Tag Archives: dramatic writing

Writers! A Place to Keep Your Plot Bunnies

Image: Bunny, a Creative Commons Attribution No-Derivative-Works (2.0) image from aigle_dore's photostream

Image: Bunny, a Creative Commons Attribution No-Derivative-Works (2.0) image from aigle_dore’s photostream

If you’re a writer, and you’re anything like me, you’ll be working on a scene for one piece when – POW! – a plot bunny pops into your head. Suddenly, you’re stuck trying to decide whether to press forward with what you’re supposed to be working on, or start writing down the new idea before it bounces away. The other morning, I was noodling around in Google Docs when I hit on an idea: what if there was an easily-searchable database where I could store those ideas until I was ready to use them? By reviewing the ideas periodically, I could keep my inspiration topped off and make sure that significant moments I wanted to include didn’t get left behind as the story surged forwards. Plus, since the answers fall into a Google Sheets (think Excel spreadsheet) document, they’re sort-able and easy to search! Obviously, not every idea is going to make it into the final draft, but at least when I’m staring at a blank scene I’ll have somewhere to look for ideas I’ve already had. Anyways, I thought other writers might like using this form as a tool. Here’s how: 1. Click “Edit form”Capture 2.Go to File -> Make A Copy (As I understand it, this will both give you access to editing the document AND make it’s own back-end spreadsheet for you to access.)Screenshot 2014-07-17 11.04.43 3. Save it to your Google Drive. (Change the name however you’d like.) Screenshot 2014-07-17 11.25.14 My advice is to copy the form to your own google drive, edit the fields and questions to suit your project, and go from there. Use it to organize ideas for a single narrative arc, or add another field and track all your plot bunnies for every project! Happy writing! PS – if there are any additions you think the basic template needs, or anything that isn’t clear from the above, let me know, and I’ll be happy to modify this blog to reflect them when I have time.

De Facto De-Funding at Creative Scotland?

From Joyce McMillan’s blog:

“Creative Scotland have instead decided to withdraw their entire middle range of funding, known as flexible funding, which offered basic income security on a two or three year cycle to small- and medium- scale arts organisations with a strong creative record. The result is to throw some 49 Scottish arts organisations from a condition of modest security, into a condition of complete insecurity, in which they have to bargain from project to project for their continuing right to exist.”

It was when I read the names of some of the 49 companies now in jeopardy that I felt my mental jaw drop: Vanishing Point Theatre Company, Grid-Iron, and the CCA in Glasgow (their equivilent of New York City’s MoMA) were included on the list. For the record, Vanishing Point’s Lost Ones, which I reviewed seven years ago during the 2005 Edinburgh Fringe Festival, has stuck with me like few other productions over the years.

Why I’m Opening My Big Mouth

I lived in Edinburgh, Scotland, for four years, from 2003-2007. During that time, I attended Queen Margaret University College’s MFA program in Dramatic Writing; at the time, the theater department was run by Maggie Kinloch – who has since moved to RSAMD.

I dove headfirst into the arts scene. Edinburgh was where I started reviewing for The British Theatre Guide. It’s where my plays PLAYING IT COOL, STUCK UP A TREE, and MOUSEWINGS had their world premiers. I made numerous short films there, applied for and received funding for arts projects from my university, organized script development workshops and was an active member in the Traverse Theater’s Young Writer’s Group (I was lucky enough to have two plays workshopped as part of the program), plus traveled to INTERPLAY – EUROPE as one of their delegates. I’ve stayed in touch with many of you since leaving Edinburgh, and this this fall, my one-act play MILLENNIAL EX will be featured in a collection of short plays from around the world on the subject of marriage equality at a festival in Glasgow.

So I have something of an interest in what goes on within the Scottish theater scene, but rarely have the time to indulge that interest, and so was not aware of the current funding debate taking place until this morning. @MarkFisher was kind enough to point me towards information on the current debate, and that’s why I missed this morning’s sunshine and will now be spending the remainder of the afternoon inside as rain thunders down in Manhattan.

Theater Funding in Scotland vs. America – Where the Money Comes From

There are some things about arts funding in the UK, and in Scotland, which may be unfamiliar to some of my American readers. The main one, I think is:

In the UK, public funding bodies exist, geared toward distributing funding for (and thereby encouraging the development of) artistic forms of expression within a specific mission statement. They have the mission and responsibility to enrich citizens’ cultural lives and develop resources that showcase and develop both the country’s heritage and its future.

(My feeling is that in America, there is not a similar or analogous organization that answers to and is responsible for the funding of such a wide range of theaters and types of theatrical projects as is Creative Scotland. But that’s another discussion, and one I’m happy to have in the comments.)

These funding bodies and their missions, and the ways in which these obligations to fund are interpreted and fulfilled, are a point of contention between organization and practitioner. (Pardon the stealth edit as I try to make my point clearer.)

What the What?

Okay. Let’s say you have a theatre company in Scotland and want to apply for funding for this really fantastic idea you have. You go to Creative Scotland and fill out an application form. You pick the kind of funding that fits your project.

In the past, Creative Scotland had a category which funded on a project-only basis. Technically, these were grants that a theater company would receive, once per cycle (clarification stealth edit). They weren’t meant as funding that would keep the company running year round, but practically…

The Best-Laid Plans of Mice & Men…

…that doesn’t seem to be what happened. A number of companies, including, I would assume, those McMillan names in the above excerpt, have received grants from Creative Scotland to a degree where their project-to-project funding is sustaining their organization and where the loss of that funding puts those companies in jeopardy.

Meanwhile, it seems from the reading I’ve done this morning that Creative Scotland’s response is: we’re not defunding you, we’re just cancelling this form of funding. You shouldn’t have been depending on these funds in the first place.

Pardon the analogy, but to me that reads a bit like a drug dealer saying, “Well, it’s not withdrawal, because you weren’t supposed to get addicted to heroin in the first place.”

I’ll be interested to see how this situation develops.

For those who are interested, some additional reading
http://stramasharts.wordpress.com 
http://annebonnar.wordpress.com 
http://joycemcmillan.wordpress.com/2012/05/25/three-deadly-sins-of-creative-scotlands-bad-funding-review-column-25-5-12/