Writing Prompts for your Future Use

If you're bored this summer, or if you ever need a writing prompt...these are short ones to get you going.  They're from the Austin Script Works annual 3-month writing marathon...the idea being, they give you a prompt every day for three months, and you're supposed to write on all of them.

1.  A crazed cell phone monologue - Jen Haley

2.  Someone can’t move - Sharon Sparlin

3.  The smell of bleach was ugly, but familiar - Leticia Rodriguez

4.  Two people in a room find a box - Caridad Svich

5.  Time begins to accelerate - John Walch

6.  When I wake up I want to see… - Julia Smith

7.  The cafeteria at your middle school. - Molly Rice

8.  Embrace that nothing is coming to you - Cheryl Parrish

9.  Something that makes you laugh. - Judith Rudakoff

10.  Follow one character gesture to the extreme - Sharon Sparlin

11. Write a play featuring one character wearing a full body neoprene wetsuit

12.  A scene about betrayal and cooking - Caridad Svich

13.  A mountain is not… - Julia Smith

14.  The queen of Spades - Jennifer Haley

15.  Wearing dark glasses while driving was a great place to cry - Leticia Rodriguez

16.  Things that live deep in the dirt - Molly Rice

17.  The environment becomes extremely hot or cold - John Walch

18.  Write a play where something about the internet is personified - Emily Cicchini

19.  A self portrait - Judith Rudakoff

20.  Sitting in silence.

21.  I’ve never told my best friend… - Julia Smith

22.  The last day of someone’s life - Caridad Svich

23.  30 seconds of synchronized movement - Jennifer Haley

24.  Someone can’t stop moving

25.  Write a sitcom with a violently apocalyptic ending - Molly Rice

26.  “Putting out the cigarette, he then gingerly picked it back up.” - Leticia Rodriguez

27. A pair of shoes or boots in a strange place - Judith Rudakoff

28.  Write a play about the color blue.

30.  A new haircut - Kristoffer Diaz

31.  Underneath a Bridge, there is… - Julia Smioth

32.  Write about letting go of something.

33.  Someone has just discovered they can literally walk on water - Dan Dietz.

34.  Your character looks out of an open window.  What do they see?  Caridad Svich

35.  The smell of hippies - Molly rice

36.  A discovery that leads to holding breath - Jennifer Haley

37.  Offstage explosions - John Walch

38.  Slow time down, then speed it up.

39. “The gang member’s son was dressed just like his dad.”

40. Write a scene that takes place in your favorite place in the world

41.  What time is it?

42.  Write a play based on a Leonard Cohen song.

43.  Write a play about someone who has just had surgery.

44.  Darkness.  then slowly light.  Figures emerge.  one of them asks a question.

45.  Falling is another word for…

46.  Write a play where one of the four elements is a character.

47.  Write a play with a duck.

48.  Write a play about someone who keeps losing their reflection.

49.  “Why didn’t you see the tree fall?  You were looking right at it.

50. The pungent odor of burning plastic.

51.  A case of food poisoning.

52.  The single thing that scares me most is…

53.  Write about a missed deadline

54.  Someone just broke something.

55.  Write about a glove on the stairs, and how it got there.

56.  Write about the worst piece of advice you ever followed.

57.  “There was a gash in the palm of his left hand.”

58.  Pretend you are a conspiracy theorist.

59.  Write about an unexpected shower.

60.  Write about home.  What is it?

61.  A character emerges from an unlikely place.

62.  A character apologizes…without using the words “sorry,” “apology,” or “fault.”

Feedback for Vicky

Archie and Hank:
I agree with Montana about how each of them died and how their deaths could have been avoided. it's interesting that they have been in this transition to heaven place for so long (over 50 years?) and only now have they really discussed their deaths and I think this is why Angel came and allowed them to move on to Heaven. It seems as though the two have been annoying each other for a very long time and had a lot of trouble getting along, and finally when they opened up a little bit and discussed how they felt about their deaths they were able to come to a middle ground and help each other.

