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Piedmont Laureate

~ Promoting awareness and heightened appreciation for excellence in the literary arts throughout the Piedmont Region

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Category Archives: Revision

Conversations like coffee, again

13 Sunday Sep 2020

Posted by Tamara in Process, Revision, slowing down, Tamara Kissane

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Tags

connection, revisiting old work

Friends, how are you?

It’s beginning to seem like autumn is a distinct possibility even here in the toasty Triangle. Perhaps I might wear those sweaters tucked away in the closet. Perhaps I might not break into a sweat walking to the mailbox at the end of the drive. What do you think? Is pumpkin spice in your future? Fall leaves and frosty breath? All possible?

Seasonal transitions are often a time of reflection for me.

My reflection, to state the obvious, is that this year has been enormously so much.

My own writing practice is ever evolving and changes from day to day. I’m churning out more work, but it’s shorter in length, written for different mediums; it is more collaborative in nature, but often, deeply private solo writing that I will show to no one else but me.

Much of my work in 2020 is new work for a new time in my life when everything seems especially up for grabs and precarious and precious. I’m working with new people in new ways in new roles, and there’s so much unprecedented EVERYTHING in my life. So much that is never-before-experienced.

And, much of my work in 2020 is me revisiting my old writing from years ago – writing that feels ancient from decades past! I scan that old text, asking myself, “Can I mine some treasure from those words or plant them like seeds I’d secretly squirreled away? Will I discover old language that has somehow richly composted in the notebooks under my bed? Maybe I can add to that fertile mess and grow something entirely different?”

What has your work been this year? New and old?

Have you revisited your writing from years before? Do you remember being that person? Do those ‘old’ words still apply and seem relevant to this ‘new’ you?

Today, I’d like to share a blog post that I wrote in March 2014 titled Conversations like Coffee. You’ll see it below. I discovered it recently during a bout of writer’s block.

Six + years ago, my life was very different. Almost unrecognizable in many ways. Like an echo from across the sea. However, although I don’t remember writing this blog post, and don’t remember the specific incidents that I reference, I find that much of what I wrote then, I am experiencing now.

2020 me is experiencing strong conversations, deep listening, and messy human connections just like 2014 me did. All of these experiences are worthwhile and essential for my growth and for our growth as a community. All of these experiences are challenging and nourishing and press on my tender heart too.

So, take a trip back in time with me below. Perhaps my old words will resonate with you now.

Be well and safe. I hope you are holding steady. Write when you can.

******************

Conversations Like Coffee

March 17, 2014

“Good communication is as stimulating as black coffee and just as hard to sleep after.”

Anne Morrow Lindbergh, Gift from the Sea

My brain got stretched this week, and it was uncomfortable. My head ached. I felt exhausted every night from the extra hard thinking I was doing — from trying to keep up with the conversations, the connections, the leaps of thinking and the much-too-muchness of all people have to offer. Sheesh, people! People and their words! On Thursday night, I cried. Then I mopped my face with a tissue and went straight to bed so I could be well-rested for the more that the next day would bring. More uncomfortable brain-stretching, more conversation, more connections, more much-too-muchness of all people have to offer.

It was a week of deep conversations every single day. Even the conversations that were brief, were taxing for my imagination and my equilibrium:

In conversation with my daughter, I pointed out the rain drops on the car’s windshield, and she explained that “rain drops are made of souls.”

In conversation with a group, a participant suggested that ‘the sky would teach me everything if I really looked at it several times a day.’

In a conversation with friends, we talked about the nets we build and do not build to catch each other when we fall. We talked about the far-reaching life-altering decisions that we make as a result of our connectedness to others.

I had lengthy, far-ranging conversations about illness, legacies, writing, poetry, death, theatre, politics, race, religion, parenting, poverty, libraries, pornography, and life. I made small talk that wasn’t small talk about parodies, calendars, brunches, rock bands, cat food, human food, dreams, real estate, bodies, television, laundry, coloring books, and more, and more, and more. These were conversations face-to-face, over the phone, and via the interwebs — a communications assault on all fronts.

