Lean on a Gulf Islander (play) by Leanne Dyck Act VII

 Question: Does Aster adjust to island life?

The actors involved in the first staging of this play wanted a happy ending. And so, with their help, I added one. Thank you, Georgia, Deb, Mike, and especially to Mary.

photo by ldyck

Act VII

Stage direction: Two chairs on stage. Aster sitting in one of the chairs. Another woman with a suitcase standing beside her.

ASTER: Place your suitcase in the trunk of my car. I'll escort you to your destination. Please use caution to avoid nicking my vehicle.

(The woman puts the suitcase behind the chairs. Then sits down beside Aster)

ASTER: Do you often holiday on our fine island?

WOMAN (nods): And now I'm moving h--.

ASTER: Oh, that's such lovely news. You'll thrive in our supportive community. 

My name is Aster Walburn, but everyone calls me Ash. Ash. It's the perfect name. Do you know the legend of the Phoenix? Out of the ashes he flew. There's been a lot of ashes in my life--especially recently, but now it's my time to fly. Mayne Island has a way of changing people. You'll see.

Do you partake of the heavenly beverage espresso?

WOMAN (nods) I--.

ASTER: You are cordially invited to join me at our next social gathering of coffee connoisseurs. We meet every...

Thank you for reading

Lean on a Gulf Islander

Next Sunday...

Dyslexia and Me--an Evolution (short story)

This short story examines how attitudes towards dyslexic thinking have evolved over my lifetime.

October is Dyslexia Awareness Month.

Sharing my Author Journey...

Lean on a Gulf Islander (play) by Leanne Dyck Act VI

 Question: Where is KJ? Why wasn't he at the terminal to pick his wife up from the ferry? 

Mystery solved...

photo by ldyck

Act VI

Stage directions: Kate centre stage.

KATE (negligee in back pocket) (walks to stage left) (calls): Kjartan... Darlene... (knocks on door)

KJ (enters the stage wearing a woman's robe) (KJ is over-the-moon happy): Hey, babe. And how are you on this wonderfully, fantastic, glorious morning?

KATE: Definitely not as good as you.

KJ: Yes, there's no way you could. Unless you've just had--.

KATE (pulls negligee out of her pocket): I found this at your house.

KJ: In...my...house?

KATE: I found it before Aster did.

KJ: Aster? She's... (gulps)

KATE: Yes, she's on Mayne Island. I drove her home.

Look, Kjartan, you're going to have to tell her.

KJ: Darlene knows.

KATE: And Aster?

KJ (to Kate): No, I haven't told her. I know I should; I know she has a right to know. And I will tell her.

(Stage right and stage left are dark) (As KJ leaves stage right, he removes the robe) (Spotlight on KJ on centre stage)

(to audience): I'll say something like--Aster, I've met someone. I didn't want to; I didn't intend to, we were just friends but now...

(Spotlight on Aster on stage right and spotlight on KJ on centre stage)

(to audience): I loved Aster once. And I still care about her. I can't crush her. I can't...

(Walks to stage right) (Spotlight on Aster in KJ's arms): You'll grow to love it here. I promise.

(Spotlight on Kate on stage left)

KATE: She'll adjust to island life. He'll tell her about Darlene. Whatever happens between the two of them, they'll be okay. Mayne Island is a supportive, caring community. They'll be just fine.

Next Sunday...

Lean on a Gulf Islander

Act VII

Question: Does Aster adjust to island life?

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Lean on a Gulf Islander by Leanne Dyck (play) Act V

 Question: What will Aster think of her new home?

Act V

Stage direction: Kate centre stage. Aster off stage.

KATE: Welcome to your new home. (Throws arms out as if embracing the cabin)

You know, your husband is a genius. He bought most of his building supplies from the thrift shop and what he didn't find there he scavenged from local contractors. This cabin stands as a fine example of island life--simple, uncomplicated. Or, I should say, how island life used to be--in the good old days. Back then people were resourceful, industrious, inventive, but now. Now, everyone wants the newest, the biggest, the best. And the more expensive things are, the more trouble you have. Things break down and then you just have to replace them.

