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Archive for August, 2008

The Play's The Thing

Wednesday, August 27th, 2008

So if you thought you haven’t heard from me in a while, you’re right: I just spent a week in the Catskill Mountains of New York State — and what a gorgeous place that is! — at what was billed as a playwriting “retreat” so that I could come to grips with a stage adaptation of a novel that I’ve been commissioned to do.

I placed the word retreat in quotation marks, because it was, in fact, more like a playwriting boot camp. Up early, workshopping all morning, individual meetings with the instructor and writing time in the afternoon, discussions and performances in the evenings, with new material to be written and presented daily. Didn’t see much of the beautiful Catskills, but did get a handle on the play I’m writing. So that’s all good.

This play has stretched my skills and has been the focus of a lot of reflection. It’s an adaptation of a novel called The Pact, written (and wonderfully written, at that) by Jodi Picoult and concerning adolescent despair and suicide. I loved the book and welcomed the opportunity to work with it. I deliberately haven’t watched the made-for-Hallmark-TV movie (though the DVD is sitting on my writing table as we speak) so that I’m not influenced by it as I wrestle the characters off the page and onto the stage.

To quote my stepdaughter Anastasia at a younger and more helpless stage of her development, “it’s hard!”

Capturing an author’s intent in a completely different medium, with different constraints and a different timeframe, has proven more difficult than I’d anticipated. My instructor on the retreat, noted playwright and author Jeffrey Sweet, remarked upon hearing about my task, “You’re really wrestling with a bear here,” and indeed that is what it feels like. But the pages are appearing, so perhaps the bear is ready to take a snooze soon.

It’s taught me something about creativity, this task. About how to find one’s own voice within someone else’s voice. About how to create one’s own “take” on a story that was born in someone else’s mind and heart. And about what, exactly, constitutes a personal take on what is in essence a collaborative work.

None of it was easy. But as I finish the first draft and turn my mind to my next task, I realize that everything we do informs the next project, and the one after that, and the one after that, building up a library of richness of technique, vacabulary, and sensitivity.

The play is, indeed, the thing.

Freelance Projects in Tough Times

Thursday, August 7th, 2008

I’m back to the subject again, but it’s only because it’s on everybody’s mind: how to survive the current economic downturn and the sad fact of the offshoring of work from the United States. I’ve written in the past about it, drawing parallels between the closing of the mills and the need to find work that will continue to be available, even inviting my colleague Geoff Hart as a guest blogger recently to talk about it.

And there are more people becoming freelancers every day out of necessity because of the downsizing of companies and the unavailability of jobs. So let’s get down to more concrete suggestions. How, as a freelancer, can you find work in these times?

  • Join and be visible in professional organizations. This includes online groups like LinkedIn and local networking/professional groups. Check out your local BNI chapter, the Chamber of Commerce, and others. Many professional organizations (like the EFA) have local chapters with local meetings.
  • Use the job boards of professional groups (ASJA, EFA, NWU, etc.) effectively: don’t apply for everything, but save your time and energy for applying to gigs for which you’re really qualified.
  • Use Craigslist when you have time (to post your availability or check for gigs), but don’t expect much of the lower-end bidding boards; use your time wisely.
  • Be visible on discussion lists with good information that helps others out. People will remember that!
  • Research and go after your own opportunities, instead of waiting for work to come to you.
  • Present a professional image. Update your website (and a website is not an option, it’s a requirement), have business cards printed and give them out at every opportunity.
  • Tell your former coworkers and employers, friends, family, etc. that you’re available for projects.
  • Comment on blogs that are relevant to your areas of expertise, with a link back to your website.
  • Tell your current clients that you’re available for other projects or (if you’re qualified) other types of work.
  • Do good work and referrals will come to you.
  • Remember that the Internet is forever, and don’t post comments or participate in discussions that will reflect badly on you as a professional.

Have other tips? Send them to me at jcezanne(at)customline.com and I’ll include them here! And then we’ll all be … beyond the elements of style!

A Catalogue of Foibles

Monday, August 4th, 2008

I’m not often moved to write book reviews in these pages, and I’m not actually reviewing one today, either, as my own copy is still on order; but I do want to pass on a pointer to what looks like an exceptional book: a New York Times review that had me purchasing the book from Powell’s within the hour (an impulse I often have but am usually able to resist).

The book? Reading the OED: One Man, One Year, 21,730 Pages, by Ammon Shea (223 pp. Perigee. $21.95). Yes, Shea did indeed read the entire Oxford English Dictionary, from beginning to end, and chronicled his experience in his new book, noting that the OED is, in fact, “a catalog of the foibles of the human condition.”

From the review by Nicholson Baker:

Shea decided to make the attempt and to record his progress in this book. Each letter gets its own chapter. In Chapter A the volumes arrive, wrapped in the “regal and chitinous gloss” of their dust jackets. Shea sits near the window, his feet up on an ottoman, and begins to read. Difficulties ensue. He gets pulsing headaches and sees gray patches on the edges of his vision. His back bothers him. His neighbors make salt cod, and the odor is distracting. He’s tempted to look things up in his other dictionaries, comparing definitions, which slows his progress.

So he ventures out into the city, reading on park benches and in public libraries. No place is right. Finally he settles on a location in the basement of the Hunter College library, among books in French that don’t tempt him away from the task at hand. He drinks many thermosfuls of coffee. He gets eyeglasses and finds, much to his surprise, that they help him see better. His headaches continue.

That introduction leaves most book people nodding in agreement: Yeah, I can picture myself there, doing that (though I’d choose a language other than French to provide for a lack of distraction — Urdu, perhaps, or Swahili); but I know I’d falter where Shea pressed on.

Shea arrives at another bad patch partway through Chapter U, with the “un-” section — more than 400 pages of words of self-evident meaning. “I am near catatonic,” he writes, “bored out of my mind.” But he doesn’t skip; he is lashed to the tiller, unthimbled and unthrashed.

There is beauty in it nonetheless; as Baker himself concludes, “Shea has walked the wildwood of our gnarled, ancient speech and returned singing incomprehensible sounds in a language that turns out to be our own.”

I’m glad that Shea read the OED and even more pleased that he shared this experience with the world; I’m grateful to the NYT to have opened my eyes to this treasure (one hesitates to think how many equally terrific books have passed one by because one simply didn’t know of their existence!). And I’m looking forward to reading it (Shea’s work, not the OED, thank you very much).

Not to mention Nicholson Baker’s own most recent book … but I’m getting ahead of both my reading and my budget! In any case, check out the possibilities of learning more about your own language and you’ll be … beyond the elements of style!