The Gift - the script

Now that the play is wrapped up, here is the script. Just to cover my butt, even I don't really see why, I've copyrighted it. I'm ALWAYS open to critiques so please Lemme have it. I'm the most critical of my own work, so please be as hard as you want, but I ask that your comments be CONSTRUCTIVE! That's the only way both of us can learn :)

Thanks!

http://www.uptil3.com/theGift.pdf

And that's a wrap!

Well, my play, The Gift, directed by Nicole Maxali and starring, Aaron Niles, Jocelyne Ampon, and Sarita Orcon closed last night. THANK YOU for breathing life into the characters that came to me at 3am on the morning of June 16, 2008! Special thanks to Ed Mabasa for the coolest tech effect to bring a blast to the ending!

Here's some notes from my observations about Stories High 10 from this playwright's POV:

- Of course, I learned this after the fact but don't use one-liners for effect. I tried to come up with a couple of one-hit one liners that seemed so disjointed from the flow of the script. boo. i have to do better than that.

- Create the "Awwweee" character. From John Raposas's character in his play, One Year, he's crafted a character that made the audience pull for him. Make the audience say "Aweee" by playing the sympathy card. A lesson John taught me from a critique session we had. From the time of the first Awe, that's when you HOOK the audience.

- Create the lyrical play. My personal FAVORITE play is Last Verse written by Ed Mabasa. Honestly, it took me a couple of times to watch it to really understand it and to realize just how beautiful it is. I know a lot of people still wonder what it's about, as did I, but what I took from it was a love story that had the protagonist, played by the awesome Dennis Rodis, ask how do people fall so in love? what causes this? True this is written from an 18th century vampire dark standpoint, but that's what made it appealing to me. I also said lyrical because some of the lines are truly poetic.

- Comedy. My next couple of scripts are going to be comedies. Comedy and laughter is what sells the audience! Honestly, that's what roped me initially into being a playwright - hearing the laughter of the audience. Holy shit?! I wrote something that made strangers laugh? In my growth, my focus has been taken away from that, but after getting that infectious feeling of happiness from Ava Tong's Non Quite Unrequited, One Year, and Non-Sequiturs by Cathlin Goulding, I can't wait to create that joy again.

- The Love Story. One Year and Josef Anolin's Choices explored the relationship genre. I've kinda taken that out of my repertoire after writing Garden of Dreams, but I totally plan to go back to it to explore Love and the complications thereof soon. Unfortunately, I really haven't been in that mood to do so. Kind of when trying to write a Christmas play in June. Not the same feeling. Gets? But it was nice to see.

- The political play. Out of all the plays, Nomi's Brothers and Sisters took me the most to get used to. Honestly, it took me a while to warm up to it mostly because I felt that the message beat me over the head with what it wanted to say. But that's talking from the (ick) analytical pov of the structure of playwriting. HOWEVER, it's a very very worthwhile play to create and is needed! There are bad things happening in the Philippines regarding US/Philippine relations, political and economic, that needs to be addressed and it's great to see it done so. Much props to Nomi for writing this.

Stories High 10

I'm SO thrilled that my play, THE GIFT, is a part of this years Stories High production of One-Acts produced by Bindlestiff Studio here in SF! Another step towards my dream...

Press Release for Stories High 2008

Bindlestiff’s staple production, Stories High, reaches it 10th anniversary with a new batch of writers, directors and actors eager to grace its stage.

Stories High is a series of theater workshops that culminates into a show. Artists and anyone who is interested in getting involved with community arts is invited to choose from acting, playwriting, directing, backstage managing, marketing, and producing workshops, all at affordable rates. Stories High hopes to discover, cultivate, and nurture new emerging artists. This is Bindlestiff' s 10th Stories High workshop and show.

Teasers for your tastebuds:
A couple in a bitter feud during their one year anniversary…
An insecure English high school teacher makes sense of her past…
A young woman meets the mother of her savior…
The power of love, and the fight for it, during a dancing class…
A soldier chooses between his family and his perceived country…
A murderer commits his last act of violence…
A confused boyfriend must decide between fidelity and guilty pleasure…

Featured Plays:

One Year written by John Raposas and directed by Thomas Paras
Non-Sequiturs written by Cathlin Goulding and directed by Ava Tong
The Gift written by Conrad Panganiban and directed by Nicole Maxali
Not Quite Unrequited written by Ava Tong and directed by Christina Ying
The Last Verse in Despair written by Ed Mabasa and directed by Kevin Correa
Choices written by Josef Anolin and directed by John Raposas
Brothers & Sisters written by Mario “Nomi” deMira and directed by R.J. Lozada

