Tag Archives: glasgay

Happy New Year! Where I’ve been, and where I’m going in 2013.

Photo Credit: Leah Alconcel

Photo Credit: Leah Alconcel

I hope you and yours had a wonderful end of 2012 and rang in the new year with more enthusiasm than I did – I conked out a little after 11pm EST and didn’t manage to greet 2013 until about 9am this morning.

Time for a quick look back, and a longer look ahead.

2012 was a packed year. I published HOT MESS, had short stories featured on blogs and in Amazon E-Book collections, put together a collection of Zombie Haiku, talked a lot about feminism and vaginas (both here and in public), organized readings, took major artists to task over unethical business practices (with results!) and more.

It was a year of both excitement and disappointment, of keeping things in perspective, of working on myself and how I relate to the world. My cousin and his girlfriend got married, and I fell off the Low Sodium wagon hardcore shortly after (funny how having a size 14 dress to fit into can motivate a girl!).

I wrote about physics, I wrote about politics, I wrote about gun control, I broke 100K tweets (don’t know whether to be proud or embarrassed about that), I edited a novel, contributed to a round-robin short story, got some help prettying up the blog, shared my self-publishing experience, interviewed innovative theatre producers

In other words, it’s been a busy year.

What’s up for 2013?

For the first time in years, I’m kicking off with a more-or-less clean slate. The writing projects I had planned to carry into this year are either at good resting points, or they’re not going forward due to external circumstances. I have an idea for a feature I’d like to play with, and I’d like to do more theatre work this year (last year, my short play MILLENNIAL EX was performed as part of Glasgay UK in a program of short works on marriage equality, and that’s re-whet my appetite for playwriting after a small break for other formats). I’m going to continue publishing my produced plays, which will join POST and Playing It Cool over on Amazon, just as soon as I lock down cover art for the new pieces (and by the way, if you’re interested in doing cover art for my plays, please let me know).

As I normally do around this time of year, I’m moving diet and health back to center stage: went grocery shopping yesterday and have gone back to only buying low sodium foods and healthy, nutritious snacks. We’ll see if that lasts much beyond my first day at work.

I spent a lot of time in 2012 on my mental health and well-being, and plan to keep moving forward with that in 2013.  I’d like to travel more, and have started trying to reconfigure finances so this is more than a pipe dream. I’d like to get more involved in activism and political issues – something I did more of in 2012 than I had in 2011, but still an area where I want to contribute in the future.

Thanks to everyone who helped make 2012 a memorable year – here’s to making new memories in 2013.

 

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Rachel Gets Interviewed: ANY OBJECTIONS and “Millennial Ex” in Glasgow

I wrote a play called Millennial Ex last year, shortly after marriage equality was legalized in New York State. Over the course of the last year and a half or so, I’ve been working with Matthew McVarish to take Millennial Ex and build out a larger program of work for premiere at the largest LGBT theatre festival in the UK: Glasgay 2012.

The show, which includes work by writers from the US, UK, Canada, Indonesia, Zimbabwe, South Africa and more, is intended as a snapshot of LGBT marriage equality issues around the world. If you’re in Scotland this weekend, I highly recommend you check it out.

Otherwise, you can learn more about the show in this interview I gave on the Glasgay blog.

 

Edit: Within minutes of posting this blog, I was made aware of this recent news development in the story of a gay couple who was refused a room at a British B&B several years ago. Thanks to @MishMashInk for pointing out how ANY OBJECTIONS is relevant to the questions being raised in the real world.

The Neverending Writing List

As we creep ever-closer towards the end of the year, it’s natural to look back and take stock of the plans I made, and which ones came to fruition – hopefully with just enough time left in the final quarter of 2012 to kick my butt into gear on a few of these projects.

The year started with a rush and a bang. My short story, The Tell Tale Tech was selected to launch a week of tributes to Poe, over on The Veillee Blog. Next, Sare Liz Gordy decided to put together “Sassy Singularity” – an anthology of short stories about strong single women, and my short story Sweetheart, kicked off that collection.

The next month, Hot Mess: speculative fiction about climate change came out. Millennial Ex, a ten-minute play about marriage equality, was given Honorable Mention at a festival in the US before later being picked up as the centerpiece for ANY OBJECTIONS? the upcoming Glasgay Festival in Glasgow, Scotland. (I also have another dozen or so plays from other entrants to read through before the selection committee makes its final decisions.)

I put both Restaurants are Rated Out of Four Stars (a foodie romance, which appeared in RJ Astruc’s collection, The Fat Man At The End Of The World, several years ago) and my first Edinburgh Fringe play, Playing It Cool up. Ran a promotion for that on Kindle Select last week, and the play was both downloaded and reviewed favorably by many. Miranda Doerfler and I oversaw the publication of Haiku of the Living Dead, Zombie haikus collected from contributors around the internet.

I started a Pinterest and a Tumblr and a Goodreads account. I learned how to use InDesign well enough that I could make book covers that weren’t completely embarassing (you can see an example on the Playing it Cool cover on Amazon). I edited Eric Sipple’s first novel, Broken Magic. Got a couple interviews about my work published on a few different websites. Helped organize a massive political protest along with Eve Ensler and grassroots activists from around the country.

You’d need chocolate, too.

But it’s not enough.

There are projects I want to do that still aren’t done. And I wanted them to be done before the end of the year. There’s my AI collection, which will take both The Tell Tale Tech and Sweetheart and pair them with a number of original short pieces pondering alternative and artificial intelligences. I have partial drafts and sketches for a number of these shorts, including some pretty extensive drafts. But there’s more work to be done there.

Next, there’s Electalytics, the 30K novella I said I’d write in thirty days back in July. Currently hovering at about 27.5K, I’m tightening up the rest of the draft before going on to write the final parts of the story. I had wanted this piece to be up in time for the 2012 elections, but at this point I think it’s safe to say that would require rushing it out. So I’ll pick my way through it carefully and I’ll keep making slow progress.

There are two more projects I would very much have liked to complete this year, including the play that kicked me off down the AI collection road, a full-length three-hander called Process0r, about collaboration and language and technology.

So what gives? What’s holding me back? Why aren’t all these pieces done so I can scramble ahead to the next thing?  Aside from the blog updates, the social network building, being interviewed, contributing to charity fundraisers and more?

Life. That’s what. That messy, wonderful, horrible, ever-drumming thing we call life. The saying talks about the best-laid plans of mice and men, but writer’s best-laid plans often go astray as well. Coping with this fact? Not something I do especially well. When I have a plan, I want that plan done. And when it doesn’t get done, I start getting agitated.

So that’s what the next three months are for. It might seem as though the things I’ve already done this year would more than make up for the pieces I still want to finish – but they don’t. When I distill the list down and hold it up against the “life” things happening between now and December 31st, it looks a little like this:

1. Finish the first draft of Electalytics.

2. Create covers for Stuck Up A Tree and Mousewings (video), so I can put them both up on Amazon alongside their fellow Edinburgh Fringe play, Playing It Cool.

I want to add, “Finish AI Anthology” and “Finish Processor” to the list, but given the two solid goals mentioned above and a third, more ephemerous goal I haven’t been specific about, I feel like sticking those two on the list would be a great way to get overwhelmed. So for now I’ll save those two projects for 2013, which – as far as I can tell – still offers twelve months of unspoken-for time.

This is a totally realistic plan.

Right?

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/