When Words Take Center Stage

pages of text don’t speak to everyone

Dialogue as Lecture

Teaching seldom comes easily, to either the student or the teacher. If anything, a lecture is likely the worst possible method by which to impart knowledge or opinions. While in college studying to be a teacher, I noticed that the most active debates among my friends were not concerned with texts but instead regarded the previous night's television, the latest movies, or even a play seen on campus. By the time I received my degree I had realized that the best lecture was the dialogue of a favorite character.

Contrary to popular belief, scripts are active. People do not merely sit and absorb the dialogue. If people paid no attention to movies or stage productions, there would be no discussions, no critics with whom to disagree. By talking about a television show, film, or play, people prove that these are active works of literature. What better way to start discussions about morality and ethical systems?

Those who have read my scripts quickly notice two things: my dry wit and an emphasis on intrinsic ethics. Everything is a choice, especially for the protagonists in my works. I strongly believe that individuals do develop their own ethical systems, even if they accept the rules of others out of mere comfort. See my pages on existentialism for more on personal choice. My goal as a scriptwriter is to have audiences discussing the choices made by characters, if these discussion occur, I am lecturing effectively.

Stage Plays

It was the writing of a play while in elementary school, encouraged by an inexperienced teacher (thanks, Mr. B.), that resulted in my eventual pursuit of a writing career. I thought the play was a failure, but now I consider dialogue my strength as a writer.

My first full-length play was completed in March, 1997. I had written plays as a student, but nothing intended for the professional stage. I completed three full-length scripts in 1997, did not write during most of 1998, and resumed writing in mid-1999. During the summer of 1999 I completed the drafts of two additional plays. I now have piles of folders with scripts in various stages...

Some might question the logic of starting with full-length scripts, but the choice was based upon the stories I found in my mind. If I had "heard" short plays in my thoughts, then those would be on paper... but I tend to wake up one morning with an entire two-hour play in mind. I can see the characters, the sets, and the most minor of details. Getting the script onto paper is the true challenge for me.

Scripts, post-college, by status and date:

• The Garden. Completed 1997. Produced 2002.
   
• Here Forever. Completed 2001. Public reading 2003.
• Alone from Myself. Draft 2001, Revised 2002. Public reading 2001
• A New Death. Completed 1997. Public readings 1999, 2004.
  Based upon a series of short stories written during the late 1980s. Sadly, I tossed out the short stories.
   
• My Best Friend. Completed 1997, unproduced.
• Roommates. Completed 1999, unproduced.
• When Things are Good. Draft 2000, first edit incomplete.
• Wrapped Up. Draft 2000, first edit incomplete.
• Life's a Beach. Draft 2000, first edit incomplete.
• The Gospel Singer. Draft 2004.
• Clown and Mime. Draft 2004.
   
• Assisting the Artist.
• Back Row Conversations.
• Dead Dreams.
• Death Retires. Last in the New Death series.
• Diner, The.
• Dining with Angels. Under development. This play continues from where A New Death ended. I liked the characters too much to stop at one play.
• Gurus We
• Various other ideas are outlined…

The Garden

The Garden was originally presented by The Visalia Community Players at the Ice House Theatre. Productions were staged September 27–29, 2002.

• Directed by Sherald Sluka
• Clint Showalter as the Gardener
• Debbie Walker as the Widow
• also appearing: Summer Robinson, Chris Lewis, Tom Nance, Molly Lovelady, James McCoy, and Melissa Romero

This staging was the result of amazing efforts by the director, Mr. Sluka, and the actors.

Screenwriting

An obvious goal for any writer is to see his or her words depicted on the great silver screen. Reality differs from this, in that no one person ever sees his words on the screen — movies are collaboration on steroids, or hallucinogens. The writer might be well-paid, the film bear the same name as his novel, story, or play, but what audiences finally see in the darkened theatre is seldom the writer's work. And yet, I want to write a script or two and see what becomes of them.