Tag Archives: stuck up a tree

Free Reads for Christmas!

Hey all!

I’m knee-deep in writing a science fiction play for a company in the UK, so this is going to be quick, but I hope you have a wonderful holiday and wanted to give you a couple of freebies to get you through the next week or two – particularly those of you with kids home from school and in need of entertainment.

If you’ve got kids, STUCK UP A TREE will be free on Amazon through December 29th.

If you like dystopian stories (and who doesn’t?) and haven’t read my play MOUSEWINGS, the next few days give you a chance for some free reading material, too.

I don’t often ask outright, but since it’s Christmas…if you think anyone in your network (including actors, drama teachers, directors…Steven Spielberg…) might enjoy either play, please pass on this blog or those links. And if, once you’re done, you feel like leaving a review? That’d be ace.

Again, both plays are free for Kindle (and associated devices/apps) through December 29th.

Merry Christmas & happy holidays!

xx

Rachel

 

PS – At time of writing, Mousewings and Stuck Up A Tree hold positions 3 and 4 on the Bestsellers list in Amazon’s free Playwriting categoy! (See below for a pic!)

free bestseller three and four mousewings

Giveaway, you say? STUCK UP A TREE, for free!

 

The original cast of "Stuck Up A Tree," from top (clockwise): Ceri Mills, Andreas Vaehi, Cameron Mowat, Hazel Darwin-Edwards and Scott Hoatson.

The original cast of “Stuck Up A Tree,” from top (clockwise): Ceri Mill, Andreas Vaehi, Cameron Mowat, Hazel Darwin-Edwards and Scott Hoatson.

If you’re on my mailing list, you should have gotten an email yesterday around 5pm, giving you the heads-up ahead of time for my Spring Giveaway over on Amazon. If not:

From now until Thursday, my play STUCK UP A TREE, currently available exclusively on Amazon Kindle, is free to download.

If you’re going to be around kids over the spring holidays, reading this play aloud with them is a great way to spend time together without going nuts from over-the-top cartoons and video games.

Not convinced yet? Check out some of what’s been said about the play:

Then download and enjoy!

STUCK UP A TREE will be free until Thursday, April 4th, (2013, EST, Earth, Sol, The Milky Way, The Universe…) so if you and your kids want to spread the word, please send it on to anyone you think might get a kick out of a whimsical children’s play!

Related Posts:
Plays of Place: Edinburgh Fringe Plays

(Note: Next month, in honor of Earth Day, there will be a list-subscribers-only giveaway based around my short story anthology Hot Mess: speculative fiction about climate change (which is not a children’s book but has some great reviews over on Amazon), with awesome prizes for the winner – so be sure to subscribe now so as not to miss anything.)

7:06am: Photo caption now corrected.

Getting paid to write.

2013-02-07 20.39.28

In today’s blog, and in light of the issues I’ve read about online and e-published authors have had in getting paid, I wanted to say a few things about writing and getting paid for it.

I hope you’ll excuse me if I meander around a bit. Money for the fruit of my soul is an emotional subject.

I got paid on Thursday for a job I did last fall.

Due to a miscommunication, I never realized they’d requested an invoice.

Within days of raising a question about payment (uh…Monday?)…the money hit my account.

I’ve been wondering what was going on since at least October; I remember having a conversation with a friend who was part of the same project around then. And now I’m kicking myself – why didn’t I just ask the producer at the time, why did I step back and not bring up this question of payment earlier?

I didn’t want to seem pushy or petty. But asking “Hey, what’s up?” at a point sooner than four months after the fact would have saved a lot of time, and that would have been nice. As evidenced by how quickly we figured out what was up once I opened my mouth.

Anyway, I’m meandering.

What I wanted to say was this: it felt SO GOOD to get paid for something I’d written because I *felt* it. The piece I was paid for landed in my lap like a flash of inspiration, and having it produced (even abroad, even when I couldn’t go to see it) gave me the most wonderful, settled feeling in the world.

Getting paid for it today, seeing the money land in my account – that gave me a whole different kind of good feeling.

In our society, money is a potent type of validation. I remember the first time I got paid for writing something. A friend bought a short story I’d written. Later, I felt this kind of validation again when I earned money on my Fringe shows (most notably, “Stuck Up A Tree,” which is now *ahemavailableonKindle*). At the same time, we’re told not to ask about it – to the point where I put off a polite inquiry for four months! How crazy is that?

As a freelancer, a self-owned business, you – much like reporters – are advised to follow (up) the money. Nobody is going to think less of you for asking a question.

And trust me. Getting paid for a passion project? The best feeling ever.

2012 was a weighted year. When I got my 1099s for my self-published work in the mail the other day, the amounts added up to a very small sum. Even smaller, once I sit down, do the math, and send money to the writers, illustrators, designers, co-editors and charities owed for the last quarter or two. Having made a somewhat significant sum a few years ago thanks to commercial freelancing, I appreciate the difference between getting paid to write, and getting paid to write what you love.

