Surprising Yourself (1 Big Prompt)
what to write when you don't know what to write
What if you didn't need to know what you were writing before you wrote it? What if you could embrace uncertainty, or at least felt okay with not knowing? What if you showed up in Brave Space without a project? I wish you would. Then I'd be able to show you what I mean. Or you can use this essay as a prompt and expand your writing practice (or your art-making) to include the generation of surprise.
First you never have nothing to write. I'm almost always upset about something. If the news feels too immediate or undigestible, turn your past weaknesses and failings into strengths. Use all the crap you've survived to your own (and your characters') advantage. Make a list of all the awful things you've been through, so you can refer to them whenever you think you have nothing to say. Or all the things that have changed you (hinge moments).
What are the tools at your disposal? Your greatest tool is your life which is always available to you like breathing, also called inspiration. Writer tools also include language, plot, story, character, thought, diction, music/sound, lights, setting, structure, unities, time, rhythm, spectacle, and certainly what is often ignored by writers: surprise.
I'll never forget a short play at EST (in the early 90s) where a pregnant couple lie to the landlord because they don't have the rent. When the landlord leaves, the pregnant woman puts a pin in her belly and pops the balloon that we all thought was a baby. Surprise on stage astonishes. Try: I and Thou (Lauren Gunderson - don't read about it first). Or read The Gap by Emma Goidel on NPX. Surprise! Alice Birch and Jeremy O. Harris are great at surprise.
We don't always know what the story needs as we create it. Sometimes it takes a bit of distance to realize that something is missing. When I wrote FUKT, the first draft was a 2-character play. I hired my cousin to read stage directions at the first reading, but, as soon as she was on board, I realized I had a role for her. I wrote the third role, Bobbie, in the next 2 days. So the first reading, 9 days into the project, was really a 2nd draft. Then, about six months later, I added the striptease. Another six months after that, I added the zombies. So the play evolved, and now it all seems inevitable in retrospect.
That's what you want: inevitability in retrospect. I was afraid FUKT would be too dark. So I listened to my fear and addressed it: I made a list of ways to make my play more fun. Your list will be different than mine. On my list, the striptease waved and winked at me. I instantly knew which character would strip and why. It was easy to add it in and inevitable in retrospect.
The zombies were also on my list, but I wasn't sure how to add them. And then one day I knew. So give yourself time. The director was like, what?! But when she read the revised script, it was clear that the zombies would work. They are my favorite part of the play.
I tell you all this not to bore you about my process but to show you that it is a process of layering and discovering and allowing time for the play to marinate and become itself. It's also about trusting that you know what's best for what you are making. It's yours. (If you're working on cultivating trust, come to Brave Space!)
all artwork from Scott Sherman at ScottShermanStudio on instagram
What sort of surprises can you create for your audience? How do you discover what surprise would be organic to your play? Free-writing! Inquire into your story and free-write (fast w/o thinking or censoring) your ideas/associations/memories with yourself and your characters/their impulses, stories, actions, desires. The world of your piece will offer up answers if you ask.
What I mean by “the world of your piece” is literally what is in the room or setting. If you don't know specifically what's there, your characters can't use those things. So find out where all the weapons are, if there are weapons. What's hidden? Where are we, and what do your characters see if they look out the window?
Write all that comes to mind without pause. You don't need to know what you're going to write before you begin. Let the activity of writing bring the words to you. Don't try to think and then write. Let yourself write without thinking. Let the act of writing tell you. (No one will know. No one will see this.) Try it.
You can literally begin with, "I think Emma's nuts, but here I am, and I have no idea what to write, but I'm writing, and it's boring, and I feel dumb, but this is what they said to do..." Do that for 5 minutes and see what happens. 5 minutes. Set a timer.
Assign the task of writing to your hand, or your fingers, or your heart. Take your heart out, and put it on your desk. Clear off a clean spot for it, and ask it to write for you. My heart is closely connected to my Self. We all have a Self that shows up as curious, confident, clear, calm, connected, courageous, creative and compassionate. Surprise yourself with some Self-led writing.
Announcements:
Submission Opportunity to write for Experiments in Opera! Deadline July 3rd. More Info Here
So pleased to share Sacha Rosel’s recent book launch on youtube in Italian with English subtitles. Go Sacha!
I had 2 poems published this past week in Third Estate Art. Read them here.
You can livestream MEDEA or see it in person live in NYC at LaMAMA! With performer Sheree V. Campbell among a great cast and dramaturgy by Morgan Jenness. Extended! See it here.
My latest flash fiction, “Appetites,” will be published next week at Nunum Literary Journal. I think they are also publishing an interview.
If you’re in NYC, go see FISH by Kia Corthron, directed by Adrienne Williams on Theatre Row tickets here
Also in NYC, go see Las Borinqueñas by Nelson Diaz-Mercado directed by Rebecca Aparicio at Ensemble Studio Theatre tickets here
If you’re in St. Louis, MO, my play “Neighbors by the Sea” will be seen in Social Justice Shorts produced by Bread and Roses along with A Call to Conscience, May 17-19th at the Greenfinch Theatre.
In NYC, Scott Sickles’ new play Marianas Trench directed by Janet Bentley opens 4/27 - 5/11. Tickets here! (I have an extra ticket for the opening, first responder gets it!)
If you’re in Asheville, NC, my short piece, “Different.” will be performed in the Different Strokes Performing Arts Festival, June 20-23rd.
Brave Sched:
for the week of April 22-27 Monday 1230pm ET (yes, 1230pm ET is not a typo, my apologies... I have a conflict) Tuesday 12pm ET (w/workshop & accountability) Wednesday 1pm ET Advanced Brave Group Coaching Thursday 11am ET and for End of Play at 7pm ET Friday 11am ET and Brave Sharing Salon at 2pm ET (for up to 10 minutes of work) Saturday 4pm Brave Group Coaching for the week of April 29 - May 4th Monday 12pm ET Tuesday 12pm ET (w/workshop & accountability) Wednesday there is no Advanced Brave Group Coaching this week Thursday 11am ET Friday 12pm ET Saturday 4pm ET Brave Group Coaching
I feel the need to buy a new notebook that's special... No To Do lists or telephone numbers. Just my heart writing. Maybe I'll draw a picture of my heart on the cover.
Thank you so much for mentioning me, Emma!!