I found myself dropped in conversations that were so unexpected they took my breath away. How did I get here? People surprised me with the size of their hearts, their intellects, their compassion, their blind spots. It was a week full of conversations laced with yearning and unsettledness. It was a week of seeking peace and seeking solutions where there were none. It was a week of reaching out for human connection with laughter and joy, with anger and frustration, with wonder, with confusion, with words, words, and more words…and some tears.

Human beings being human beings.

And I was so grateful. I am so grateful for all of those conversations. I am so eager for more because this was a week that left me vibrating and overwhelmed by the people I encountered. I felt literally impressed — pressed into — by the energy of humanity in a way that made me feel alive and exhausted by the possibilities and the mysteries and the answers on the horizon.

It was a highly caffeinated week.

Even though I love it, it is really scary for me to talk with people. Even though I want to, it’s really scariest for me to have high-wire conversations about the deep stuff of life with all those emotions along for the ride. God forbid I say something stupid or rude and have someone dislike me. God forbid I offend someone. What if someone gets angry? God forbid I have nothing interesting or comforting to say. What if I don’t have an answer when someone is looking to me for an answer? What if this conversation ‘gets out of control’?!

People are messy and the words that we use to communicate with each other can be confusing and frustrating and distracting. Conversations are incredibly inefficient — they take a lot of time. And who has time for anything these days? Sheesh, just send me an email. Sheesh, just get to the point. Just tell me what you want me to do. Many words = many opportunities for misunderstanding. And so much of what we are trying to convey is heart-stuff, laden with emotions and history and hopes that we can barely articulate to ourselves let alone another person.

Talking with people….it’s so much work.

For me, right now I think the work is worth it.

Yes, I think the work is worth it. I’m hanging in there (until I just need a break! until I just need to rest!) thru the hard messy stuff to keep talking. I want to. What do you think?

Real conversations — sincere attempts at connection and a commitment to vulnerability and understanding — we gotta have them to grow as individuals and as a community. Conversations build the (metaphorical) nets and bridges that we need to hold our society together. Conversations lead to commitments and actions that make change. Conversations light a fire under our butts, and help us re-examine our assumptions about responsibility and preconceived ideas of what other people think. Conversations tear down walls, and expose shoddy arguments and lies. Conversations reinforce connection and the idea that we live together on this planet. Of course, conversations lead to great art too.

I am grateful for the talking-talking-talking that makes my head hurt and keeps me awake at night like strong coffee. I am grateful for the seekers and bridge-builders who move thru my life with the curiosity and openness and respect that make these conversations possible. They drop keys/clues/crumbs into my lap that open ideas and connections I wouldn’t have access to otherwise. This is one way I learn about the world.

I am grateful that people allow me to speak and that they allow me to listen. (Yeah, cuz the listening is as important as the talking.)

Let’s keep talking. Let’s keep listening.

Let’s keep hanging in there, even we when need to pass the tissues all around, even when we question whether we should have had that fourth cup of coffee-like conversation.

A five step cycle of revision

30 Saturday May 2020

Posted by Tamara in Carrie Knowles, Ian Finley, playwriting, Process, Revision, Tamara Kissane

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Tags

playwriting, Process, Revision, writing exercise

I’ve found that during stretches of lengthy melancholia, I am less likely to generate new material, and more likely to turn to familiar old drafts that need to be revisited, reconstructed, or regenerated. Perhaps if you are feeling at loose ends in these difficult times, then revision might be the phase of writing that feels right for you.

However, if you feel ready to jump in and create new work, but are feeling a little stuck, then see the previous tip from David Menconi (PL ’19). And circle back to this post when you’re done!

Near the end of March, I reached out to a handful of experts to request a quick tip or exercise for people who are writing at home. 

It’s taken me awhile to circle back around to sharing what I received, but I’m happy to say that a good writing tip rarely goes out of style. 