July 31st – August 16th
Thursday- Saturday
$10 - $15 sliding scale

Off Market Theater
965 Mission Street
Mission Street
San Francisco, CA 94103

Writing Facilitator – Samantha Chanse
Acting Facilitator – Allan Manalo
Directing Facilitator – Jeannie Barroga
Producers- Anthony Tagudar, Susanna Yu & Dianne Aquino Chui

For more information, please visit www.bindlestiffstudio.org. If you would like to make a reservation, please email Susie@bindlestiffstudio.org with the show title, date, and number of seats you’d like to reserve.

About Bindlestiff Studio
Established in 1997, Bindlestiff Studio is the nation's only independent and permanent community-based performing arts venue dedicated to the cultivation of emerging and established Filipino American artists. Its mission is to inspire community involvement and social awareness through the arts. Bindlestiff provides an affordable, professional theater to encourage artists to redefine the boundaries of social and artistic expression and provides the community access to diverse offerings in theatrical productions, music and film festivals, workshops in directing, production, acting, stand-up comedy, and writing, in addition to a children and youth theater program. Bindlestiff needs your support as it enters into a new phase of artistic and organizational development. To donate or to volunteer, please call (415) 255-0440 or visit our website at www.bindlestiffstudio.org

Looks

Looks: Why They Matter More Than You Ever Imagined

This is a name of a book that I just saw on this book service I'm with. It's an interesting topic for a play... maybe.

unrequited love/friendship

I just had to get this out in terms of exploring unrequited love/friendship as a theme for a new play. Most likely this will be thought of into a 10-minute as it's an artform that I've not only fallen in love with, but really understand the structure and elements of a play. Of course, writing for this won't keep me from wanting to write a full-length, but I'm pretty sure that if I can nail this format, I'll be able to nail the full-length as well.

Back to this theme. I'm just really feeling strongly towards this theme because I'm going through this right now. I know that it's probably all in my head, but... sometimes I wonder. Regardless if this is in my noggin', it's still a pretty real "emotion" - the feeling of loving someone more than they love you. There's just so many varying degrees of this feeling that I'm going to explore from my point of view. It's really interesting. If I was younger, I'd be going through... let's be honest, I have gone through this again. Probably to the point where this relationship I have with this other person is irreparable, well to the point where it was at one point in time, but I am much older and wiser now to not get too caught up in the sadness, jealousy, spitefulness, and otherwise NEGATIVE, yet human, energy. I mean, sure it's there, I am human, but honestly, not to the degree as it was in another phase of my life. I know I'm rambling, but that's what blogs are for.

Okay, now prefacing all that I have, loving someone more than they love you is a universal thing. Sometimes, if a person's not careful, if the other person senses this, they can, and probably should, take advantage of that person's affections. But I think the tragedy is that sometimes the person giving the affection will probably try harder the more the other person doesn't reciprocate. Sad. This is good, but I have to be aware not to make the hero a sad sack of poo instead of a sympathetic character.

At any rate, this has been weighing on my mind. Something I need to write about.

Another crossroad

I'm thinking that I should be writing this on my other blog site, but it applies here as well. I'm at another crossroad it seems. I can either audition to act in a play which will take place later this summer or continue writing by seeking out lessons and looking for other theater work. I guess I'm at this juncture because I can finally take stock of where I truly am in this time and space that some call life. I've spent so much, if not all, of my life trying to fit in by doing a lot of things, more recently within the last 5 years, by doing the theater thing. I love the theater. And this weekend, I solidified my love for writing for the stage. And to my surprise, possibly writing for film/video/DV.

I'm 36. I don't feel like I have anything yet to show my existence in doing something I love. In order to do this, my goal in playwriting terminology, I know that I have to focus on WRITING. I got close to so many people with Bindlestiff, but is that what my ultimate goal is? Or should it be to hopefully one day, write something that these amazing performers can take and run and make fly.

You're the first to read these thoughts are pouring out of my fingertips and spilling onto this keyboard, but I'm have to step away from the stage. I have to do this in order for the amazing artists to grace the stage and take my words to transport an audience into my world. A world that can only be seen through my journey through life. This journey that I've been so lucky to have been on as to where I can finally see the top of my Hierarchy of Needs - self-identity. Knowing what my role in life ultimately is - a playwright.

