Tag: writing

Diabolical

Diabolical Giveaway

This is just a quick note to let everyone know that on every Friday in September (i.e. the 3rd, 10th, 17th, and 24th), I will be giving away the Kindle version of my very small short story collection Diabolical: Three Tales of Vengeance and the Sorcerer Jack Thurston…

Diabolical

Diabolical Giveaway

This is just a quick note to let everyone know that on every Friday in September (i.e. the 3rd, 10th, 17th, and 24th), I will be giving away the Kindle version of my very small short story collection Diabolical: Three Tales of Vengeance and the Sorcerer Jack Thurston…

Diabolical

Diabolical Giveaway

This is just a quick note to let everyone know that on every Friday in September (i.e. the 3rd, 10th, 17th, and 24th), I will be giving away the Kindle version of my very small short story collection Diabolical: Three Tales of Vengeance and the Sorcerer Jack Thurston…

Diabolical

Diabolical Giveaway

This is just a quick note to let everyone know that on every Friday in September (i.e. the 3rd, 10th, 17th, and 24th), I will be giving away the Kindle version of my very small short story collection Diabolical: Three Tales of Vengeance and the Sorcerer Jack Thurston…

Writing Unorthodox Relationships #Writing #Author #Advice — James Harringtons Creative Work

Hi Jim, I have a rather unusual one for you. I’m trying to write a romance story dealing with two completely different species. However one of the characters who is going to be part of the relationship is only about 13 years old. Her race essentially reaches maturity at six years old, though […]

Writing Unorthodox Relationships #Writing #Author #Advice — James Harringtons Creative Work

Another Trip Down Memory Lane Courtesy of the Internet

Last night’s ego-surfing turned into a pilgrimage down Memory Lane. In addition to finding one of my old photos in a new webzine article and finding one of my old videos at The Bleeding Critic, I also found where I had commented on an article about a Tennessee Williams’s one-act play in which I once acted: Portrait of a Madonnna. I played the role of the porter. The article to which the link leads contains the entire text of the play.

It was 1997 and I had not been out of the Navy long. I had returned to my home town of Frankfort, KY for a while. I was an aspiring photographer then. I don’t recall at the moment how it happened but I became involved in a local theatre group as an actor and as the photographer that shot the cast photos.

For a run of about a few weeks, I played in two one-act plays by Tennessee Williams. One was Portrait of a Madonna, as mentioned above. I don’t recall the name of the other, but I played a drunk whose wife drags him to visit some friends during Mardi Gras. If I recall the name, I will update this post accordingly.

Over the last few years, I have endeavored to see as many plays as I can in order to study playwriting, staging, and the art of the theatre in general. Unfortunately, I have not gotten to see many performances in person. However, I have been watching the movie versions of plays as much as I can. I try to watch the films versions that are noted as being close to the original stage production. I now have a small collection of the works of Shakespeare on film. I watch the Richard Burton-Elizabeth Taylor version of “Who’s Afraid of Virginia Woolf” occasionally. I have seen “Equus” starring Richard Burton. I have tried to watch “Waiting for Godot” a few times, but I keep falling asleep. I have the move versions of “A Streetcar Named Desire”, “Cat on A Hot Tin Roof”, and “Night of the Iguana” on DVD. I will get more plays on film, particularly of Tennessee Williams’s plays, as soon as I can.

Tennessee Williams,, 1965
Tennessee Williams,, 1965

I really enjoyed acting and wish I had stayed with it longer or gotten involved with it again at some later point. I had done a lot of public speaking while in the Navy, so I was comfortable on a stage. Memorizing the lines was a bit of a challenge, but being able to interact with the other actors and going through all the practice and blocking and deciding on costumes was really fun. Of course, I enjoyed the applause at curtain.

Acting is not all that far removed from day-to-day life. We all have to think about how we appear to other, what actions we should take in the presence of others, what we should say in front of others. It almost comes naturally in a sense. The benefit of theatre is that you get to practice your lines and prepare your wardrobe to produce the image you want to project to your audience.

If I had the chance now, I would definitely become involved in acting again.

Since 1997, I have been working on a few plays of my own, though only one or two very short ones have been finished. Currently, I have two longer plays in the works and one short one that I have submitted to a competition in New York.

The one that has been submitted is the stage adaptation of my flash fiction story ‘Murder by Plastic”, which was published on FictionontheWeb.co.uk in 2015 and which has received some good comments from readers. The contest is looking for plays of about ten minutes in length and which can be stage by 5-6 people or less with a minimal amount of props. I should hear in January whether I am a semi-finalist. there’s not a big financial award if I win, but they will produce the play.

I have an idea for a one-act play of about a half-hour or more. I not yet completed the first draft. It is called “Incommunicado”. It is a about a man who, after a DUI, has been off the bottle for a year, but now that all his court-ordered punishment and probation is over, goes to a small village in the remote mountains of southwest New Mexico, to drink and write. However, he has an internal struggle, because he has grown to like sobriety. His writing is also challenged by meeting a woman, with whom he has a fling over the weekend, despite having a girlfriend in Albuquerque. One inner battle facing him is whether he will stay with his girlfriend or his new lover.