I’m excited to be sharing this wonderful exercise from Ian Finley (PL ’12) by way of Carrie Knowles (PL ’14). This tip focuses on REVISION!

Ian Finley adapted the cycle below from our fellow Laureate Carrie Knowles, who introduced him to the idea of the Five Step Revision. 

Note: It is strongly recommended that you don’t revise until you have a complete draft, but once you do, hammering away at revisions might be just the project for you while staying safe at home.

How to revise? Sometimes changes are obvious. Sometimes you’re sure a script can be improved, but don’t have a way into the Revision Chute. Try these five steps, and see where you end up.

FIVE STEP REVISION PROCESS:


1. Add What’s Missing.  Now that you’ve finished the script, you know where it was going all along, and what you were trying to say.  Now you can add all those elements that support that destination and theme that you may not have been aware of when you started writing.  Payoffs can be set up, and set ups paid off, the arc of characters enriched and extended, because you know who they are now.


2. Take Away What You Don’t Need.
  This is the biggest step, by far.  Again, now that you’ve arrived at the end, you know what your story is trying to say, so you can remove those sections that were necessary explorations in the first draft, but don’t move the story forward.  Be merciless.  It’s not “obliterating your darlings,” it’s giving your darlings a haircut, taking away the unecessary bits of them so we can see them better.  It’s a lot of cutting.  I usually aim to trim 25% between my rough draft and the next few drafts.  That’s one of every 4 lines, but your writing will be hugely better for it.


3. Ensure Conflict on Every Page.  In a play, conflict is what keeps the audience watching.  As soon as the conflict relaxes, you have about two minutes before the audience’s attention wanders, perhaps for good.  That’s why it’s called a “happy ending;” when the characters are happy, the play is over.  But conflict is not just bad stuff happening.  In the Book of Job, bad stuff cascades down on this poor schlub, but there are zero conflict in the piece, until the end when he confronts God, and God pushes back.  That’s what conflict is: two forces in opposition to each other; the pursuit of a want, running into obstacles, and overcoming them with tactics.  Conflict is active, in the same way that agreement or even suffering is merely passive.


4. Ensure Character Voice is Unique & Consistent.  Now is the time to read through the whole script, out loud, only reading one character’s lines.  This will give you a sense of the quality and consistency of that character’s voice.  Do it for each character, one at a time, making fixes as you go, and you’ll bring them all into focus.  Ideally, you should be able to cover the character names and still know who is speaking, and this has nothing to do with funny accents or the like.  It’s because each character is different, and therefore expresses themself differently.  Character voice is the most powerful tool you have for revealing character to the audience, because it is shown to them every time a character speaks.  Their status, background, interests, and relationships are all reflected in the way they speak, and that is the most elegant way of sharing that with the audience.


5. Edit!  Spellcheck, grammar, mechanics, all of that!  And correct Standard Manuscript Format!  All of that is as important in playwriting as anywhere else.  But notice that it is the LAST step of the process, for the very simple reason that after polishing the grammar of a given line, you might be unwilling to cut it (see Step 2) when you realize it doesn’t help the story. Edit last.


Except… last isn’t really last, because these five steps are actually a cycle.  Once you’ve finished, go back and run them all through again.  And again. My experience is that time is a key element in creating my best work. If you have time now to devote to revision, then your writing will be well served.

*******

Ian Finley holds an MFA in Dramatic Writing from the Tisch School at New York University.  In 2012, he was named the Piedmont Laureate in the field of Playwriting and Screenwriting by the arts councils of central North Carolina. He is the author of many plays, you’ll see them listed in the show notes including: The Nature of the Nautilus (winner of the Kennedy Center’s Jean Kennedy Smith Award), And There Was War in Heaven (finalist for the O’Neill National Playwrights Conference), Native, The Greeks, 1960, Jude the Obscure, Suspense, A Perfect Negroni, 11:50, the Our Histories cycle of site-specific plays for Burning Coal and the First Night site-specific plays for Seed Art Share.