But what’s left will still be more more than I made on my creative writing in 2011. Which isn’t a bad trend to be following.

Addendum: I asked for some advice re: photography for this entry, because I stress about things like that, and here’s the best response I got.

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?

Sunday and Monday: Kindle Select Promo Days!

Cover art for PLAYING IT COOL

This Sunday and Monday (September 16th and 17th, 2012) you can download my first Edinburgh Fringe play, Playing it Cool for free on Amazon. (Apologies to those who’ve been patient since Friday night – a glitch in scheduling meant the promo didn’t go live as planned on Saturday).

Playing it Cool (a snappy romantic comedy) was written in 2003, and was my first produced play since 1999’s POST (a surreal tale about gun violence).

If you don’t own a Kindle and want to check out the play,  you can download apps for almost any platform on Amazon’s home page.

And as I said last time:

Playing it Cool is a one-act play about two friends, subtext and communication. It’s a two-hander that takes place in an apartment and a cafe, so might be of interest for those looking for audition scenes to read with a partner.

No big monologues here, I’m afraid, although both my later Fringe plays, Stuck Up A Tree and Mousewings (particularly Mousewings) will deliver on that front.

I’m listing Playing it Cool with Kindle Select for at least 90 days, so if you’re a member of Amazon Prime, make sure to put it on your list for a free read.”

Reviews of Playing It Cool:

Playing it Cool may not be the most ambitious play, addressing only a single issue. However, it contains much humour and is very well written. It will be very interesting to see a longer and more intricate play from the very promising Rachel Lynn Brody, at some time soon.”

– Philip Fisher, The British Theatre Guide, regarding the play’s premiere.

If you want to find out about awesome stuff like this ahead of time, subscribe to my Mailchimp mailing list. I won’t send stuff often, and won’t sell your email info, but I can promise at least a few promos ahead of the curve. And who knows what else.

But first, download Playing It Cool.

A Grand Design – Cover Art Input Needed

Last week, I announced my intention of publishing my produced plays, to date, on Amazon. Given that the plays are in performance-script stage, and putting them together is largely a matter of technicalities, I started planning my cover design – because that’s really what I need at this point.

I spent a few minutes discussing my ideas with a co-worker (happy to name him/link to his tumblr if he sees this and would like, but also want to respect his privacy) and his perspective as a graphic designer was (as the opinions of graphic designers always are) quite useful.

Basically, he confirmed my feelings: my produced plays should have a unified look, which meant a unified design that can stretch across multiple plays (while also separating them from my other fiction).

So I started looking at the published plays I own. Here. Have a look:

 

(And yes, that is my foot in the corner.)

 

So, these plays. I could talk about these plays a LOT. Like seeing David Tennant for the first time in PUSH UP, and thinking, “Man, he just LEAPS out from every single other person on the stage.” Or how much it meant when Jo Clifford, who was my MFA supervisor in Edinburgh, personally addressed a copy of EVERY ONE to me. Each of the other plays has its own story; if people want to read, I’m happy to blog them in the lean times. Or maybe they deserve their own book.

Anyway. So, having studied the plays, here were my thoughts:

1. Samuel French and the Marlowe both demand that the reader know the playwright before purchasing. The newest of the plays, Ali Smith’s The Seer, was probably a well-performed piece, the play’s blank title and lack of imagery doesn’t really speak to me; I saw it (probably reviewed it) but the blank cover doesn’t give me any kind of aide memoire. I don’t remember much about The Seer, or ever feel inclined to pick it up. No good for a newish playwright, then.

2. The black-and-imagery with the colored spine of the NHB releases speaks most strongly to me as a reader. The images are evocative. They feature live performance stills – and this is where my plan to use these as the template falls down. I don’t have live performance shots of all these productions. I could do video capture stills, but…

3. A number of plays (Clifford’s is just an example) featured imagery rather than literal representation of events portrayed in the script; Yazmin Reza’s DESOLATION is another example of this. (Reza, for those who don’t make the immediate connection, also wrote ART). THE NIGHT SHIFT by Mark Murphy is somewhere between items (2) and (3), with a stylized image that evokes the mood and staging of the play, if not the literal photos one might expect to see.

Where did all this bring me?

The following four versions of an image. Your thoughts would be much appreciated. I’ve settled on the basic elements: the lefthand colorbar and wash over the rest of the image (color will probably change from one play to the next) and the representational photography, but the way those are used, the photograph itself, the fonts that the play names (which, for those who want to know are POST, Playing it Cool, Stuck Up A Tree and Mousewings)…those are all open for discussion.

But I’m trying to make a basic template. And I’d appreciate your input. Here’s what my ideas amounted to on Thursday night:

Please share this on Facebook, Twitter, Reddit…anywhere you think might be useful. Opinions on this one are crowd-sourced. Let me know what you think, and know your thoughts are appreciated.