The Gift

I just finished what can be considered the final script of The Gift for Bindlestiff Studio's Stories High Production which will take place on the last week of July and early August. Here's a taste of what I wrote:

FEMALE
I can’t believe that this is happening to me!

MALE
How can this be happening to me?

FEMALE
After all the auditions I’ve been on. After all the “You’re
just not what we’re looking for right now.” Or the
countless hours of checking my phone after the “Thanks,
don’t call us, we’ll call you,” it’s finally paid off!

MALE
Correction. We were going to get married. I don’t know what
happened. Look, if I knew I wouldn’t be talking to you now.
All she said was, “I think we need a break.”

FEMALE
I know crazy! So it was during my lunch break when the
director called and asked if I’ve ever been to Orlando. Do
you know what’s in Orlando? I swear I almost peed in my
pants! Hold on. Did I? I don’t know? I don’t care. Holy
shit! Dreams actually can come true!

MALE
Over the phone. I never thought that I’d break up over the
phone. I never even thought that we’d ever break up. All
these plans after graduation. Shot. All these dreams I had
for us. Over. What am I gonna do, now?

FEMALE
Duh, I’m hella excited!

MALE
Numb. I can’t feel anything.

FEMALE
Stupid happy!

MALE
Fucking crappy.

FEMALE
It’s like I got all these emotions running all over my
body…

MALE
And I wish I can make them… stop.

Lights out on FEMALE and MALE as
YSA collapses from emotional
overload.


That's all for now because I intend to tweak this a little bit in order to turn this into a couple of festivals. After these have been turned in, I'll post up the script here :)

Finally learning

forgive me for not writing in here for what really seems for ever! but i've gotten caught up in rediscovering the wonderful world of acting. i'm taking a workshop with bindlestiff and i'm learning and rediscovering a lot of the the things i've learned from acting classes at Sac State and a lot that I've learned just from being on stage in general. this is gonna be a short entry, because i needed to get this story out of the way. so last night in class, we were broken up into 2 groups. one as the audience, the other as a group of liars. as part of the group of liars, there is one of us who's telling the truth and the audience was to guess who's real story it was. i was lucky enough to convince the others of my story of tripping over a step at a hotel in Baguio.

story: on vacation to the philippines, i went with my cousins and their friends to Baguio. The whole trip, they made fun of me because I wasn't married yet, especially my cousin Dayo. Anyways, he was trying to hook me up with the front desk girl at the hotel that we were staying at. The next day when we were going to check out Mine's View, as we were going down some steps at the hotel he saw the girl at the front desk and started teasing me again, until he tripped over a step. I hecka laughed at him because that was hella Karma. And as I'm laughing at him, I tripped over the same step. I looked up and saw the cutey at the front-desk laugh at me too. Hella moded. I never got her name either.

so i lied! that's good right? no. the instructor, allan manalo, knew that i was making it up because as he put it, my story was too cute. he knew that i'm a playwright and that my story was wrapped up too well with a beginning, middle, and end. daymn him! daymn me for thinking up this story on the spot. at one point, i was happy that my acting skills convinced a whole group of SIX people to believe my story, but at the same time, i was in a way, more happy to know that a person recognizes that i'm a storyteller. that i knew the structure of a story and as a writer was recognized as such. that was cool! i didn't convince him, but i thought i told a good believable story.

BOA in SF

I know. I know. It's been a while. Tonight I went into the city to watch a friend's play as it is featured in Bay One Acts Festival by Three Monkeys at the Eureka Theater. Not saying this because he's my friend, but his was the best play. It's called "Toss of the Hat" by Mike Ricca. It's kinda funny watching it because it totally sounds like him! And what's funnier is that when people hear my stuff, they say that they could totally hear me. I just never thought of it that way, I guess. But his play is about a guy who throws caution to the wind and steps up and asks a girl that he likes, and whom he know she likes him, to be together... despite the fact that she already has a boyfriend of two years. He used the device of breaking the fourth wall, something I love, and can't wait to be able to write that into a play ala Zoot Suit.

Luckily they were selling the play as compiled in a book in the lobby. It must be a sign when all the crumpled bills that emerged from my left front pocket was exactly the amount of the book. Hopefully I'll get him to sign it when I see him at the next random meeting.

Anyways, his play closed program two of the festival. the programs consisted of short 30 - 40 minute plays. on this night, there were 4 plays. The first rocked cuz it involved cutting off a person's finger and tongue... which eventually led to his death on stage. Creepy and disturbing... right up my alley! The third play was amazing because of the heart that the playwright displayed. I was about 20 minutes long and I wished it was longer because I loved the characters.