The longest play is three acts, about 1.5 hours, and is about a man and a woman who have been cheating on their spouses for over a year just for the sex and drinking and riotous fun. I call it “Centaurs”. The man and woman have been keeping their identities and backgrounds from each other, because they don’t want any attachments. However, they begin to find themselves attracted to each other when another woman becomes involved.

I have been working on “Centaurs” for about twenty years now. I started it as a short story, but then decided that a play would be a much better fit for the story. Writing it as a play seems a lot more fun than writing it as a short story and challenges me creatively in new and exciting ways.

Anyway, that’s my take on my involvement in the theatre for the moment. Maybe I will write more at a later date. I will, of course, provide updates as my writing and (hopefully) production of these progress.

I want to hear your thoughts. Please provide comments.

Joseph Thomas Sheridan Le Fanu

LeFanu

Joseph Thomas Sheridan Le Fanu

1814-1873

Over lunch, I was reading the Wikipedia article on horror fiction and came across a reference to Joseph Thomas Sheridan Le Fanu, of whom I had never heard.   I went to the article and found out some interesting things (granted, Wikipedia is not the most respected source, but if even half of this article is accurate, Le Fanu bears some investigating by avid horror aficionados).

Le Fanu was a respected writer of ghost stories and Gothic tales in the 19th century.   I read his “The Ghost and the Bonesetter” (1838), which Wikipedia describes as “his first-published and jocular story”.   For our generation, this is more humor than horror, but Le Fanu’s talent is patently obvious from this work.  I look forward to reading more.

It fascinates me that, as well-read as I am, I have never heard of Le Fanu, but then I have only recently begun to delve into the horror genre to any great degree.   Based on the Wikipedia article, he was very well-known in his time and influenced 19th and 20th century writers such as M.R. James, Bram Stoker, and James Joyce.   His best known works are the vampire novella Carmilla and The Purcell Papers (a collection of short stories).   Apparently, he has also had something of an influence on modern cinema, with movies still being made of his work occasionally (Le Fanu’s mystery novel “Uncle Silas” was made into a movie in 1947, and then remade, starring Peter O’Toole, as The Dark Angel in 1987).

Here is a paragraph from the Wikipedia article to whet your appetite for further investigation  of his work:

“Le Fanu worked in many genres but remains best known for his mystery and horror fiction. He was a meticulous craftsman and frequently reworked plots and ideas from his earlier writing in subsequent pieces. Many of his novels, for example, are expansions and refinements of earlier short stories. He specialised in tone and effect rather than “shock horror”, and liked to leave important details unexplained and mysterious. He avoided overt supernatural effects: in most of his major works, the supernatural is strongly implied but a “natural” explanation is also possible. The demonic monkey in “Green Tea” could be a delusion of the story’s protagonist, who is the only person to see it; in “The Familiar”, Captain Barton’s death seems to be supernatural, but is not actually witnessed, and the ghostly owl may be a real bird. This technique influenced later horror artists, both in print and on film (see, for example, the film producer Val Lewton‘s principle of “indirect horror”). Though other writers have since chosen less subtle techniques, Le Fanu’s best tales, such as the vampire novella “Carmilla“, remain some of the most powerful in the genre. He had enormous influence on the 20th century’s most important ghost story writer, M. R. James, and although his work fell out of favour in the early part of the 20th century, towards the end of the century interest in his work increased and remains comparatively strong.[1]

Thoughts?  Comments?

“The Terror” from the Wen Fu

Here is an interesting section/stanza from the ancient Chinese work Wen Fu (The Art of Writing).  It is entitled “The Terror”.

I worry that my ink well will run dry, that right words cannot be found ; I want to respond to the moment’s inspiration.

I work with what is given ; that which passes cannot be detained.

Things move into shadows & they vanish ; things return in the shape of an echo.

When Spring arrives, we understand that Nature has its own reason.

Thoughts are lifted from the heart on breezes, and language finds its speaker.

Yesterday’s buds are this morning’s blossoms which we draw with a brush on silk.

Every eye knows a pattern, every ear hears a distant music.

Wen Fu was written by Lu Chi (261 AD – 300 AD), who was a scholar, a military leader, and the the Literary Secretary in the the Emperor’s court.  It is very short and may take an average reader 15-20 minutes to complete.  The hardcopy  translation I have was written by Sam Hamill and published by Breitenbush Books in 1987.   A far more poetic version can be found at http://web.mnstate.edu/gracyk/courses/web%20publishing/LuChi.htm.

I like to peruse Wen Fu occasionally, because the language is simple yet mystical while the ideas are straightforward yet metaphorical.   What fascinates me most about the work is that the principles it expresses are eternal and universal.   The underlying principles that guided Lu Chi’s art are the same ones that underlie ours nearly two thousand years later and in a society (and language!) that would have been completely alien to Lu Chi.  What’s more, Lu Chi describes the experience of writing from a very intimate standpoint to which any author who is passionate about his art could relate.

What are your thoughts?  What principles of writing are eternal and universal?  What do you see in the stanza above?

How Do You Know You’re Good Enough as a Writer?

I am up late tonight. I don’t have insomnia per se at the moment, but I am only now starting to feel sleepy–and it’s 4:00 a.m.

I am, of course, surfing YouTube. I came across this gem of UCLA professor Richard Walter talking about how does someone know that he/she is good enough to be a writer. Even though he is talking specifically about screenwriting, I can relate to a lot of what he says.

Check it out.

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