But I'm no better than anyone else. Something catches my eye and I have to have it. (Kate finds a negligee on the floor and quickly squirrels it away in her back pocket. Negligee safely hidden, Kate looks back at Aster who is still off stage).

Come in. Come in, before the mice do.

ASTER (runs, jumps onto stage) Mice?

(Aster's pantyhose are torn, her hair is messy and she's carrying her shoes)

KATE: This is your kitchen, living room, dining room and--.

ASTER: You must be mistaken, Kathleen. This is merely a shed! A broken down, old ruin of one, at best.

KATE: Everything you'll ever need is right here.

Do you know how to cook on a wood stove?

Don't worry, Dar--. (pause) Darling, KJ will teach you. You don't mind if I call you darling, do you? I call all my friends darling.

I feel like a real estate agent. Please, step this way.

(Aster follows Kate)

KATE: This is your kitchen sink.

ASTER: Where's the bathroom.

KATE: Well, this is also your bathroom sink.

ASTER: I thought you told me it was the kitchen sink.

KATE: It is. It's both. And it's also your bathtub.

ASTER: How? I can't fit in there.

KATE: You use a facecloth.

ASTER: Where's the...the...the toilet? (winces)

KATE: We passed it on the way to the houses.

ASTER: On. The. Way. To. The. House?

KATE: Yes, it's outside.

ASTER: Behind a tree?

KATE: Don't worry. It's in a proper outhouse.

ASTER (to audience): Worry? Why would I worry?

Let me think, possibly because I'm stuck in this...this...whatever this is.

KATE: Well, I hope you enjoyed your tour.

ASTER (to the audience): Enjoyed? But it can't be over. That can't be it. There's no espresso machine, TV, microwave, walk-in closet. No...no...bedroom. There's no bed. Where am I supposed to sleep? Do I curl up in a corner like a mouse? It wouldn't surprise me. But there's no corner big enough. Do I hang from the ceiling like a bat? (looks up) There's no hook.

(to Kate): Where's the bed?

KATE: Oh, yeah. The bed. Huh?

ASTER (to audience): If she doesn't know where the bed is, then she doesn't know everything about this place. There could be more. There could be a secret passageway leading to--to--an espresso machine, a microwave, a walk-in closet--. An--an--underground palace.

KATE (steps back a few feet to stand in front of the stage curtain): I don't know what's behind this curtain. 

ASTER (to audience): The passageway.

(rushes to the curtain and pulls it open)

(to audience) And it leads to... (looks)

(to audience) A tiny room filled with a bed, surrounded by books.

(collapses into a chair, head in hands)

Next Sunday...

Lean on a Gulf Islander

Act VI

Question: Where is KJ?

    

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Mayne Island library

photo by ldyck

Author Reading...

Rob Butler

reads from his newly (March 2024) released book

Letters from Gerald

at the

Mayne Island Library

1:30 pm

Sunday, September 29

Sharing my Author Journey...

Lean on a Gulf Islander (play) by Leanne Dyck Act IV

 Question: How did Kate meet KJ?

(Note: Act III was rather long. So I cut it in half to share it on my blog.)

"Abby in happier days--she gets her stitches out this Tuesday"

photo by ldyck

Act IV

KATE: Aster. That's a unique name.

ASTER: My father is a botanist. He was enchanted by the late-blooming blue, purple and white flowers. Hence my name--Aster. I detest it. But your name is your name and you should wear it with pride no matter how repulsed you are.

KATE (trying to mask her anxiety by sounding casual but doing a poor job of it) Oh, we met through a...a...mutual friend.

ASTER: A mutual friend?

KATE: yes, that's right. That's how we met him.

ASTER: Whom?

KATE: Your husband.

ASTER: No, Kathleen. My question is who is the mutual friend through whom you made my husband's acquaintance?

