Tag Archives: how to write solo show

Aug16

So You Want to Write a One Person Show, Part 5 of 7

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So You Want to Write a One Person Show, Part 5 of 7

So to recap, Part 1 of "So You Want to Write a One Person Show", I spoke about discovering the Central Moment on which your show pivots.

Part 2 of "So You Want to Write a One Person Show" we looked at the moments that lead up to the Central Moment of your revelation in your solo show.  We explored possible turning points and after effects of the Central Moment, and we looked at possible through lines, the threads that sew your stories together into one cohesive piece.

Part 3, Write write write. We threw out all we "knew" and explored all possible avenues.  This is where the rubber meets the road–we took creative risks and pushed past our normal habits and ideas about who we are and what we can create.

Part 4, Take a break, play, and contact your muses. We contacted our "muses"–that something greater that guides us and shows its genius.

Part 5, Bringing it all together, editing, refining through performance.

I recently spoke with Paul Stein, who is a really perceptive theater and comedy director in LA, about my new show.  We talked about the difference between solo performance and standup monology, and which art form this piece will fall under.  It seems to be a perennial question for me.  He said something I won't forget: (paraphrasing)

"The difference between a standup show and a solo show is that in standup, the character knows exactly what they're talking about and exactly what they think.  And they're going to tell you.  In a solo show, the character doesn't know.  They're looking for something, they want something, and they're figuring it all out with you, on this ride, together.  The hero has a conflict."

It's looking like my new show is taking the form of a standup show, but that it will have an arc, a through-line, through the jokes.  He asked me to describe what is the one thing I most want to communicate in this show.  And with that answer, he said, "Find a way to relate and further that communication in each moment, in each piece of your show.  Ask yourself, bit by bit, if each segment fulfills that purpose.  If not, you know what to cut."

So I'm now looking at each segment, with that central communication, that central "conflict" for my character (the fictionalized version of me that I'm presenting through my standup persona, which is sort of an exaggerated, fun-house version of me).  I'm not going to cut anything yet.  I put everything in chronological order for this show (at this point).  And now I'm editing and strengthening each segment so that it's succinct, clear, pithy, and funny or highly poignant.  It's going to take some time.  I have noticed that I need my writing to be colloquial–I'm not writing a book here–and cut as many words as possible before even going on stage.  When the work reaches the point where I'm happy with what I'm saying, (after many edits), I'll take it to the stage, piece by piece.  I didn't do this with my last two shows, which leaned much closer to solo show than to standup.

Comedy that's already well-written and memorized benefits and grows greatly from reaching an audience.  From working the material out in front of an audience, magic arises… nuanced moments, new tags, different perspectives, and an understanding of what bits are not well-communicated or just don't click. Plus, it's fun! Standup tip: Memorizing your material allows for greater confidence on stage and if you feel like riffing or deviating, you've always got a route back "home".  It's a lot like jazz–learn the standards, and then you can do anything.  But sit down at a keyboard with no musical knowledge, expecting to play like Miles Davis, it's just not going to happen.)

If you're not doing standup, there are many open mics that allow performers to showcase various art-forms.  Storytelling nights, solo performance nights, alternative comedy shows, small gatherings at friends' houses.  You can even gather a friend or two you trust to enjoy a piece from your show.  Some people are really happy to hear what you're working on.  They might feel honored that you'd like to read for them.  In this case, you might even be able to convince them to sit for 10-20 minutes while you read from your script, drink some tea or wine, and give you their impressions.  

Tips for friend-readings: don't ask "Did you like it?", but instead, ask "What did you feel I was communicating?  Was it clear?  How might I improve my clarity?  Which parts were most engaging?"  These questions guide people away from "good/bad" and toward what you really want, which is honest feedback about whether you're fulfilling the obligations you've set out for yourself.  Take this as information and not judgment.  And let it sit with you before you make more edits.  Other people make great mirrors for us.

Continue with this refining process until you have worked through your whole piece at least twice.  And stay tuned for part 6 of 7 on writing a one man show or a one woman show or a one human show…

Jun17

So You Want to Write a One Person Show, Part 3 of 7

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So You Want to Write a One Person Show, Part 3 of 7

So to recap, Part 1 of "So You Want to Write a One Person Show", I spoke about discovering the Central Moment that your show pivots on.  You did free-writing about this pivotal moment and you held it close to your heart, a secret for yourself.  

Part 2 of "So You Want to Write a One Person Show" we looked at the moments that lead up to the Central Moment of your revelation in your solo show.  We explored possible turning points and after effects of the Central Moment, and we looked at possible through lines, the threads that sew your stories together into one cohesive piece.

