BE a writer!
Speaking of writers, I hope you’ll hop on over to A BIBLIO PARADISE today and drop a comment for my colleague and fellow Cape Cod author, Steven Marini. He’s a guest on the blog.
Got through some more submissions, some of which were much better. I’ve got two more stacks to get through this week. Got out my material for Confidential Job #1. Pitched for a job that I don’t think will be a good fit, not in content, but in time frame, and I don’t think it will work out. Of course, I realized that after I hit send.
I also had an absolutely mortifying egg-on-face few moments — I’m a guest on a bunch of different blogs to promote both ASSUMPTION OF RIGHT and HEX BREAKER (and, then, soon, I’ll be appearing to promote DEATH SPARKLES and OLD-FASHIONED DETECTIVE WORK). I keep track of what’s due when and where, and I wrote several of them in the last few days. Well, I thought I was late on one, scrambled, and hit send — to realize I’d sent it to the wrong person! Mortified. Absolutely mortified. I pulled it back, apologized profusely (I’d sent her everything she needed for my appearance) and then sent it off to the right person (who is very happy with it). Everything worked out, and everyone was cool about it, but I was still upset with myself. There’s a reason I’ve set up systems and organized things, and that’s so I can stay on top of multiple projects. When I make a careless mistake, I’m angry at myself.
My own work suffered yesterday, so today, I have to make up for it. I also have to do a major grocery shop over at Market Basket in Sandwich, which just makes me happy.
The furnace guy was here yesterday, cleaned the furnace and the ductwork, everything is great. Considering that it was 39 degrees this morning, and the heat’s kicked in for the past few weeks, I’m glad.
Watched REVOLUTION last night. (Spoiler alert). They came out with a bang, and now we’re getting into the episodes that both reveal and set up the future complexities. I had some frustrations — I need to watch again the scene after Charlie killed two men and she’s trying to wrap her head around it. I feel like there was a missed opportunity — Miles could have made it clear that you hope you never “get used” to killing (it’s obvious that, although he kills when he has to, he doesn’t enjoy it); he could have dismissed her concerns; he could have pretended to dismiss her concerns as a combination of not really knowing how to deal with her and also as a bit of misplaced “tough love” because he knows she’ll have to do a lot more killing before this is done (besides, she killed someone or several someones in the first episode when she and her friends came to help him in the Big Fight Scene in Episode 1. It’s not her first kill, although it’s the first of this type of kill). Instead, it didn’t really commit to any of the above. The actors had to work too hard in that scene — the problem, I felt, was in the material and in the direction. It wasn’t layered; it was messy. That meant the actors had to work harder to try to pull it off, and the work showed, instead of it being organic. That’s not a failure on the actors’ parts — they did what they could with the material, and the writing needed to be both crisper and more layered, and the direction needed to be more specific in that scene.
Why does this moment bother me? Because it could have been a pivotal point of connection and understanding in the relationship between Charlie and Miles. The actors reached for it, but the material, in this case, didn’t give them the support it should have. You’ve got to hand it to Billy Burke — when he’s in a scene with someone, he’s totally there. A lesser actor would have hung his scene partner out to dry in order to look better, and he did not. Those are the actors you want on your project, the ones who give and receive in a scene, rather than take. Giancarlo Esposito had a lot of wonderful small moments in his scenes, too — a more insecure, self-involved actor would have used some of those moments to chew scenery or wipe the floor with his fellow actors. He doesn’t need to, and he’s far more effective doing what he’s doing. I can’t wait until Esposito and Burke have scenes together. As a writer, while it’s frustrating to see that flawed material in something that’s on network (but not a surprise), it’s also interesting to break it down and figure out what could have made the material stronger, and yet still fit into the constraints of the production (the need for scenes to be truncated for commercial breaks). As someone who worked so closely with actors for so many years, watching performances grow and change night-to-night, show-to-show, sometimes on a daily basis, I feel for the actors, and I’m always fascinated by the development of material.
So, why am I going on and on about beats and scenes in a television series that, truly, has nothing to do with me? That whole dissection experience made me a little resentful that I’m not even included in a rehearsal for my play’s reading on Friday, and that the director hasn’t even spoken to me about the material. If I was in the rehearsal room and heard the actors speak the words, I could make tweaks for it to flow more naturally before the performance, which is going to make everyone look better. I don’t believe every word is gold simply because it drips from my pen. I believe in making the words better. Part of that is being in the rehearsal process. Because I will not be pleased if the director or actors take it on themselves to change lines without discussing it with me first (there’s a reason Dramatists Guild contracts don’t allow that). There’s a difference between riffing and improvising off material and just paraphrasing or changing it. The first two, in the right hands, can take the material to the next level. The third and fourth, almost all the time, takes all the air out of material. That would be a sign of both huge ego and huge disrespect on their parts, none of which are unusual in this business. What will really kill the material if the actors take a lot of self-involved pauses you could drive trucks through. It’s written to a very specific rhythm, the rapid-fire 1940s noir patter. Friday will be interesting. It could be amazing, or it could be a disaster. Either way, I know I’ll be taking a lot of notes, and subjecting myself and the pages to the same type of dissection that I do above.
On a happier note, I was thrilled that Damian Lewis won the Emmy for HOMELAND. In my opinion, he’s one of the top actors out there, again, with a lot of quiet, detailed work, and it’s about time he got recognition.
Alright, enough musing — time to get back to the pages and get my own creative work done. I’ve got a book to finish.