You get what you pay for

Feedback is vital to every writer. We can cut and embellish and schlep words around all we want, but until we learn what others think of our stuff, we're just scribbling away in an isolation chamber.

So where do you find that feedback? A writer's group can be a big help when you're starting out. But if you want to take your writing to a professional level, then you need to hire a professional reader.

Eleven years ago, when I first started writing screenplays, I hired several professional reading services to give me feedback. As I discovered, almost all of these places are based in Los Angeles and are staffed by people who read full-time for the studios and earn extra cash by freelancing on the side.

The notes weren't cheap. Two to three pages on a feature-length script set me back $150, although some top-notch reviewers can charge upwards of $1000.

But they were well worth the money. The readers zeroed in on exactly what was wrong with my screenplays.

And there was plenty. The gags were derivative, the situations were implausible and--the kiss of death for any screenplay--the characters were completely unsympathetic.

 I tried to use the feedback to make my screenplays better, but I never got them to the point where I felt comfortable submitting them to managers and production companies.

Well, I must have learned a thing or two over the years because I just received my first set of notes for The Enchanted Bookshop and they were much more positive. In fact, the reader suggested only three minor tweaks to the script:

1) Change Lady in Red's tactics

As anyone who has seen the play knows, Lady in Red tries to sell Margie, the lonely bookshop owner, a cookbook with a lock on it. Why a lock? Because that's where the stolen necklace is hidden. Her intention is to leave the book at the bookshop so that the smugglers can pick it up later.

Well, the reader found it completely implausible that Lady in Red (Mystery Woman in the screenplay) would expect anyone to buy such a book. Also, Margie would be instantly tipped off when the smugglers showed up the next day looking for "a book that don't open". Instead, the reader suggested that Lady in Red pretend to be interested in buying a book, then sneak the book onto a back shelf when Margie isn't looking (which she ends up doing anyway).

It's a great suggestion. Unfortunately, making this change means I'll have to dump some of my favorite gags in the play, but as Faulkner said, we have to kill our darlings. So out they go.

2) Focus the book characters' goals

The reader thought that the book characters bounce back and forth too much between two unrelated goals: saving the bookshop and stopping the jewel thieves. I wanted the book characters to start out being concerned about the shop to get the story moving, then switch to pursuing the other, more urgent goal when they discover the stolen necklace. The reader, however, thought it would be a stronger choice if I tied those goals together somehow.

I'm not sure this is a valid concern, but I'll think about it.

3) Dump the Book Fairy

The reader thought the Book Fairy simply wasn't needed. To her, this world-weary sprite seemed a little juvenile for the audience I'm targeting and had no real purpose in the story other to explain some things that would be better explained by the book characters themselves.

I have to smile at this one because my original draft of the play didn't include Book Fairy as a character at all. It only mentioned her in passing. But then, my publisher suggested I pull her in to provide a juicy role for some young actress. I played around with the idea a while, wrote a few test pages. And when I found that she made the story much stronger, I decided to keep her.

Still, the reader has a point. Something that works on the stage may not work on a screen. I'll have to weigh this one carefully.

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So there you have it, a glimpse into the kinds of things that Hollywood thinks are important.

If you're part of a writing group that challenges you, inspires you, makes you better, then I say more power to you. But I still recommend that writers of all levels look into hiring a professional reader, especially if you want to submit to your work to a major contest or publishing house.

Sometimes you really do get what you pay for.

Bringing characters to life

Besides seeing your plays on stage, the best part of being a playwright is hearing the impact your plays have had on people.

That was the case yesterday when I came across a Facebook post from Tiffany in GA. She had just seen a production of The Enchanted Bookshop and described the play this way:

A story about a bookstore that no one visits anymore because no one ever reads books anymore! Sound familiar? Such a perfect modern day tale that reminds us that the characters of a book really can come alive if we just give them a chance! When was the last time you read a book and then missed the main character when it ended? I know I'm inspired to dust off some of our old books and bring the characters back to life!

Thanks, Tiffany! That means a lot to me.

Cornhusker Bookshop builds community

And here's another article about one of my plays, a preview of a production of The Enchanted Bookshop by the Kearney Community Theatre.

In it, co-director Judy Rozema describes how theater builds community in their small Nebraska town. Not only did they get a huge turnout for auditions (75 children for 25 roles), but the kids who got cast come from 15 different schools and represent a wide variety of interests, from die-hard theater types to math whizzes to musicians.

"It just shows you that the arts can involve everyone. It encompasses all sorts of groups of people and personalities. It brings them together to make something that is a joint effort across so many areas of different interests."

More than half of the kids have never acted before.

"And they are loving it," Rozema adds. "This is something that is timeless, something that's not going to die regardless of what the funding does."

Thank you, Judy, and all you hard-working directors out there for making this something possible.

'Bama Rumpelstiltskin earns raves

I remember the first time I saw my name in print. I was about ten and it was printed in the local paper, the Beaver Dam (WI) Daily Citizen.

I don't remember what it was for, probably some Cub Scout activity. But I remember how proud I felt. And I remember all the greeting cards my parents received with a clipping of the article inside (yes, in those ancient days of the 1970's, they actually sold greeting cards that said, "I saw you in the newspaper...").

So I think it's a pretty big deal when young actors get a mention in their local paper for the hard word they put into the production and the excellence of their performances.

That was the case for this article in The Greenville (AL) Advocate. It's a review of the middle school's production of Rumpelstiltskin, Private Eye and the author makes a point of giving a shout-out to every single performer in this large-cast play.

I hope these mentions mean as much to them as mine did to me. And who knows? Maybe one of them will grow up to see their name in print a thousand times over as a playwright or actor... or even a kindhearted critic.