KATE (miming rolling down a window): It's hot in here. Don't you feel hot? Or is it just me? I'm always telling my husband that menopause isn't for wimps. I get hot flashes at the strangest, most inconvenient times. And night sweats--don't even get me started. Then there's the grandma arms. You know, flap, flap, flap. I swear I could fly. But it's not all bad, being older, settles your mind. I'm finally figuring out who I am beyond being a wife and a mother. Do you have children?

ASTER: No. I have not given birth.

KATE: Thank goodness.

ASTER: Thank goodness? And what did you mean by that comment, Kathleen?

KATE: Oh, I just meant that I sometimes wish that I could have taken back those years I spent raising my three, not that I didn't enjoy my kids--because I did, I do. It's just that there never seemed to be any time for the things I wanted to do. But now finally, thankfully, all that has changed. Sure I have to be on call for the ferry. We work hard there but I've always liked being part of a team.

What do you do on the Mainland?

ASTER: I shaped young minds and thus prepared them to become contributing members of society.

KATE: Oh, that's nice. My husband's a retired teacher. Although, you wouldn't know he was retried by his schedule. He's always on the go--working for this organization or that one. Volunteers run Mayne Island. You should see the long list in The MayneLiner.

ASTER: Pardon me, to what are you referring?

KATE: The MayneLiner is our monthly news magazine. It keeps us all up-to-date on what's going on on the island. Most of the volunteer organizations do monthly write-ups. Shander writes for the library. The library is over there to your left. It's got a great view of Active Pass. It's worth taking a book out simply to admire the view.

ASTER: Shander sounds like a surname, Kathleen.

KATE: Shander was his mother's maiden name. His full name is Shander James Maebily.

ASTER: James is acceptable.

KATE: Yes, and I like Shander. So, I guess he's doubly blessed.

Would you like to drop by?

ASTER: Stop where?

KATE: At our house. We could just pop in for a cup of tea and something yummy. Shander makes the most delicious cakes and you must be hungry.

ASTER: What now?

KATE: We'd be your first connection--you know with Mayne Island. It helps to know people--especially when you're going through what you'll be going through. I mean, but your luggage it looks like you're planning on staying for a while, maybe the entire summer.

ASTER: Oh, no, it's a lengthier stay than that. I've vacated my house on the Mainland and will be residing on this island permanently.

KATE: Oh. Oh, that's...um...er...a...nice. 

(Kate and Aster mime the car to a sudden stop)

ASTER: What's the matter? Why did you stop the car? Are you out of gas? Is something broken? Is there a mechanic on M--. (leans forward in her chair, peering)

KATE: No, I stopped because a--.

ASTER: What is that creature? Is it a moose? Is it going to attack the car?

KATE: That's a deer. It just wants to cross the road. And where there's one, there's often two. Oh, and babies. Aren't they adorable?

ASTER (to the audience): Adorable? Them? A nuisance. A hazard. But adorable? No. I prefer my venison well done with a glass of wine.

KATE: So, you're moving to Mayne Island. I'm sure you'll really like it here.

ASTER (to the audience): I'm glad she's certain.

KATE: I should have taken you around and shown you where everything is--post office and the gas station and the bakery and the Ag Hall and the church and the... You know everything. It's not too late. Why don't I just swing us back around?

ASTER: Let's focus on the goal at hand, shall we.

KATE: Sure. And so that's a no to the tea as well? We like having visitors.

ASTER: I'm afraid I must decline your invitation, Kathleen. I have more pressing matters at hand.

KATE: Oh, yes Kjar--. Sorry, I meant KJ.

ASTER (opens her mouth to say something)

KATE (rushing on) Marriage is tricky. A dance, really. Sometimes you dance together--sometimes separately. But... (brief pause) 

My oldest got married last year. I told him, 'Don't worry, you'll have fights, discussions, differences of opinion--whatever, it doesn't matter. You can work it out, as long as love is there--in your home, as long as you can find it in each other's eyes. Love--that's all that matters.'

