So I signed up for a five-week playwriting course with Caridad Svich which coincides with the father-son vacation I’m currently taking in Italy. I initially hesitated to enroll because I felt like it’d be yet another obligation at a time I wanted to relax and focus on the trip.
But I ended up doing it anyway, giving myself an excuse to back out or not complete the play if it was too much work or stress.
I’ve still got that deal with myself, and I still may not complete the play (we’re in the middle of the workshop now so there’s plenty of time to crash and burn).
But I wanted to jot down a few thoughts I had about the course, along with some of the reasons I almost didn’t do it. Here’s an edited version of what I sent to the ScriptWorks Board:
- I almost didn’t sign up for the workshop because I felt like I’d never have the time to write a play in 5 weeks (my dad and I were traveling, my kids were finishing up their respective schools, I just started a brand new job); it seemed like an obligation that I’d never be able to focus on
- Other writers I know wavered because the cost wasn’t something they’d budgeted; this, in combination with busy schedules, seemed to be an obstacle for many
- 5 weeks seemed kind of an arbitrary length of time to finish a play; I don’t work in that kind of rhythm; how can you force yourself to write a fifth of a play a week for 5 weeks? Won’t I just write a bunch of crap?
Now that I’m in the middle of the workshop, I think:
- I’m still not sure I’ll be able to finish the play, and I’m still not sure whether it’ll really be anything good, BUT Caridad’s feedback is the kind I haven’t really gotten since college; she’s so experienced, generous and well-read that she finds a way to be encouraging, share examples of other reading to look at, and be concise and suggestive without being prescriptive that really helps push me along
- Most feedback I usually get about my writing from others is either too broad (“It’s pretty good!” or “I enjoyed it”) or unhelpful (“Where did you get that idea?” or “Who’s your play about?”)
- So this kind of quality feedback from someone with her background is worth the price to me easily in and of itself; she’s a captive reader with a lot to say
- Knowing what I know now, I’d be inclined to try and budget (both time and money) for a class like this in the future; I’d store up ideas I wanted to write about and think “Oh, this idea about X and Y would be great to power through with Caridad”
It feels nice to be making progress on a new piece and having someone who really knows and cares about writing to give me some pointers and suggestions.
This, in combination with in-depth discussions I’ve been having with my dad about art, travel and society–along with revelations about how his own mind works–have really provided me with a change of pace, something I needed and will remember for a long time.
Not to get all choked up about it or anything—the last couple of weeks have definitely had their challenges—but I’m glad I’m doing both things (family art trip and writing); I think the effects of them both will linger, and they’ll help counter some of the nose-to-the-grindstone stuff I know I’m coming back to in just a few days.
Remember this, Langert. And get out there and run when you can too. It feels good.
p.s. this photo up top is in San Gimignano in Tuscany, and it’s where I just might live for at least part of the year once my eventual ship comes in to port. Although sometimes it’s a real struggle to decide where I’m going to buy my second home: Paris, Florence, Venice, London, Vancouver, Ashland, New York? How are you supposed to decide? Ugh. (fortunately I’ve got a little time before I have to make this crucial decision (and some other decisions to make before that too))