Katie and Greg:
It seems that Greg has never been able to come to grips with his death (as well as killing the other people in the car accident). He was never able to accept it and he thought he deserved the worst punishment for what he did. While it took some work to get Greg to open up about his death, once he finally did, I think that in itself opened up Greg's relationship with Katie, and allowed them to understand each other more. Greg had been holding on to this for so long, and he waited three years to get his partner, Katie, who was the one who was able to get him to really reveal more about himself. Also, Katie said how Greg reminds her of her father (someone who she didn't really like), and Greg mentioned how he couldn't believe what he did to his daughter, so this plays with a daughter - father relationship (as Natalie said), and they sort of acted as father and daughter figure to each other, something they were both missing in their lives.

Look! Feedback! Magic!

It seems to me that these pairs are put together in groups of asses and slightly better people (one of each). In this story, Hank and Greg are the asses, and Katie and Archie keep them more or less on the straight and narrow to get their work done. In order to get into heaven, they have to come to an understanding about how/why they died and must admit some sort of kinship with the other. Hank and Archie's problem was that they refused to say they liked each other.

Ok, gonna be honest here: I liked Archie's first death better than this one. Despite some of the inconsistencies that it brought up, the argument between them and the tension because of Archie's death and his views on it, gave a lot of depth to the play, which is suddenly lacking in the second draft. It also made Hank's admission of the fact that he actually really likes Archie more powerful, and more of a turning point, so we're not surprised when the angel shows up. In this case, with Archie simply being killed by a falling cow statue, all of that tension and revelation goes away. And it's even less clear why today is different from all other days.

Sorry if that sounded harsh. It is my opinion. Don't hate me.
-Stephanie

Vicky's Play

I think two people become partners if they are able to help each other out in the pre-Heaven stage of their life (maybe I should say death?). With Hank and Archie, I think they were made partners just because they could get along and be a good pair. However, maybe Hank and Archie were an incompatible match, at least when it came to helping one another get to Heaven. One of them states that they have been in pre-Heaven for around 50 to 60 years. I think this supports that maybe they weren’t exactly the best pair. I think Hank and Archie go to Heaven when they do because of the conversation they had about each other’s deaths. I don’t think their conversation about their deaths was as meaningful as Katie and Greg’s conversation, but I think the Angel was just so sick of them bickering, he thought any conversation between Hank and Archie about their deaths could be considered closure.

I think Katie and Greg were paired because events in both of their lives helped them relate to one another. Katie was angry at her father for leaving and Greg wanted forgiveness from his daughter after what he did. Katie told Greg he was a good person and in return she gained a father figure. They helped each other resolve things that happened while they were living. There’s a lot of talk about karma in the play, and when I hear karma I think of balance. I think Greg and Katie were able to balance each other out (Katie felt resentment towards her father, Greg felt guilty for what he did to his daughter) in their conversation at the end, which is why they went to Heaven when they did.

For Vicky

I think there is a multiple level thing about why people are partners with each other that you have set up very nicely. I think that Archie and Hank are partners because they could have avoided their deaths. Hank with a little bit more certainty. Also, each think that the other was stupid for their death and I think in turn they need to realize that their death wasn't stupid and there was some reason that they died. I think in terms of why today, you could incorporate something about seeing Katie and Greg. Maybe Katie and Greg remind them of themselves and then they start talking about the past and question why they never talked about their deaths before. Maybe, they haven't had any recruits in a really really long time because Buddha was starting to give up on them (or whoever is their supervisor) and then he decided to just give them their jobs back because they weren't making any process.