The one that I surprisingly didn't like was the second play. It was about a man and a woman who are at a theater in NYC to watch an Edward Albee play, but they get there 24 minutes early, so they just sit there talking about there relationship which try to answer the question of why don't they have a baby yet. I didn't like them and I was always trying to figure out where were they going with this. I understood why the playwright was trying to paint their differences, but in the end, I just didn't like and care for either of them. The only really going for it was the very witty banter between them. Snappy. Back and forth. Like a tennis match of heavy hitters - fast. And I realized that at one point, I really really liked this style of conversation. Smart. Quick. But, for some reason, that style started to feel that the lines were just there to make the characters seem witty and smart... instead of just being real. I wrote a whole paragraph on this play because I really learned a lot from it... and about what I like and don't like. Something I hope I can use and know what not to use in my plays.

the mightiest force known to exist

I've been thinking a lot lately about what being an artist means to me. This sprang up from watching AOTS (America is on the Stage) and watching the potential there. I say potential not in a belittling or condescending way, I admire them for what they are DOING, but potential in terms of being able to continue to pursue the creation of art/song/dance/jokes/graphic design/etcetera long after college is done.

For me and the people that I'm on the same spiritual vibration level on (spiritual speak), we're still and will always continue to be Artists. The ones who seek pleasure of getting away from the world of worry, pain, bills, politics, hollywood, by going into a place of rehearsal, being on stage or even putting a scrapbook together - the place where the hands of seconds, minutes, and hours fall in your presence because you are on a higher level that allows you the freedom to be what God/Vishnu/Bathala/Whomever you consider the Mighty Supreme Being to be, and has always intended for you to be - YOU.

If you consider yourself an artist, then you know it is so engrained into your soul that you couldn't erase it if you, or anyone or anything else, even tried. It's that something that won't allow itself to be killed. It's the one thing that even if your physical presence is no longer with us, that creative soul lives on through what you created for us to carry us through. (Shout out to our boy, BJ Alisago!) Something that powerful because at it's core is the mightiest force known to exist on ANY level - love.

Back in the Saddle

The last couple of days of writing has been amazing! I actually forgot what it feels like to get lost in writing the words that come out of my characters mouths. It's actually getting to the point where it feels like I have to "kill some of my babies" because of length. I have this one scene that was so thin before, but now that i've added so much meat to develop and push the story forward, I know that I have to cut some of it. Hopefully, I can find somewhere to put it back into.

But yeah. Just nice to lose total track of time and to see the action just appear in the consciousness.

Green Light

Ya-ta! I got a green light to produce my play "Garden of Dreams" for April 25-27 at Sacramento City College. Unfortunately, there might be some things that might block this dream from happening but I look at this as just another obstacle and a challenge. One of the other challenges happen to be that the play is to happen in Sacramento which is about 150 miles away. I've turned down this opportunity before because taking the advice by one of my mentors, and by a couple of books I've read and playwriting podcasts I've heard, was not to direct my own play. Another obstacle. But you know what, it needs to be done. I'm not even sure if I'll have my original reading cast. Another obstacle.

Given these, I honestly feel like the deck is stacked against me but for the first time in a long time, I am determined more than ever to get this done. Even if it's in a park with puppets... wait, maybe not that far, but close. The other thing working for me is that I have a lot of friends who can help me... i hope.

The other thing that is going to get me through is the example that the artists of Bindlestiff Studio have led. They are about my age, but ever since I started watching their productions, they have done it themselves. They had a support system that I marvel at and more importantly, inspired by.

As time goes on, taking Robert Rodriguez's book, Rebel Without a Crew, as an example, I'll create a journal, maybe a blog on its own, on the process of the production.

Character Dosier

Sister Mary Clarence:...If when you wake up in morning and you couldn't think about anything, but writing, then you're a writer.

After my 9-to-6, I head on over to borders to do some writing. I'm feeling good about this story idea I've had for quite some time. Before I get started, I even do a little writing exercise: A wants something from B, but B wants something from A first. A little tip: when starting this exercise on a laptop, write down the two character names, which is better than A and B, one line on top of the other, copy those two lines, and copy and paste, etc., down the page. And bada bing, before you even have any lines written, you're committed to this little drama because you have outlined two characters that go back and forth WAITING for you to insert the story. I'm a visual person, and when I saw this, I got inspired.

