Learning to Research Smarter

I have completionist tendencies. Rather than stop when the enjoyment or meaning stops, I will carry on with a book or a video game or a TV series, because I feel compelled to finish it. I’m learning, however, that life is too short to be focusing on things that aren’t bringing me enjoyment. And the completionist tendency is tied somehow to guilt. I’ve associated not finishing with being lazy or wasteful, especially if I’ve spent money or a considerable amount of time on a thing already. I’m learning, though, that sometimes it’s actually wise to know when to stop doing something, and I have been able to more frequently say “I’m done” in the middle of things.

This completionist tendency has translated into my research as well. For my writing projects, I will often build a long list of media to research, and internally declare that I will consume each piece of media in its entirety. More often than not, I don’t get through all the media. Or even worse, I get stuck. I might get to the relevant stuff in a research book, and then realize I still have 100 pages left. Cue the guilt. Even though I can make a good guess that the remainder of the book will not be relevant to my project, I still feel bad that I’m not finishing it. Or I might ask for recommendations from others on what I could read, and then feel overwhelmed at the volume of texts and films I “need” to go through.

But, as I said, I’ve been learning. For Untitled, I did do a crowdsourced recommendation on research books, but then sifted through each one to determine whether it was actually appropriate for my purposes. And yesterday, I started reading a book, then got to a section that I realized was not relevant to my project and decided I would skip it. There is still a lingering guilt in the back of my mind. But I believe that’s the rational brain acting up in the face of letting intuition take the lead. Besides, the rational brain should also realize that there’s no way, no time, for me to go through every possible research material in its entirety. It should be happy that I’m trying to figure out a smarter way to research.

Calafia Begins

For the last two weeks of June, I got to participate in Berkeley Repertory Theatre's Ground Floor Summer Lab. What's great about Ground Floor is that they offer playwrights freedom to work on and explore their plays as needed; they do not require any kind of presentation. Some writers end up sitting in a room and typing away. Others hold public readings of their work, like I did for my play Calafia: A Reimagining. I haven't been able to finish a first full draft of the play yet, but I learned so much from discussions with my director, dramaturg, and actors -- as well as from audience feedback after our reading. I'm excited to see what directions Calafia will take as a result of the exploring, churning, and learning that happened during Ground Floor!

The Haber Room: The room I ended up writing in the most.

Director Lisa Marie Rollins and I share a moment.

Our amazing Ground Floor Calafia actors (from L to R): Tristan Cunningham, Marissa Rudd, Velina Brown, Safiya Fredericks, Nkechi Emeruwa, Angel Adedokun.

Photos from Charleston

I recently took a trip to Charleston, SC to do some research for KINDA HOME, the musical I'm collaborating on with playwright Brad Erickson. Since the story takes place in the Lowcountry, I figured it would be good for a Californian like me to actually get a glimpse of life there. I went on a few historical tours, got to interview a couple theatre folks, and Brad drove me around showing me locations that relate to his own family's story in KINDA HOME.

St. Matthews

St. Philip's

French Huguenot Church

Dock Street Theatre

"The Pink House"

Old Slave Mart Museum

Old Exchange

Rainbow Row

Catfish Row

(formerly Cabbage Row) The inspiration for Porgy & Bess

Middleton Place

Middleton Place

Middleton Place

Fort Sumter

Introducing... Austin & Min Write A Musical, The Podcast

Artwork by Melissa Nigro

I'm proud to announce my latest collaboration! But I don't know yet what it is!

Fellow playwright/composer Austin Zumbro and I are embarking on a new musical theatre project, and we thought it would be fun to capture our creative conversations in a podcast!

So, we hope you enjoy literally listening to two dudes with mics throwing out ideas for an as-yet-unborn musical. We also hope it actually leads to a musical!

Austin & Min Write A Musical, The Podcast is available on Apple Podcasts, Stitcher, and here!

The Struggle of Open-Endedness

When I have a production, a workshop, even a meeting to look forward to, I usually find it very easy to focus and get work done. There is a built-in accountability to knowing that others are counting on me delivering something so that further development of a new work/play can begin. However, when I'm in between deadlines, it's a lot harder to find that fire and drive to get the creative wheels turning.

I find myself in such a phase right now. For Inside Out & Back Again, a play which has a definite deadline (it opens in March 2018), the script has been rewritten and brought to a place where the creative teams agrees it's ready for a workshop - which will begin this weekend. All of my other projects don't have deadlines yet. So while I could and should be working on them, it's easy to find myself within a fog of distraction.

To be fair, some of these projects need some time in this amorphous state where they exist primarily in my brain, and are worked and re-worked away from a laptop or notebook. Some of them require research and cogitation before I attempt to create something that even looks like a script. I try to remember this, so I don't feel discouraged by the fact that I might not be "producing" something. Still, structure is good for me. So, I remind myself that there are deadlines on the horizon, even though they may feel far away, or even if I don't see them yet. So, working backwards from those larger deadlines, I try to create mini-deadlines that will help me progress. I have also started to participate in a silent writing group, where I meet with fellow playwrights to stay quiet and just write (or read or research, as the need may be). I find these times to be helpful for focusing because it's harder for the fog of distraction to take hold when I'm out of the house and around others.

I share this because it's so easy to look at the big markers of playwriting and marvel at the world premieres, the workshops, the readings. But, being a playwright is as much about these days/weeks/months of open-endedness, from which they must forge and fashion a pattern and routine that works for themselves - much like the act of writing a play.