I think that Katie and Greg are together because they both need the other to be with them in Heaven. Katie really needs her brother to be with her in heaven, and she gets someone who in a sense took himself out of his miserable life. She understand that he loved his daughter. Meanwhile, Greg needs someone who is going to understand that he didn't want to kill his daughter and he didn't mean to put her in danger at all. Katie also has to help Greg to talk about what happened since three years pass until he meets Katie. Maybe the heavenly beings or whoever decides who are partners, don't know who will be partnered with whom until both of them have died and they really are drawn to each other. Maybe the first person to die is always around the other person when they die? Also why does Katie even follow Greg in the first place? Is she attracted to him? Does she think he might lead her to her brother? I was a little unclear about that, after reading it a second time.

I really really like your play Vicky. It makes me think a lot which is something I love the most about plays.

Montana

Feedback for John

I agree with a lot of what Chandler and Montana said...

Story: A theif is part of a guild along with his father and a count. He really wants to leave the guild, but needs to steal a treasure box from the count before he can. As he is trying to steal it, the count is aware that the theif is in his house because he got a call from the bowler man, the theif's father. The count catches the theif who tries to steal from the count and kills him. The count goes to the bowler man/theif's father to prove he has done his duty of killing the theif, and the bowler man kills the count for killing his son.

I wrote close questions throughout, but here are some questions I had at the end:

• What exactly is this guild? What are the rules of it? Why does the theif want to leave it so badly, and why has he waited until now to decide to leave?
• Who is exactly in charge/in power? Where does the count stand vs. the bowler man (like Chandler said, the heirarchy)
• What is the big buff man's job exactly?

I also agree that the play was a little confusing at first because I wasn't sure who the theif was and who the bowler man was...maybe instead of labeling the theif "Theif", a name might create more mystery, and then the audience would have to figure out he's the theif based on his actions/words, and the same goes for the other characters.

To John:

John, I agree a lot with what Montana has said, and I too have an annotated copy of your play to give you at some point. The story was a little confusing to me. Part of this might have had to do with the fact that my formatting (copied/pasted off of your blog post) wasn't as clear as scripts normally are (obviously that is not a fault in your play, so don't worry about that). However, I think that Montana's comment to give the characters names would help to clear up the story line a little bit more.

Actually, now that I think about it, it wasn't necessarily the story that I thought was confusing; I was confused by the rules of this world you've created. What exactly is the hierarchy here? What is the guild? Who is the count and why does the father feel that the count has such powers?

You've taken a huge story and condensed it into a few pages. I'm definitely interested in the story; I want to hear it, but I'm not finding it believable yet. I think that your play will benefit from some character work. Maybe you can ask yourself questions about each character to try and get to know them better? Giving them names, at least, will certainly help.

FOR JOHN

Hey John.
So I had some general questions about the play in general and then I made a bunch more notes on your actual play that I can give to you. I probably should have given it to you today, sorry about that!

Questions:
How do these characters change by the end of the play?
Why don't they have names?
What does the guild do?
Who else is part of the guild?
Why do they steal from their own members?

Story:
A Thief is a member of the guild that is run by his father. He was forced into this guild at a young age but doesn't really want to be in the guild at all. He goes to his father and tells him that this will be his last stealing mission. His father doesn't approve of his son's decision and so calls the Count (from whom he is stealing) behind his son's back to tell him to kill his son. The Thief goes to the Count's house to try and retrieve his treasures and ends up finding out that his father told on him right before he gets shot. Later when the Count meets the father to confirm that he has done his duty (since he is also a member of the guild) he ends up dying because the father didn't really want his son to die at all. He wanted to show him a final test that he would either pass or fail; he was hoping that he would pass.

Montana

Play for project

John Norris

Playwriting 12

Three Scene’s about a Thief

Scene 1

A lone man walks onto the stage. It is a alley way with only a single lamp post. THe man is wearing a cloak and is quietly sneaking around. He glances around a few times checking his surrondings. He then looks at a watch on his wrist and approaches the lamp post. He stands there for a few seconds. A clock appears behind him and begins to ring loudly. It is 8 pm. The man in the cloak turns around and looks at the clock. Just then a man in a suit and a bowler hat walks onto the stage, he is followed by a big buff man. The man in the bowler hat approaches the man in the cloak, and takes out a small envelope and hands it to the man in the cloak. The man reviews the envelope and then places it into his coat pocket.

