First the small token, two quotes that made me think of this forum:
Never, never never give up. Winston Churchill
One must still have chaos in oneself to be able to give birth to a dancing star. - Nietzsche
Second, the big question: could you please tell me what you do to track/organize the scenes and plot development in your play. I am stuck in a miasma in Act II with various electronic drafts listed in My Documents. I am looking for any handy tips you have for tracking subplots, plots, scenes - or do you just keep it in your head?
Normally when I’m writing a play, before I write the dialogue, I will have completed the scenario (the exception being the play that I have written with Adman – as the concept of the play required us not to).
The scenario is every last piece of action in the play: the actions, movements, emotions, drives, motivation... Every part of the play for every scene – just minus the dialogue. Hence, it is here that I develop and record my plots, counterplots and timelines.
Not much help to you as your in the process of writing dialogue – but it might help next time.
Not something I've used for plays, but I think you all might like this idea. It's an old Adman's low-tech trick for creating a critical path for a new project, but I think it can work for play/plot development.
Take a longish piece of paper - a roll of wallpaper will do beautifully - and blue-tack it to a wall. About 6' should do nicely. Then take different coloured print pads (the 4" x 6" pads with one side gummed) and allocate each colour to a character.
Free-form, write the main character's plot, using one of the coloured pads. He's at work; he's fired; he has a row with his wife; he applies for a new job; he finds out his wife is having an affair; he gets an interview; he gets the job; he finds out his wife is having the affair with his new boss; he kills the boss; he finds out she wasn't having an affair at all; he ends up in prison.
Then, on your wallpaper, decide a chronological 'start' and an 'end'. At the top, horizontally across the length of the wallpaper, in felt pen again on Prit pads, as a line, timeline that - Week One, Week Two, Week Three, Week Four, Week Five, Week Six - whatever. Stick the timeline Prit pads equally across the top, with gaps between
Put the main characters print pads beneath the timeline, again in a horizontal row. Prit pads can be moved, so don't worry about precision.
Then take a second pad for the secondary character. using different sheets, write that character's key plot movements and stick it underneath the first row - again. horizontally across the whole timeline.
Repeat per character.
When you've finished, you have a highly visible timeline of your whole play running left to right across your wallpaper, with each character's key moments visible. You can see what fits, what doesn't, what's too busy and what's looking blank.
You can then shuffle them - because Prit pads can be removed and moved. You can change the timeline or add new key points for any character. You can see where everything fits together.
When you're happy you can roll it up so you can play again later - or take a roll of sellotape and run it horizontally across the length of the timeline and each character so you can then photograph it, or simply transfer it manually onto your PC.
For anyone who works - if you have a bunch of people involved in a project, this simple technique is a great way to 'brainstorm' the critical path for a new project - because each individual can be given a different coloured pad for their discipline (say, research plus production plus shipping plus marketing plus accounts or whatever) and in one relatively fast meeting you can timeline a whole new project with everyone having input to the time and resources mix.
There you go. It's a bit 'Blue Peter' but, trust me, it works brilliantly, and it's quick. We don't need computers for everything!
The headings at the top are in bold and down the side has the scene label, i.e. Act 1, Scene 1... (I also do this with novels). Different columns are usually along the lines of:
Characters involved in Scene
Quick description of what happens in scene.
Word & Page numbers (in the box is W=X,XXX and P=X-X)
Another one called ‘Timeline’ - where I use a small description, depending on my decided use of emotional arc (recorded in another document) i.e. 'Step 5 – turning point, point of no return’
Plot continuation (i.e. what has happened in this scene integral to plot)
Sub-plot continuation (i.e. what has happened in this scene worthy of being called ‘sub-plot’
I do it in a small, easily readable font, 8-10 points (depending on font). Try (verdana or arial) It usually goes over about 5 pages; but is so easy to read that whenever you come back to it; it's quick and effective, even to read all.
There!
It's interesting to see how everyone else does it actually!
I tend to draw out a timeline, much like Adman has suggested, and just block out the main bits of action at various intervals. I never plan the dialogue, because it always comes out a bit too forced if I do.
I stick all my thoughts and scribblings and timelines in to my trusty notebook, and keep referring back to them as I write.
-Every rose has its thorns. Mine are all sticking in my side.
Thank you everyone for the very helpful responses.
I am trying Adman's mapping right now!