I told them, both of them--why not, I'm the mother-in-law. I can say whatever I like. I said, 'Don't look for a saint. You didn't marry one. You're both mortal. Forgive and look for love.'

I don't know if they heard me but that didn't stop me I said it anyway and something more, 'Dwell on happiness. Forget misery. It's too easy. You'll find id everywhere. Happiness--that's rare.'

'And one thing, more,' I said, giving them hope that I'd soon be quiet. 'Don't worry that your relationship doesn't make sense to anyone else. It just has to make sense to you. When it comes to your love that's all that matters, just the two of you.'

Then I stopped talking--which may have shocked them both.

Well, we're here. This is your new home.

ASTER: Are you certain, Kathleen? Exactly how do you know? There's absolutely no sign of habitation anywhere to be seen.

KATE: Sure there is. Don't you see the footpath?

ASTER: All I see is chest-high grass.

KATE: Don't worry I'll lead you. (Kate leads Aster off stage)

Next Sunday...

Lean on a Gulf Islander

Act V

Question: What will Aster think of her new home?

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I just wish people would realize that anything's possible if you try; dreams are made possible if you try. -Terry Fox

 

Lean on a Gulf Islander (play) by Leanne Dyck Act III

 Question: Will KJ be waiting at the dock?

photo by ldyck

Act III

Stage directions: Aster and Kate are seated in two chairs centre stage. Kate holds a cardboard steering wheel.

ASTER: You look strangely familiar.

KATE: I work at the ferry terminal

ASTER: Do you reside on Mayne Island? 

KATE: Yeah.

ASTER: Do you enjoy living here?

KATE: I won't live anywhere else.

ASTER: Pray tell, what are this island's positive features?

KATE: I like the peace and quiet; the ocean; the sunsets and the people.

Do you know that after every performance at the Ag Hall, we all help put the chairs away? It doesn't matter who we are or were. We all help.

ASTER (to audience): She likes to live here because she gets to put chairs away. How utterly ridiculous.

(to Kate): How long have you... Have you existed here?

KATE: Ten years.

ASTER: Ten...years... Oh, you poor... (trails off) My husband must have been unavoidably detained.

KATE: That's island time. Where would you like to go?

ASTER (brushes lap, adjusts purse) Go?

KATE: The address?

ASTER (to audience): I always regarded that information as extraneous.

KATE: Don't worry. We'll find--.

ASTER (interrupting): Please take me to Professor KJ Walburn's residence.

KATE: KJ?

ASTER: Yes, he's a landowner; he's building a house.

KATE: Oh, you mean Kjartan.

ASTER: My husband's name is Professor KJ Walburn. 

We've been happily married for twenty years.

KATE (to the audience): Happily? One of them definitely more than the other.

(to Aster): Congratulations! That's great especially when...when... Don't worry I know where he lives.

ASTER: How do you know the location of my husband's estate?

KATE: I... We... My husband and I are friends of KJ and...and... we like him very much. They've--. He's had us over for supper occasionally and we've had him over, as well.

ASTER: You expect me to believe that KJ cooked for you?

KATE: Oh, um...um... yes.

ASTER: Performing domestic chores, such as cooking, is not a skill KJ possesses.

KATE: Mayne Island has a way of changing people.

ASTER: Well isn't that fascinating, um... And your name is?

KATE: Kate.

ASTER: Kate? That's a nickname. What's your given name? Or is it unpronounceable?

KATE: Kathleen.

ASTER: Kathleen, that's lovely. Why would you hide it behind something as plain as Kate? Kathleen is your name and Kathleen is what I shall call you.

Please to meet you, Kathleen. My name is Aster. 

Please tell me, Kathleen, how did you make my husband's acquaintance?

Next Sunday:

Lean on a Gulf Island

Act IV

How did Kate meet KJ?

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Lean on a Gulf Islander

Book Launch...