Thief

This is the last time I will ever work for this guild.

Bowler Man

(Brushes off coat. Britsh accent) My good man, this line of work is the only thing that you know.

Thief

No...(Beat) I have bought my freedom. I no longer have a need to continue this profession.

Bowler Man

(Surprised) Hmph. Well if that is truly what you want then retrieve the object, return to me with it, and then, (beat) well you can do whatever the hell you want to do with your pathetic life.

The thief (man in the cloak) looks up at the man in the bowler hat then begins to draw something from his cloak. At this movement the buff man begins to grab for his gun, until he notices that the thief is drawing out a piece of paper, which he hands to the bowler hat man.

Thief

This is my resignation from the Thieves Guild. I relinquish my position and status.

Bowler Man

(reads over the note) You will regret this decision. (Hands paper to buff man who folds it and places it in pocket. Pause) Just bring me the item then disappear. (Pause. Walks closer to the thief) You have dishonored this guild, your craft and me (beat) My son.

The thief backs slowly away staring intensely at the man with the bowler hat. He then turns around and walks off-stage. The man in the bowler hat then turns around to the buff man.

Bowler Man

If you would be kind enough to call the count and tell him he should be expecting a guest tonight.

The buff man makes a wide smile and then pulls a cell phone out of his jacket and makes a call. At this point the two men walk off stage and the lamp post goes dark.

Scene 2

The clock in the background rings again, this time it is around 8:30 pm. A single man is sitting in a living room. In one hand he is reading a book, in his other hand he is holding a glass of red wine. The sound of a phone is heard. The man is slightly scared by the noise but collects himself and walks over to the phone. He answers it.

Count

(British accent) Hello. (beat) Yes this is he. Who is this. (beat) What...(beat) Are you telling me that...(beat) Yes...yes I understand. Thank You very much (Beat) Yes I will get it done. Good-bye. (beat) Honor to the Guild! (Places phone back on holder. Then returns to seat and resumes reading as if nothing had just happened. Pause) It has been awhile since I’ve killed anyone. (takes a sip of his wine and then smacks his lips and laughs).

Scene 3

The clock in the background now sounds again. This time it is 9 pm. The scene returns to the count’s living room. He is still siting there reading his book and drinking his glass of wine. Out of no where the thief in the cloak pokes his head from outside the window and immediately shoots back down. The man looks down at his watch, puts the book down and starts walking off stage.

Count

(Yawns) Well, its getting to be that time once again. Like my father always said to me, “Early to bed, Early to rise, makes a man healthy, wealthy and wise.” (Exits off stage)

A few seconds after the man has exited off-stage, the swift and nimble thief, who was spying inside, pokes his head up once more from the window, unlatches it and sneaks inside.

Thief

(Sneaking through stage) (Quietly) Hmmmm....now where did that old man put his treasure box? (Continues searching)

The thief continues searching for the mans chest in hopes of discovering his hidden stash of money and goods. As the thief is searching he knocks off the glass of red wine which falls to the floor and shatters. This awakes the old man.

Count (Offstage)

What the hell was that!?!?!? (Lights from offstage are turned on as if the man turned on a lamp) Whoever is inside my house had better get out because I will use my shotgun!

The thief quickly runs back outside the window.

Scene 4

The count enters on stage again carrying a revolver. He looks around, notices the broken glass, some of his belongs on the floor and then looks at the window and notices that it is open. The man walks over to the window gun pointed forward. The whole stage now does a 180 degree turn revealing a new stage that shows the outside of the house, a single oak tree and some bushes. The thief can be seen hiding behind the oak tree, trembling in fear.

Count

(Has his head poking outside of the window scanning the area) (Screaming) YOU HAD BETTER RUN YOU YELLOW-TAILED VARMINT!!! IF I EVER SEE YOU INSIDE THIS HOUSE AGAIN I’LL KILL YOU RIGHT ON THE SPOT!!!