So, I'm writing this little scene and half way through, I realize that in a short play like this, I still don't know what this is about. Not good. And I started to think that in my last couple of short plays, it takes me a while for me to get into not only what is this story about, but what are these characters like?

I stopped in my tracks and, with this question in mind, I started to write my play... but in a very different way that I've written everything else. There are two different philosophies of writing. 1) sit down and start writing. The characters will eventually start talking to each other and to your own wonderment, a story happens and in a very schizophrenic kind of way, these characters start to write their own story while you're just there as a stenographer. 2) start out with writing down what each of these characters are like. write down everything they went through; what their history is; what is their needs; what makes them... them. In doing so, in theory, the characters will start to write your play, but with motivation and forethought.

I believe in both philosophies, especially the first one, because of that artistic sensation of really creating something from nothing. Very organic since you're just letting it happen. But last night, I started writing out the Character Dosier for each of my characters, but in the organic kind of way, I've discovered more themes to the play itself. I was as excited to write this as I was when I just free wrote.

Needless to say, I came out of this writing session with more that I thought I was going into it: stronger individual characters. I'll still be working on this for other characters, but the goal is still the same in the anticipation of seeing what each of them has to say to each other.

Notes from Stories High

Just wanted to post these notes from the latest Bindlestiff Studio's Stories High Reading series for my 10-minute, Leaving My <3 In SF. Even though I don't know who wrote these, I'm very thankful for the time that they put in to write anything down! Thanks! Now, to get the final done soon. Hopefully, I'll be able to have some time to do another reading with the final:

Leaving My Heart in San Francisco

• Ending sorta muddled – don't think Mrs. Ayala is well-developed with son – how did he die? Too serious as a comedy!


• In the story, they talked about the mother having a bag with "something." In discussion, we couldn't figure out if it was a heart or a conclusion.


• Very dark, ha ha. You are a great writer but could be better developed as far as the context/background. I like how you keep us "wondering" though.


• The mother character is very creepy! What do you want the tone of your piece to be?


• Nice and unique payoff with the postcards.


• Script is very funny, touching and original. Pacing of reading is good and should be kept.


• Funny stuff. Didn't think lion heart and chicken shit part was too effective. Can't wait to see it in action.


• I thought this play was very deep. You could feel Cora's pain. Also had humor.


• Funny! Especially the hearts lamb part.


• Strong energy, good performance by mother Ayala, cryptic- she emotes well.


• Unique script, great acting.


• The lady in the pink did really well! I like her accent. AWWWW!! I like this one too!

Yeah! A new idea for a play

This story is about...

Mindy Garcia is the editor of her school’s newspaper who meets a young farm-worker named Fermin Tobera. While helping him recover something from his past, she uncovers the town’s longest secret. At the same time, she unexpectedly falls in love with him. Unfortunately, there’s a big problem: he’s a ghost.

I can't believe it. This idea had just come to me as I started writing out a scene and everything... just happened. I actually have a story: beginning, middle, and end. Characters. And most importantly, an ending. I know how it ends. I really can't believe it. Welps, the next step - write it! Good luck na lang!

Leaving My <3 In SF - Reading

So the reading of my short play, LEAVING MY <3 IN SF, went well last night. I was also very pleased with, not only the actors, but also the person who directed it. After it was read, he came up to me and as always, gave me some really good notes. And I whole-heartedly agreed with him. The version that was presented was a total 180 from the original script, but I felt was better just because in this version, and in the end that's what mattered.

The thing that I learned from the reading:

• don't let Cora get off the hook too easy. makes the ending just... end. the climax was just a blip instead of a Holy Shnikeys


• when there's a reading of multiple authors, I just can't help but feeling competitve. "Why wasn't my play as funny as theirs?"


• want to expand the Wife's character to establish her role

Getting back to the second point about being competitive, it was just inevitable. Being in that situation where you're piece of art is on display with other artists, you want to see how your piece compares to others. And you have the judge right there, the audience. And the biggest barometer is laughter. It's all about the sense of instant gratification. The upside of having experienced this instant gratification is that I don't really seek it that much. Of course there are those lines that were written down with the wonder of, "is anyone going to laugh during this line?" But what I'm trying to say is that I HAVE to be concentrated on my play and not worry about if the previous or next person's play garnered that instant gratification. In the end, it's my voice and subject that I'm trying to push forward.