"Mayne Island, a Vernacular Past"

Jeremy Borsos

Thursday, September 12 

7 - 9 PM

Mayne Island Church House

Mayne Island, BC

The gruesome details...

photo by ldyck

Lean on a Gulf Islander (play) by Leanne Dyck Act II

 Question: Why doesn't KJ want Aster to visit him on Mayne Island? What is he trying to hide?

photo by ldyck

Act II

Stage direction: Aster centre stage sitting on a chair

Ferry siren sounds

Voice over: This ferry sails to the Southern Gulf Islands, only.

ASTER: Do I have my sunglasses? Did I bring my chequebook? (searches purse)

(quickly stands and starts to pace) What will happen if I get off at the wrong island? How will I get back to Mayne Island? I don't know anyone on any of those other islands. I could be kidnapped and left for dead on some other island and on some other island, and no one would care.

(stage lights begin to fade)

Calm down (sits) Just calm down. Everything will be fine. KJ will be so happy to see me. He'll run to me, arms open--wanting--no, demanding a hug. I'll be a little embarrassed by this public show of affection. But I could never deny him anything. So we'll hug.

He'll say, "I love you."

And I'll whisper, "I love you too."

But we'll wait until we reach the truck to kiss. Then he'll drive us home. The house will be different from our townhouse obviously. But it will be charming and it will overlook the sea.

Voice over: We are now arriving at Village Bay, Mayne Island--transfer point for Saturna Island. Disembarking passengers, please make your way to the car deck.

Next Sunday

Lean on a Gulf Islander (play) by Leanne Dyck Act I

is about living on a remote island.

"Easing into Autumn"

photo by ldyck

 

Act 1

Stage directions: KJ and Aster stand on the opposite sides of the stage. They each hold a cell phone.

ASTER: You've been on that island so long? Help me understand why you are drawn to remain there.

KJ: I told you it offers the peace and quiet I need to conduct my research. Look, if you've phoned to complain I'm hanging up right now. Click.

ASTER: No, wait, KJ, I need you. Something horrible has happened.

KJ: What is it? (waits for her to continue) How can I help you if you don't tell me what happened?

ASTER: I've been forced to take early retirement.

KJ: You've been what?

ASTER: I've been fired, okay? I've been fired. Oh, please, don't make me elaborate further on the phone.

KJ: No, of course not.

ASTER: Dismissal from my teaching position was in no way my fault. I was forced to act to save my student. Everyone had shirked their responsibility--his former teachers, his parents, everyone--so it fell on me. He would have become a hoodlum if I didn't bring discipline. But instead of praise...they...they... And now every time I step out of our house there they are judging me. I simply can't stay here one second longer.

KJ: You could join me on Mayne Island but I'm sure you won't. You've made that clear so many times. What is it you say, it'll be a cold day in...

ASTER: (interrupting) Oh, I was hoping you'd suggest that.

KJ (lowers the phone to his foot, stomps)

ASTER: What was that?

KJ: Oh, nothing. A spider hit the floor.

ASTER: They're--

KJ: (interrupting) Big? About the size of my hand. But that's small compared to slugs. I saw one yesterday that was as long as my arm. But they just leave a slimy trail. They're not vicious.

ASTER: Well, that's g--.

KJ: (interrupting) Now raccoons, they're nasty. But you'll soon learn not to go out at night. And you'll get used to the isolation.

ASTER: But the ferry--

KJ: (interrupting) When it runs; if there's room.

ASTER: Will take me to the island this coming Thursday.

KJ: I'll be there to pick you up.

ASTER: See you soon. I love you.

KJ: Right. Same.

(they both hang up)

KJ (leans back in a chair, looks relieved) (to audience): She'll never come to the island.

ASTER (drops shoulders, looks depressed) (to audience): I can't stay here. Eyes, everywhere, judging me.

Next Sunday...

Lean on a Gulf Islander

Act II

Why doesn't KJ want Aster to visit him on Mayne Island?

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Writing a Play by Leanne Dyck

How, why, when and where I wrote a play--including writing tips.

photo by ldyck

 

Writing a Play

In 2014, Mayne Island Little Theatre invited submissions of short plays with an island theme.