More Ian Finley:

Enjoy Ian’s lectures on YouTube.

Enjoy his most recent podcast conversation on Artist Soapbox: 105: Art and education in times of crisis with Ian Finley, playwright and educator

Additional suggestion: Dig into the PL blog archives to read the generous and useful posts written by Piedmont Laureates in previous years. You won’t be disappointed.

Meeting voice-to-voice about writing. Fifteen podcast episodes for you.

30 Thursday Apr 2020

Posted by Tamara in creating, creativity, Process, Revision, Story, Tamara Kissane, Writing Advice

≈ 1 Comment

Tags

conversations about writing, creative process, playwrights, playwriting, podcasts about writing, writers from the triangle nc, writing during a pandemic, writing during covid-19

Friends,

Here’s an item on my list of THINGS-THAT-BRING-ME-JOY: Talking craft with playwrights, writers, theatre-makers and artists of all mediums.

Does that bring you joy too?

For the last 2.5 years, these artist-conversations have been recorded in person and then released via the Artist Soapbox podcast for everyone who likes to listen.

It’s always been an honor and a delight to spend time with my interview guests, and shake their hands, and see their faces light up when they discuss their work.

As COVID-19 in the US has ramped up significantly over the last seven weeks and all Piedmont Laureate events were cancelled, I shifted to recording my podcast interviews online.

Though we are no longer in the same physical space, I continue to feel honored and delighted to share time with my guests and to hear their voices light up when they talk about their work. Since mid-March, I have worked to bring the voices of writers in our community to your ears as quickly as possible via the podcast.

I hope these conversations might be:

  • comforting or stimulating
  • thought-provoking or soothing
  • inspiring or sheltering
  • or whatever you need at this moment in time.

Below you’ll see fifteen podcast episodes from March 30-April 28, in case you’ve missed them.

Like the previous list from March 13-27, you’ll see a roster of incredible writers from the Triangle community including: Monét Noelle Marshall, Ian Finley, Chris Vitiello, June Guralnick, Amy Sawyers-Williams, Jack Reitz, Debra Kaufman, Allan Maule, Mark Cornell, and Cheryl Chamblee.

In addition to locally based writers, I’ve included episodes featuring playwrights and writers of audio fiction from much farther away as part of my podcast series for Howlround Theatre Commons, titled Adventures in Audio Fiction.

All of these conversations have sustained me in moments when I felt very isolated and worried. I found comfort in the connection I felt after 40 minutes of conversation with another human being about creativity, life, writing, process, and meaning.

After this intense flurry of activity (31 episodes in 7 weeks!), the Artist Soapbox podcast will be on hiatus for a bit so that I can return to my own writing, gain a more comfortable handle on my life/home/parenting responsibilities, and blog more regularly here.

If you are looking for inspiration, writing tips, vulnerability and a backstage pass to the writing process, then I hope you will enjoy listening to the episodes below.

If now is not the best time for you to listen, then they will be here when you are ready. Sending you love.

Writing-related episodes from March 30-April 28:

  • 104: Autobiographical writing, providing opportunities for Black playwrights, and creative process with theatre artist, Monét Noelle Marshall
  • 105: Art and education in times of crisis with Ian Finley, playwright and educator
  • 109: What does the Poetry Fox say? Deep connections thru performance writing with Chris Vitiello
  • 110: Questions, structure, & digging deep. Diving into creative process with playwright, June Guralnick
  • 112: Writing a Scripted Audio Fiction Series with Jessica Wright Buha and Bilal Dardai of Unwell
  • 115: Tap into play with applied theatre artist Amy Sawyers-Williams of See Saw Projects
  • 116: The Power of Community with Andrea Klassen of the Procyon Podcast Network
  • 117: The goal is collaboration. Improv & sketch comedy with Jack Reitz of Mettlesome
  • 119: THE NEW COLOSSUS audio drama is available for listening!
  • 120: Mindfulness, intention, and process with poet and playwright, Debra Kaufman.
  • 121: Measuring the mass of a rom-com. Structure, process, and science with playwright Allan Maule.
  • 122: The Parsnip Ship: Revolutionizing the Way You Hear Theatre
  • 123: Inspiration, dedication, and production with playwright Mark Cornell
  • 124: It’s the little things. Small moments, vulnerability and opportunity with writer Cheryl Chamblee.
  • 125: Time to write. Podcasting during a pandemic (with kids).