Part 3, Write write write.  It can be tempting in this phase to feel as if it's time to choose a topic and stick with it.  You may have chosen a topic for your show in your first step but something else keeps coming up.  You may want to talk about being a used car salesman and tell us about all the cars you sold and all the old ladies who bought them.  But every time you write, you write about your mother's tattoos.  Or your mother tattoo.  It can be disconcerting to find that your subconscious is steering you in a different direction than your conscious mind.  For now, don't worry if it seems like you're going in multiple directions, or if it seems difficult to focus.  It's like making a patchwork quilt.  You need a lot of patches.  At a certain point, you take all your patches, and you see which ones matches….  Lay 'em all out on the floor, see what goes where.

What you're doing right now is allowing things to bubble up from the surface that may never have been give voice or permission to speak.  I'm giving you permission right now not to know where this is all going, and I'm also giving you reassurance that if you stay committed to this process, it will go somewhere, in the end.  As my friend Avishai says, "It's all good in the end.  If it's not good, it's not over."  

In this step, ponder characters: is this show coming from the different voices in your head? Different voices in your body?  People from your childhood?  Loved ones in your life now?  People in politics?  People at work?  If it's a personal story, what's the context of the world?  If it's a worldly story, how does it affect you personally?  Show, don't tell.  

Let's try some Natalie Goldberg-esque exercises.  Do some of these or all!  Do it in pairs if you can, and read them to each other after each exercise. Don't make comments afterward, just set the timer again.

 

  • Set the timer for 10 minutes and write about the first time you tasted an artichoke.  
  • Write for 10 minutes on why you want to write and perform a one person show.
  • Write for 10 minutes on performers you're inspired by.
  • Write for 10 minutes on imagining the insecurities of the performers or artists you're inspired by.   Imagine the/your world if they decided not to create the work that's inspired you, because they didn't think anyone would care.  
  • Write for 10 min on the one thing about you that you really don't want people to know.
  • Write for 10 min on the one thing about you that you really, really don't want people to know.

 

Stay tuned for part four, and let me know how your process is going!  If you have questions or concerns, I'd love to hear and address them in my blog.  

Alicia

Mar16

So You Want to Write a One Person Show, Part 2 of 7

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So You Want to Write a One Person Show, Part 2 of 7

In my last post, Part 1 of 7 on writing solo shows, I spoke about discovering the Central Moment that your show pivots on.  You did free-writing about this pivotal moment and you held it close to your bosom.  

Writing solo show takes guts.  Mostly, the guts to get out of your own way.  You can still keep it private.  In fact, you could keep it private forever.  You could write this show solely for discovering a truth about yourself.  What is that private truth that you have not even allowed yourself to know about you?  

I have made so much sense of my life in crafting a story arc out of the miscellaneous and non-linear events in my life.  I believe we're hear to find and make meaning.  

Leading Moments

As you explore the Central Moment, begin to write about what led up to it.  What was happening in and around your life?  Who were you before that Moment?  What kind of friends did you spend time with?  What was your family like?  How did you spend your free time?  What kinds of thoughts ran through your head and why?  What did you know to be true about yourself?  Answer each of these questions with an example, a concrete smaller moment that shows us an event occurring.

Turning Points

How did this Central Moment then change your world?  Write about the changes that took place after this event happened.  Write scene after scene.  Don't censor.  Did your thoughts change?  Did your friends change?  Did people react differently to you?  Did you stop going somewhere?  Did you start going somewhere?  What did you start wearing?  A smile?  A purse?  A bathing suit?  A fedora?  All of the above?  Perhaps these changes seem to have nothing to do with your Central Moment.  All the more interesting to note them…

Through Lines

What co-incidences do you notice that have to do with your Central Moment? Begin to keep a journal of co-incidences and synchronicity.  Note each time something comes full circle.  Note the through-lines that string together the random moments in your life relating to this Moment.  Begin to think back to childhood.  What memories from when you were 4 or 7 years old seem to relate to this Moment?  Find the earliest memory that relates to this moment and anchor your through-line with it.  Then, look at your dreams and fantasies of your future.  Which of those have to do with your Moment?  Write about them in concrete ways.  Show, don't tell.  

Write Write Write

During this process, it's imperative that you don't censor yourself.  Set a timer for 10 minutes, and just write.  Don't take the pen off the paper.  Let yourself be surprised.  Know that no one will see it.  Say something to yourself you haven't dared to speak until This Moment.

Ready for Part 3 of 7 on "So You Want to Write a One Person Show"?  Stay tuned!  I'll be writing it in the next few days.