All in all, I was pretty happy how everything went last night. Like everytime I see a live theater performance of any kind, it just inspires me to keep writing. And that's a very good thing!

Bindlestiff's 10 Stories High - Reading

Ready for the 10th Anniversary of Bindlestiff Studios' Stories High!!!!

2 Nights only!!!

Come support our new, emerging writers for an exclusive glimpse of potential screenplays that will be showcased in this year's Stories High production. In two nights, we will cover nine brand new plays in a professional reading by various actors and directors. Each reading will also have a Q&A session, where you can ask the writers anything you want!

Thursday, January 17, 2008
“2 Cheat” By: Josef Anolin
“Leaving My Heart in San Francisco” By: Conrad Panganiban
“Not Quite Unrequited” By: Ava Tong
“Brothers and Sisters” By: Mario deMira (aka Nomi)

Friday, January 18, 2008
“The Art of Waiting” By: Cristal Fiel
“Anytime. Anyplace” By: Jasmine Ty
“Non-Sequiturs” By: Cathlin Goulding
"One Year" By John Raposas
“Last Verse in Despair” By: Ed Mabasa

Show dates: January 17-18 Thurs-Fri starting at 8PM

Location: Space 180 at 180 Capp Street, 3rd Floor San Francisco, CA 94110
Ticket Prices: $5-10 Sliding Scale

Reservations are being taken immediately at
(415) 255-0440, or you can contact Susanna Yu at Susie54@sfsu.edu for ticket reservations

This year, Bindlestiff will be breaking ground with its relocation to its original space on 6th street, with its brand-new and cutting–edge facility as the only performing arts space for the Filipino or Filipino American arts in the nation. Stories High, as one of Bindlestiff's signature productions, will be one of the first shows (OR FIRST SHOW) to grace its stage. Make sure not to miss this historical event!

For questions or more information, please contact:
Susanna Yu
415.255.0440
Susie54@sfsu.edu

The Power of Desire

With gleeful intent I've been watching and more importantly learning from various forms of fictional media specifically movies, a play, and reality tv. I haven't written anything that can be construed as new for a good couple of weeks, but this time away from the Script Template I got going in word, has given me a chance to get critical about the things I know makes a work of drama worth seeing. Rule number one: ask what is the character's ultimate desire/want/goal. Numero dos: write what it is that is stopping said character from achieve that goal/want/desire. My problem is that I've been focused on the delivery of the words that characters use rather than the definition of clearly defining these seemingly simple objectives. Without this desire of the characters, not even the cutest, read quick-witted, of lines will resonate with the audience after the first step outside the theater doors.

And, taking the much valued lesson of Tony Kushner's ANGELS IN AMERICA, the more desperate a characters want to grab his or her desire, the longer the cathartic reminiscence remains. I still think about the ramifications of Louis's decision to leave Prior. I guess what gets me is not only the fact that it goes against everything I believe was wrong in his decision, I still think about WHY he made his choice to leave the person he loves... who is dying. And for some unknown reason, I can't let morally incomprehensible, aka fucked up, decision go.

There's a lot of things I need to explore in this Pulitzer Award winning play, but I'm so glad to have experienced this. It hopefully makes me a better writer.

New short play - Leaving My <3 In SF

Hi... geez, getting back to this blog kinda makes me feel like I haven't seen the friend in a long time that I purposely didn't want to meet and now I fumble for the right excuse... not that I do this or anything. lalala.

Anyways, as you can obviously see, I took a break from writing. Subconsciously, because of what happened at my last reading of the play entitled above. It went horrible. Understandably so. And as a creator of art, I should have the forethought of knowing that any sense of make believe I conjure up will be subject to ridicule, but... it hurt. Again, the battling forces of what my mind thinks and how my ego responds ensued. For the last couple of months, the emotional ego got the best of me.

The best cure against this kawawa moment of writer non-worthiness... a deadline. a producer from stories high (the one i'm secretly in love with can't say this cuz i don't need the drama... plus i'm a total dork around her - which might be possibly construed as a sign of liking someone. hmmm... dorkiness factored with the i like lust after you variability. but i digress...) called me and asked where was my script for a reading that will take place on one of my best friend's birthdays. I really hope that it goes well if this play is selected.

here it is: the obligatory click here leads you to my new 10-minute play, LEAVING MY <3 IN SAN FRANCISCO.

Update:I just re-read it again. Not too bad for a first draft, well, technically second draft. Has some potential. eh... still not my best, but that's what keeps me coming back for more abuse :)