[Note: The episodes listed above are related specifically to writing. There are additional episodes with other creatives at www.artistsoapbox.org. Click on these links for the complete list from April 13-28,  March 30-April 10, and March 13-27. Please reach out if you need a transcript.]

First drafts stink

16 Sunday Feb 2020

Posted by Tamara in Revision, Writer's journey, Writing Advice

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Tags

first draft, Ian Finley, Revision, Tamara Kissane

How are your stinky first drafts doing? 

This week I completed a stinky first draft of a new play. I felt victorious. I felt defeated. I felt nauseous. 

This is always the case for me.

My brain understands that the stink is part of the process. (I assure you that the stink is part of the process.)

And yet, I’m always surprised and a little disappointed when the first draft does actually stink. 

This is always the case for me. 

Despite a multitude of examples to the contrary, I thought maybe this time it would be different. Maybe this time my play would spring from my mind in fully-formed perfection. Maybe this time I wouldn’t have to grind out five gazillion drafts just to get it to an acceptable shape for a reading around my kitchen table with my three kindest friends.

Oh well, not this time. (This is always the case for me. Is this the case for you?)

Friends, I don’t have a problem with a blank page. I have a problem with what I write on it. 

Anyone else feel that way?

This is what helped me accept the reality of writing the despicable first draft:

  • Pep-talks from my friends
  • A spirited sixty minute walk
  • Advice from Ian Finley (more on that below)

Ian and Tamara look happy because they are talking about writing and not actually writing.

I accept that writing is work. Writing is revision. And more work. And more revision. 

I accept.

And I turn to one of my favorite podcast conversations with playwright and 2012 Piedmont Laureate, Ian Finley. Ian tells it like it is, and I find a lot of comfort in that. 

I find comfort in knowing that we all go through this.

Solidarity, writers! Make a stink! Carry on! 

When you have 50 minutes, listen to Ian tell it here: 043: What good is a bad first draft? Playwright and arts educator Ian Finley extols the power of revision.

For now, take a look at the transcript below and revel in his wisdom about revision. 

TRANSCRIPT OF PODCAST EXCERPT:

Timestamp: 10:00

TAMARA:

Let’s talk a little bit about revision because I know this is something else that you have strong opinions about. And I’m in agreement. Your assertion is that revision is 75% of the work in writing a new play. 

IAN:

Yeah. So I hate Lord Byron.  I love his poetry. What I hate about him and all the Romantics was this belief that they put forward that is still so prevalent – that art is just given to you. Like the muse reaches down and you’ve got this great idea and you’re inspired and you go off and you write it and it’s done. And it’s a lie. It’s a gigantic lie. And it’s a destructive lie because it makes people feel that when they don’t get inspired that way, that they can’t write, that they can’t create.

Timestamp: 10:53

IAN:

And it’s a lie because that’s not how Byron wrote. Byron wrote and then he revised, he put the work in. Again, it’s a craft, not an art. The art comes out of the craft, right? The working of the pieces….

Timestamp: 11:38

IAN:

The first draft really ought to be quite horrible. Because if it’s not, you’re not trying anything, You’re doing the safe, easy thing if it’s any good in that first draft. Greatness is next door to awful. It’s like 10 miles away from good. Right? if you’re ever going to be really great, you’ve got to allow it to be just miserable in that first draft. And then you can fix it later on. Anything can be fixed once it’s done. And it’s an iterative process, right? You learn about the work by writing it. You don’t learn about it by researching. You don’t learn about it by outlining. Those are important things. And you do need to do some degree of them.