Jay, query - do you keep your scenario in a narrative or an outline? Do you revise your scenario throughout? For instance, a long time into working on this play (and after seeing the excellent History Boys) I realized that there needed to be a subplot to round out the audience's experience of the three main characters. In that situation, would you go back to your scenario?
All - Do you ever find that your characters are getting quite unruly? Or that they don't seem to want to do what you envisioned in the synopsis that they would do? Do you have trouble with your characters being too self-aware? Do they sometimes flirt at the worst possible times?
All - Do you have a favourite book about writing plays or writing at all?
It seems that everyone waits until the whole thing is mapped before dialogue, but my experience has been more that I do a little mapping, a little dialogue, which changes the map, which changes the dialogue. Is it my background in philosophy that makes me incapable of sticking to a plan or is it just the mental illness?
I do have to pat myself on the back for being able to procrastinate in such a productive manner.
As for the U.S. Supreme Court nomination - Harriet who? Bush nominated someone who has worked for him for years? Who has never been a judge?
Harriet is George Bush's Janet Reno - not too easy on the eyes, obsessively private, almost erotically devoted to their job and hence single. Why can't high--ranking women in American politics have love in their lives? Why can't they get a handle on how to use eyeliner? Where do they shop and how can we stop them from going back?
Swann - I use this a lot for work, but never used it for a play before; I'd be genuinely interested to see what your opinion of it is as a technique.
And although I'm one of the less experienced writers on here, I love it when a character takes over! I figure if the character can get hold of me, it'll seem real to an audience!
Jay, query - do you keep your scenario in a narrative or an outline? Do you revise your scenario throughout? For instance, a long time into working on this play (and after seeing the excellent History Boys) I realized that there needed to be a subplot to round out the audience's experience of the three main characters. In that situation, would you go back to your scenario?
I guess it's like a narrative - but I do use it in conjunction with a plot timeline... It is these two documents that I have open when I develop the dialogue, constantly refering back.
Now this may come over as quite percriptive - and it would be if I followed it to the letter. But I find that my characters force me to take differnet routes when they give me thier words.
At this point, I would be lost without my scenario and plot timeline. At that time I can see the ramifications of a change in characterisation, plot or motivation further along the play. I can then map out the changes I need to make to prevent myself from encoutering a continuity problem later on.
I gotta tell you two - Jay and Adman - you're like guardian angels to me today. I'm working with three by five cards mapping them across a timeline and my brain is on fire with all the problems I've been having with Act II. For the first time in weeks this is enjoyable rather than a slog. Can't seem to get the balance right in my head between the "play" part and the "wright" part.
Thanks for wrighting me.
I am very grateful you took the time to write such wonderful responses. Come on, dudes, you guys are awesome! Umm, Adman, can we go back to calling you Silverback now? Please??
One of the past highlights of my life was, while a law student on vacation in Puerto Rico, being mistaken for a Dallas Cowboy Cheerleader. It was 1991, so that was still a compliment. I don't look like that now, but now I understand why old people always talk about the past.
Adman, can we go back to calling you Silverback now? Please??
Oh Goody! Does this mean we get to watch JaysPlays or playfull wrestle the Silverback for the leadership of the band (collective name for a group of Gorillaz) and his harem of receptive females? Meanwhile, I'll just sit here and nibble a few leaves; I think I'm the Omega male!
Moonbird, that was good. I was trying to think of a gentle way to rib Caicos for the constant biographical assault but I'm American and subtlety is hard for me.
Don't make me start in on American self-esteem raising exercises. No one wants me to go there.
Hmmm… Not so sure about that.
You are addressing a collection of playwrights here. Have you ever met group more needy of, or receptive to, a quick ego massage? Isn’t that why we write for an audience – so that we can watch people (hopefully) enjoying our work?
Me ego’s got knots in it at the moment, so you fire away!
Hi there Moonbird. Yes I did have the urge to write my life storey. It was in novel form and concerned my time in Australia. The title was The Ockering of Ichabod Proctor. I was 45 thou words into the book when the idea for Prime Ministers flashed through my mind and I knew I had to get it down on paper. As for everything else I write, there is no planning, an idea will flash through my mind and there it is. Once I have the title and the names of the principle characters I am off. The pen hits the paper and the characters take on a life of their own, and I learnt long ago not to fght them, they always win