I knew I would accept this opportunity to support my favourite theatre group and to flex my writing muscles but…

-I’d never written a play before

-What would I write?

-Could I finish writing my play in time to meet the submission deadline? It was only a few weeks away.

-I was working on so many writing projects could I add one more?

As I searched for answers, I kept returning to my newly finished novella. It had strong dialogue and action. Inspired, I set to work transforming the novella into a short play.

One of the scenes was set on a ferry and another in a car. I gnawed on that for a while. Building a set wasn’t an option. However, two chairs could become a car and three could be a ferry.

One of the characters needed to share internal dialogue with the audience. A friend suggested the use of gestures and facial expressions. That would help but it wasn’t enough. A solution was found when I learned about the theatrical device known as an aside.

My pen flew and soon I’d adapted part of the novella for the stage.

Seeking feedback, I shared my play with my writing group. As other members were also working on plays, we decided to workshop them. My play was further strengthened when I requested my husband's feedback. Revisions followed and then I submitted my play. Waiting to hear if my play had been selected was stressful, but on one seemingly ordinary day, I received an email congratulating me. My play had won its spot on stage.

Some playwrights are adamant that the actors speak the words they’ve written. However valid, this wasn’t my approach. With my encouragement, the actors suggested dialogue changes and I happily made revisions. In fact, working together, we added a sixth scene.

What I learned about playwriting

-Fall in love with the story

-Vital ingredients: strong dialogue and action

-An aside and a soliloquy are excellent ways to convey a character’s thoughts on stage. 

-Once the play is written it is extremely helpful to gather feedback.

-A playwright writes a play. A director interprets this play for the actors. Actors breathe life into the characters. And so, my play becomes our play and then their play. I’m glad I had the foresight to realize this eventuality as I was able to prepare myself for the roller coaster of emotions that came with the transitions. 

During this approximately two-hour event, readings by the authors were interspersed between a series of questions. These are some of the answers that I heard...

Read archives to absorb the language of the time

There's someone out there right now who needs your words.

Write for yourself first; share it; if it connects with others great.

I write to honour the "more than human" (everything that isn't human)

If you have to deal with annoying people, tell yourself you're doing research for your next book.

When someone says something cool write it down and steal it for your next book.

It's not the idea. It's what you do with it. Any idea can be pursued.

You have to be ready for the idea and the idea has to be ready for you.

The hardest thing about writing is the business of writing.

Next Sunday

Playwriting by Leanne Dyck

Written on Friday, November 21st...

I'm leaning against a wall but I feel like I'm sitting on pins. All is dark but just ahead of me is light. Through the curtains, I see the backs of heads. My words are being voiced by others. Laughter. The scene ends and I scramble to place props. Don't forget, I remind myself. I work silently, in the shadows, like a rat, and flee quickly before the light catches me. All is set. I flip the flashlight's switch  -- signalling the lighting technician -- and the stage is once again lit. The actors, my team, my friends skillfully work through the play I've written. Last scene. Applause. Sweet applause. 

What is a prop mistress?
'the person in charge of all the props and who usually works with them during a show'

One of the essential characteristics of a good prop mistress or master is a good memory. But what if you have a poor memory? What if you're like me? Can you still be a prop mistress?
Well, I was. To help me perform my duties, I...

Used visualization. I drew a map in my brain of the steps I would need to take to place and clear the stage. (i.e. I need to do this and then I need to dot that, etc.)
Carried an index card with notes on what I needed to do, when. This kept me focused.

Written on Saturday, November 22nd...

MILT (Mayne Island Little Theatre) is my favourite theatre group and so I knew I was going to accept this opportunity to flex my writing muscles. But I didn't know how fortunate I would be. I worked with a talented cast -- friends, old and new.

A playwright writes a play. A director interprets this play for the actors. Actors breathe life into the characters. Georgia, Deb, Mary, and Mike did far more. They gave Aster, Kate and Kjartan an identity on stage. 

