Three One Act Plays now also in traditional book format

The title says it all really. I’m not sure anyone will want to own a book of my first three one-act plays, but now they can. Maybe it will become a curiosity in the future, if I ever get anything else published. Anyway, now that this vanity project is completed, I’m able to get back to the real work of writing The Worm, which is currently 6 scenes into chapter 9.

My book of short plays is available here.

In other news, an idea is starting to emerge for a new play or story called “The Flood”. It’s around what happens to people during a disaster. The way disasters can be a catalyst for the emergence of natural instincts, for better and for worse, and how this can play out as social threads start to unravel. That feels like a compelling idea to me.

Advertisements

Three One Act Plays – an eBook published

Now that I have three plays for the stage, I realised these three plays could just about form a book; a modest, rather slender book, but a book nonetheless. Amazon.com makes it pretty easy to put an eBook together and make it available, so I’ve gone ahead and made one.

The eBook includes “Final Performance”, “Over the Rainbow” and “Greener Pastures”. I might follow this up by making a physical version of the book as well – Amazon also makes this possible – I’ll see.

I’m very grateful to Mandy Gardner for letting me use her photo for the front cover.

Chapter 8 completed: The Monster is born

42,512 words. Past the halfway mark. I’ve now been working on this novel for a year. I remember the incredibly unprepared state of mind I was in when I commenced. I had no idea how to start writing a novel, but reasoned it must involve writing some words, so I thought I would start writing some words and see what happened. Like a long ocean voyage, the commencing is all about vague expectations and excitement, but somewhere along the way it becomes more a matter of discipline.

Chapter 8 functions as a hinge in the story; a definite change in direction; the end of the upward and the start of the downward. For the past 12 months my shorthand for this chapter has been: “The Monster is Born”, and that, I think, is what ended up happening. He’s out of the bag now, and can only become more monstrous.

Chapter 8 also provides the long-awaited reveal about Viktor and Alexis’ distant past, and with it, by far the longest scene in the story thus far. A two thousand eight hundred-word scene of dialog. This was probably the most difficult scene I’ve written so far and I revised it and revised it, but I think it reads OK.

Chapters 9 and 10 are reasonably-well plotted. The end of chapter 10 will mark the end of part 2; the second third of the novel. Chapter 8 heavily featured Alexis’ aunt: Lena, who is a nurse, hence the above photo of a nurse.

Follow your dreams, unless they are nightmares. Don’t follow your nightmares.

The Electric Fence completed

Today I finished a new short story I’ve been writing over the past couple of weeks: ‘The Electric Fence’. This will be my submission to this year’s Elizabeth Jolley prize. It’s the first short story I’ve done since ‘The Signal Box’, a year ago.

This story, I think, continues a style I found in The Signal Box. I’ve had a feeling I’m starting to find my ‘voice’, whatever that is. A style or kind of story that feels like mine; like I’m no-longer just doing my version of what someone else does. That’s probably been a big part of the journey over the past three years, so its good to feel like I’m arriving at that point.

Like The Signal Box, The Electric Fence can probably be read as a sort of allegory. Neither story is concerned with the time or place in which its events are set. There are also, I think, clear themes of occupation, entrapment and escape. Developing on from The Signal Box though, I think this one is more minimal. Also, it’s way less dark than The Signal Box, which for me is a refreshing development.

My next plan is to get back into ‘The Worm’, and write chapter 8. I also have an idea for continuing two earlier experimental stories: ‘Get Away’ and ‘Forever’ by tying them together in another sort of experiment. This would be a departure from the style I’ve been exploring and discussing above, but it’s an experiment that interests me. The working title for this latter work is: ‘Europa’.

Happy new year! A new cover version recorded and chapter 7 completed

Among the hundreds of thousands of Facebook reflections on ending the year and starting a new one, Brian Eno has posted a few words that provide a perspective that I think is well worth reading, so here it is.

I’ve been reasonably disciplined during the holidays, considering the amount of time I’ve been obliged to spend drinking alcohol with friends and family. I recorded a cover version of Big Star’s 1972 song: “Thirteen”, which I’ve been practicing for about 4 months, and today I finished chapter 7 of The Worm.

My word count is now 36,849. I’m definitely in the middle-ground of the story, which is exciting, but it’s also a challenging place to be. Progress is slow and painstaking. Completing chapter 7 has involved quite a lot of going back and rewriting earlier parts, especially in chapter 6. Before I finished the final scene of this chapter I had gone back and inserted 3 scenes in chapters 6 and 7. I think because this novel is growing in an organic way, it involves more re-writing than would have been necessary if I’d had a clearer, more detailed plan to start with (ie; the way you’re supposed to write a novel). I just keep having more ideas that need to be in the story, and many of them effect earlier parts. I think the second draft process – once the first draft of the novel is completed – is going to have to be pretty extensive. Also, I think it’s probably true that I’m a different sort of writer now than when I started this project. By word-count it’s so far the equivalent of about 7 of my short stories, and I’ve definitely learnt and evolved my writing style during the process. I’m going back and reading some of the early scenes and wincing. What was acceptable 9 months ago isn’t any longer.

I’m really happy with the shape and texture of the novel. As it develops, it’s assuming a more poetic, nuanced feel, and at the same time some epic themes are emerging and growing. I’m finding that a novel is such a huge project, that it’s difficult to conceive of as the work of yourself as one individual. It just seems so big! It’s almost impossible to keep a detailed handle on all the parts; on what happens across the whole thing.

Chapter 7 primarily involves moving the location of events from Virsma, the small town where the novel’s opening events take place, to Ala, the big city to the north. Viktor and Alexis are spending their time on trains and in train stations. I’ve also introduced two new characters: Lena Finks: Alexis’ aunt, and Daniel Röntgen, the police investigator from Ala who takes on the case. Also, in chapter 7 the thread involving Skaistule – the lioness – connects with the story of Anton, the injured child, in what I think is an intriguing and satisfying way.

Phew!

Chapter 6 complete

… with a word count of 30,657. The structural constraint of 5,000 words per chapter, to which I’ve been trying to adhere, seems to have been working. Chapter 6 does not contain any scenes featuring Viktor and Eva. It is the first chapter from which they are completely absent. Following the catastrophic event that concluded chapter 5, I wanted to build, in the mind of the reader, a sense of curiosity about what happened to them; where they went; what they’ve been doing. At the same time there was a need to shape the events other characters are involved in, in preparation for upcoming planned plot points. In Chapter 7 Viktor and Eva will reenter the story, and much of the chapter will be about the development of their relationship. An important new character will also be introduced, who (finally) forms the bridge to some of Eva’s past.

I’ve been reading John Trulby’s book: The Anatomy of Story – a great read for anyone trying to write fiction. In New Zealand I read, with great interest, the section on symbols. And reading this, I realised that I’ve instinctively stumbled on some symbolism in my story. I’m thinking here of Eva’s mother’s juggling balls, and what happens to them, how they fall into the hands of some of the men in the story that are competing for her attention. Its interesting to me that even when simply following blind instinct, you can sometimes produce story elements that have legitimate, or theoretical value.

cage

Last night, while walking my dogs, I was listening through my headphones to an old lecture by Pema Chodron , in which she described a Tibetan Buddhist approach to ego, or the “The well-fortified ego”, by which she means an ego that is meant to provide protection from the world at large, but instead makes a prisoner of the soul who possesses it. The kind of ego that could benefit from some opening up; some “ventilation”; some curiosity about other systems; other world concepts; other views of the universe, and my ears pricked up, because of the direct fit between this concept and the basic premise of my planned story: “The Electric Fence”. Its amazing sometimes, just how providential life can be.