Wednesday, January 30, 2013

If you're looking for a mellow, leisurely walk down a warm country road, let me just say, " ain't it!"

John Gamel (see more of his work in ) has tackled yet another close-to-the-bone topic, and it created a flurry of responses during the workshop. John is, to say the least, one of the most calm author's when having his work responded to, especially when it elicits visceral responses from the workshoppers.

is a seemingly mellow story about a daughter and a step-father dealing with the daughter's drug addiction. John's use of objectifying dialogue by the daughter herself brought the workshop to a frenzy! This was one of the most intense sessions I've been in here at TMPW! My hat is off to the workshoppers who were willing to hang it all out there, and to John who took it all in, and wanted more! Now that's workshopping! My thanks to Gene Griffith, Libba Beaucham and Catherine Weingerten for the great session, and to John for sharing yet another ambitious script!

You can , but get ready... we get a little raucous!

Oh, and in keeping with the tradition we started in of the John Gamel essay linking, check out this essay by John, "." ( links to his most famous essay, "" - it's a hoot!)

Tuesday, January 29, 2013

TMPW Session #53: Aaron Sampson's "Defending Charlotte Goodlady"

Aaron Sampson's "" is a sure-fire way to challenge one's thoughts about the death penalty, the prison system and notions of justice in general! The script emerges as a crafty telling of a complex story, and the workshop session was a blast!

During the workshop, we focused on exposition, and how to make the dialogue more compact, while still conveying the necessary elements of the story. Everyone was agreed: we wanted the story to be parsed out in a manner that was less obvious and in a way that made us work to piece together the edges of the story. It is interesting to see that, even though the story challenges some basic notions about justice, we all wanted more conflict, even in the way dialogue revealed the core components of the story.

My thanks to Aaron Sampson for sharing his script and to Stefan Lanfer, March Schrader and Lori Londagin for workshopping the piece with me.

You can of the workshop and see what you think about the elements of dialogue we talked about.

Thursday, January 24, 2013

If there is one thing I know nothing about, it's what Maximillian Gill writes about in his new script, "." Now, I'm a woman, but this is a world I hadn't ever considered. And, I'm ashamed to say that. Syria. The Civil War. Violence. In triplicate. Intimate violence that tears a family apart. Conflict that showcases the strength of Max's characters.

You've got to . I can't do it justice in a blog post.

John Gamel (see his script in ) joined me in workshopping the piece, and it was intense. (And I reserve italicizing for special occasions.)

You can .

My thanks to both John and Max for a great session!

Oh, and you can hear another of Max's scripts in .

Well folks, we're at it again! The Spring 2013 TMPW workshop sessions have begun! John Gamel's script, "," was a great way to start off the semester!

Gamel's script moves through a fun and raucous exchange of two women and a man and ends with a fun punch of desire. If only every script could let it all simply come to the surface the way Gamel does!

I felt a bit rusty as a facilitator, but Jeremy Carey and Christopher Adams jumped in as workshoppers and we had a fun discussion of intention and the portrayal of traits for the main character and the object of her desire.

This session was recorded in two parts:. You can listen to the audio for each part:

Oh, and John and I got to talking after the session and he has another piece you'll want to read: - it's a hoot!