But wait there's more...

I wrote a five scene play. Working together, this team of friends, we added a sixth scene. Working together, we gave Aster a happily ever after ending.

On Friday night I was sad that this odyssey was ending. But tonight I feel like partying.

After every ending, comes a new beginning. 

Would you like to run away and join the theatre? Well you may not have to run too far. Why not consider volunteering to work with your theatre group. Amateur theatre needs our support. Your reward:  fond memories and new friendships. Of course, you could answer the casting call and take an on stage part but there are also many positions to fill off stage -- stage manager or prop manager or house manager or director or producer or... or... playwright. 

These last few months I've been living a dream as I make my debut as a playwright. I share more about this journey here.

All three nights were very enjoyable and at the end of every night the audience got to vote for the play they felt deserved to represent Mayne Island on a five island tour. Well, the votes are now in and The Audition won.

Brian Crumblehulme (the playwright and director) describes The Audition as 'a satire about life on an island. Not all aspects of course, but enough to include most of us from over-serious directors, volunteers, local politicians, tourists, kids, nerds, rural urbanites, old f--ts, and Oh, I forgot -- audiences too.' 

Congratulations to the playwright, director (Brain plus Michele Steele), cast (Shaye Steele, Haylee Stobart, Mark Smith) and crew (Stage Manager, Sarah Noyes).

Look for them on a stage (or near a stage) near you in February. 

PRISM international's creative non-fiction contest has been extended for another week. The new deadline is this Friday (November 28th). Learn more about this contest here.

Friday's Guest:  David Burrowes will share part two of his three part short story -- a look at island life, through the relationship of two men. If you missed part one don't worry just click this link.

Sharing my author journey...

How to write a play by Leanne Dyck

In 2014, I won the right to have my short play staged. Here I document the journey--including what I learned from this experience.

photos by Leanne Dyck

The MayneNews blog announced the Mayne Island Little Theater's Play Writing Contest 

Members of the community were invited to submit a one-act play with an island theme. Characters were limited to three and props were to be minimal. 

I didn't know what I could enter but I knew I had to find something. 

I'd just finished milking all the 'thriller' out of a thriller to transform it into a literary novella. So I thought I should be able to write a play.

With the deadline hanging over my head, I sat down to write something new but nothing was as good as that novella. 

The novella fit the criteria--it was set on an island. Could I transform it into a play? 

I searched the novella looking for the perfect part. It had to involve no more than three characters, have strong dialogue and action. 

I re-read the rules. Minimal to no props, I read. I took this information seriously and thought creatively. Chairs can be a ferry bench or a car. Gosh, you're brilliant, Leanne. 

But what was I going to do with all the internal dialogue. A friend pointed out that much can be conveyed by facial expressions and gestures. And I knew she was right. But I also knew that it wouldn't be enough for the type of internal drama I wanted to build. I can let my characters talk to the audience. And once again I told myself I was brilliant. 

My pen flew and soon I'd finished writing my play. Worried that I was too dazzled by my own brilliance I sought out feedback and brought the play to my writing group. Other members were working on submissions.  So we workshopped our plays. This resulted in one of the most enjoyable meetings we've had. I received lots of helpful feedback. My play was further strengthened when I shared it with my husband. 

"This doesn't make sense... What does this mean?... Why did you include this?..." He was very helpful--I'm not kidding, he was.

Feeling confident that I was sending my best work, I clicked send on July 24th (about three weeks before the deadline). 

Playwriting tips...

1)fall in love with the story

2)vital ingredients:  strong dialogue and action

3)if you are writing your play for a contest, closely follow the rules

4)once you've finished writing your play, gather feedback

-ask friends to dramatize it

5)two ways to convey internal dialogue on stage:  by letting your characters talk to the audience or through facial expressions. Pick what works for you.

B. Danesco's tips for writing a one act play

And a very helpful YouTube video 

with a lot information on the nuts and bolts

Sharing my author journey...