The count gives one last scan of his yard, puts his shotgun down and then closes the window and leaves the scene. The thief upon hearing the window close now peers from behind the tree to see if the man has left.

Thief

Dammit...this is not good...if I don’t find that magical bean then I cannot leave the guild and start my life anew. (Beat. Looks around house) There has got to be some way that I can get back into that house. (Pause) (The thief gives an expression of thought) AH HA! I got it! (Gives a fist pump in excitement)

Scene 5

The stage now does another 180 degree turn returning to where it had started off. The stage is dimly lit except for a single lamp in the middle of the room next to where the man was originally sitting. A noise is heard from up above. Then another noise. Finally a huge crash is heard and the thief falls from above.

Thief (Falling)

AHHHHHHHHHHHH (Hits the ground) Dammit...Oh my god (Clutching body in pain) Jesus Christ... (looks up in annoyance) Now I’ll never be able to get that magic bean.

Just then the count is heard off stage and walks on stage with a smile on his face and his revolver in his hand. Lights from offstage are turned on once more.

Count

Ohhhh you are so dead now you little robber. No one tries to break into my house twice in the same day. (The man cocks his gun, sees the thief laying on the floor and then points the gun at him) You know its a good thing that I got a little tip about your visit tonight. (laughs)

Thief (Panic/Pain/Anger)

WHAT!!! You..you knew that I was coming. (Slams the ground) I curse my father and his betrayal. (looks back up at count) Please...Please sir. Let me live. All I want is to live a normal life. Not one ruled by contracts and secret meetings in alley ways.

Count

Are you kidding me. Your head is worth thousands. And god I have always wanted to kill the master’s son. (Smiles) Go to hell.

The stage goes dark, a gun shot is heard and along with the shot a flash of light quickly illuminates the stage. There is a pause. Then a single beam of light comes onto the side of the stage, the thief walks into the light clutching his hands together and looking downward. He then opens his arms up and looks into the light.

Thief

I throw myself at your mercy! (Drops to knees) (Pause) (Talking to audience) The moment you die, it is as if you have gotten into a crash where the lights of the car behind you and in front of you, begin to envelope your entire sight until there is that split second of conscious and all you can see is a bright beautiful light. Then, just as soon as it has graced you, it turns into black nothingness.

The stage goes dark again. Then the stage fills with light once more, with the thief on the ground surrounded by a pool of blood, the count standing above him, revolver still smoking from shot. The man bends over the thief, puts his hands over the thief’s eyes and closes them. The stage goes dark except for the clock in the background which now tones several times as it strikes 10 pm.

Scene 6

The scene returns back to the alleyway. The single lamp post is still in the middle of the stage. The man in the bowler hat walks onto the stage and is followed once more by the buff man. The two walk over to the lamp post. The man with the bowler hat pulls out a pocket watch and then looks at the time. The clock in the background strikes 11 pm.

Bowler Man

(Speaking to buff man) Hmm...it would appear that our contact is running late. (Pause) How rude.

The count then walks onto the stage carrying a bag. He proudly walks over to the bowler man. Bows in front of him.

Count

Hello Grandmaster. The task that you have placed for me is complete.

Bowler Man

Present some evidence to this claim my good man.

The count reaches into his bag and pulls out the theif’s cloak which is covered in blood. He hands it over to the bowler man who examines it and then motions to the buff man who takes the cloak from the count.

Bowler Man

(Adjusts himself) Hmph. You have done an excellent job. You shall recieve your payment as usual. (Beat) You have honored the guild.

Count

(Very happy) Ohhh Thank you thank you grandmaster. I am your humble messenger.

The count once again bows to the bowler man and then begins to leave. As he turns around the bowler hat man motions to the buff man who hands him a pistol. The bowler man points the gun and shoots it. The count falls to the ground and looks up at the bowler man in disbelief.