Timestamp: 12:27

IAN:

But you learn about the characters. You get to know the characters, you get to know the world by spending time in that world, which means piling up pages, and writing. And then once you’ve written it, you realize that 80% of it is crap and has to be thrown away, but it’s not wasted time. It’s how you got to know what you are actually writing. So the first draft is what is really your outline, right? The second draft is like your deeper outline and then maybe by the third draft you get something that’s sort of your first draft. Right? The process of revision, I would say is 75% of the work, that first draft maybe outlining all that is 25%. Revision is 75% because anything can be fixed if you’re willing to do that.

Weaving a Blue Horse

01 Sunday Apr 2018

Posted by nancystoryflow in Attention, creating, Fiction, Guidance, Nancy Peacock, Process, Revision, Story, Working

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Tags

Attention, characters, Guidance, Process, Revision, Story

This weekend I tried to weave an image of a horse on my small tapestry lap loom. It had been a long time since I’d tried to shape a horse with yarn across tightly stretched warp, and it wasn’t coming easily. I unwove my horse three times.

Unweaving is simply undoing what you’ve done. Instead of going over and under the warp threads to build, you go over and under to take down what’s there. It’s not unpleasant. It’s the same motion as weaving. But no matter what I did, my horse kept looking like a rabbit. I found the rabbit imagery interesting and thought I might try a leaping bunny at some point, but what I wanted was a horse. A blue horse.

Tapestry weaving is simple. Warp and weft, and only two sheds (the space opened between the warps). But it can get frustrating when your image does not progress after having woven and unwoven and woven again so many times. Writing stories can also be frustrating. To use a weaving metaphor, you need to weave a lot of plot and character and setting and what-all-else threads into the story. In weaving this is called the weft. In tapestry weaving it creates what you can see, and the warp, the strings held tight on the loom, become the invisible foundation. In writing warp and weft are the same, both the picture (reader’s experience) you’re building and the foundation of the picture you’re building.

One thing I’ve noticed in both writing and in weaving tapestry is that there is a lot of forgiveness in the medium. You really can fix things that come out wrong. You can unweave, revise, rewrite, patch, or splice in a new warp thread. A lot of beginning artists don’t know this. They look at a finished tapestry or read a published book and feel awed by it, as well they should. It’s important though to realize that things rarely come out perfectly in the beginning.

I could say that the miracle in making art is that sometimes things do come out perfectly the first time around, but I think there are deeper miracles.  Three to be exact, three miraculous gifts every artist is given, a sort of holy trinity of the creative process. This holy trinity is something on which you can build your creative life.

Miracle #1 – We get second, third, fourth, fifth, and endless chances to make it right.

Miracle #2 – What we create will never look like our original vision, and we should rejoice in this.

Miracle #3 –  Often our “mistakes” end up not being mistakes at all. “Mistakes” can be our guides, not guides that tell us what not to do, but guides that show us what we did not know we could do. A “mistake” can send a writer or artist down a path they’d not consciously set out on, but that becomes the backbone of their creation. (A reason for rejoicing in both miracle numbers 1 and 2)

That blue horse I was weaving? After unweaving it for the third time, I set my loom on the couch and went about my day. Each time I walked by I looked at it. I squinted my eyes. I took the long view. I related to it. And I studied the two weavings I’d done previously that had horses in them. I looked closely. How did I do that? I really couldn’t remember exactly, but that night, while watching TV I took my loom back into my lap and I wove a horse. He’s not perfect, but I’ve got some ideas on how to give him a nip and a tuck to make him prettier.

The process for weaving my blue horse was similar to my process for writing. Sometimes I have to back away before I can go forward. Sometimes I need just a nip and a tuck to fix something. Sometimes I need a big overhaul. Sometimes I want a horse but it really should be a bunny. I think if my weaving had come out bunny-like a fourth time I would have accepted it as a bunny, and it would have been fine. As it happened, I did finally end up with a horse.

Every time though, no matter how I feel about it, my art was guiding me. Your art will guide you, too. Trust that.

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