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 :)