Count

(bleeding and speaking shakily and scared) What....What are you doing?

Bowler Man

(Somber and no remorse) This is for killing my son.

Count

FUCK YOU!!!!

The count attempts to take his own gun and shoot the bowler man. But just as soon as he tries this the bowler man shoots the count once more in the head. There is a pause. The bowler hat man hands the gun back to the buff man who stores it in his coat. The lamp post begins to flicker.

Bowler Man

(Wiping hands. Looks at the lamp) Well it appears as if have quite a mess here. (Pause. Talking to buff man) Remind me later to have someone fix this damn lamp. We can’t have meeting in a dark alleyway now can we. (Pause) And would you please get rid of this despicable man from sight.

The buff man nods and walks over to teh dead count’s body and picks it up and walks off stage. The bowler man follows him but then stops looks back up at the lamp and then takes off his hat and bows to the lamp post which shuts off.

FIN

Reminders from Allison's Workshop

Hi All,

A few reminders of questions/ideas that came up in Allison's workshop, that could be useful to you all in your plays:

1) What questions DO YOU WANT your audience to be asking?  A lot of times, we'll try to create mystery in our plays...make sure that you're leaving ambiguous what you want to leave ambiguous, and making everything else clear, so that your audience isn't distracted by other questions.

2) How can you TAKE THE PLAY TO THE STORY?  How can you show the most exciting moments, the moment when life changes, onstage?  SHOW US your characters struggle, show us their "eureka!" moments.  Show us what they want, let us see them try to get it and fail, then show us their triumph (or not).

3) What VESTED INTEREST does each character have in the outcome of the story?  How can you make sure that the central conflict affects EVERYONE onstage?  Give your characters emotional stakes.

Site Specific Plays 4

Stephanie: Stephanie's play felt very inspired by her performance space. I really felt like I was in an attic, and that Vicky’s character was alone, even though our whole class was in the room with her. Sometimes Vicky’s character would have conversations with John’s character. I couldn’t really see them since I was standing far away from the staircase, but I felt it was more effective that way. I thought it was really cool how the play took place in only one room, though we could hear conversations and things happen from other parts of the house, even though we couldn’t see them.

John: I really liked the way John used his space for his play. I really liked how the audience had to follow his character down the stairwell. The setting, along with the strange picture on the walls, really made the play feel really creepy. I felt like the farther down we traveled, the creepier the play got. I think John took a risk in creating a play that was so dark, but I think it really worked.

Vicky: Like John’s play, I enjoyed how her play moved settings and how the audience had to travel with the characters. I thought Stephanie’s character was really interesting, and I liked how she was on her laptop at the beginning. I also thought the ending was strong, with the character exiting the building.

Stairwell Plays

Stephanie- Stephanie's play was extremely sentimental. I think Stephanie did the best job of arriving late and leaving early. Her effective use of the storage room as an attic was one of the most believable parts of her play. I also think Stephanie was extremely effective in conveying the distance between the father and daughter. The audience was guided into a strong sense of loss. Stephanie used the upper room as both the daughter's bedroom as well the attic, which I found a little confusing. However, overall, I think Stephanie's approach was unique, definitely leaving audience members feeling nostalgic.

John- Without a doubt, John's play was the most disturbing of the site specific plays. John successfully utilized the entire stairwell. The way John used the space gave audience members a strong feeling of suspense. I think the script could have been tightened up a little; considering the idea behind John's play, fewer words could have been more effective. I think if the script had been extremely stark it could have had a greater effect on the audience. Regardless, the play had strong bones and an extremely effective utilization of space.

Vicky- In my mind, Vicky's play was easily the most unorthodox. Because neither of her characters were entirely sane, audience members wondered throughout the play what was real and what was imaginary. I found some of the dialogue was little hard to follow, but I think that was because Vicky's play was very ambitious. I think her play would have made a lot more sense to me had I read the script. However, I think the concept behind the play is extremely interesting and original; it's definitely a play I'd like to see done again.