FREE SAMPLE CHAPTERS OF A NEW SUSPENSE NOVEL.

These two sample chapters are from the novel Box Cutter Killer and are used for these promotional purposes only with permission by the publisher; Wheelman Press.  This material is under copyright (2013) by Curt Wiser and all rights and restrictions still apply; any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

     This is a work of fiction.  Any resemblance to persons living or dead, or any similarity of events depicted herein to real life incidents, are purely coincidental.

  [ There are some formatting issues in this posting, I apologize and will work to correct it. ]

        CHAPTER 14

I am jostled out of sleep, my cell phone rings on the coffee table.  I hear some generic version of a pop song that I hate.

_{That’s the ring tone I use for any calls that come from numbers not}

programmed into my phone.

I close my eyes, the bright morning sun pierces through my eyelids.  My head aches and all I want to do is go back to sleep.  I turn on my side, nestle my face into the back of the couch.  It doesn’t _{do any good.  That damn phone is still ringing; it vibrates so hard that it} moves up against one of the empty beer bottles, it lets out a high pitched jingle.

I don’t want to answer the phone, everyone knows not to call me this early.  Fine, I’ll just get rid of this, turn my ringer off and pass out in my bed.

_{“Hello,” I answer.} 

“It’s time to wake up,” The Caller says.     The Caller’s voice, his voice is strange.

It sounds altered, like a voice on TV when they interview someone who wants to conceal their identity.

“If you’re a fox maybe.... who is this?” I ask.

I recline on the couch and rub the sleep out of my eyes. “Someone who enjoys watching you,” The Caller says.

I sit up, that gave me the chills, the way he said it.  Don’t hang up Ges.

This has to be that deranged client of mine.     The guy who threatened to kill me.

_{“You’re going to have to be more specific man, I’m popular in}

that regard,” I say.

Need to know who this is, this could be my only chance.     “My, what a pretty voice you have,” The Caller says.

Wish I could say the same for you buddy, he sounds like a robot on crack.

_{“I’m hanging up now,” I say.}

“That would be a mistake,” he says urgently.       On my feet now, I’ve had enough.

_{“Give me one reason?” I ask.}

“I’d ask what you’re wearing but I can see for myself,” The

Caller says.

I look all around the living room.  Nothing is out of place, no sign of break in.

“Don’t believe you,” I say.

This is just some prank; he’s just trying to scare me.  I’m not scared, don’t give him anything he wants.

“Pink and white elastic pants and a ‘Screw U’ T-shirt,” The

Caller says in his deep voice.

I’m scared now, try to contain it Ges.

My shirt has a design with the letter ‘U’ and a giant screw going through it.

How could he know that?

Quickly, I move to my front door and check the dead bolt.     It’s locked.

The Caller laughs.

I listen closely as I stand by the door, motionless.

“Do you know how easy it is to bump a lock?” He asks.

I am against the wall now, in the narrow passage by the front door. Think Gessica. He can see you, how?

What the hell does he want and why would he call me like this to get it?

_{Brace yourself.}

You have to be prepared for anything. Because anything can surely come.

_{My baby.}

I run as fast my legs can manage toward the baby’s room.

In the commotion it’s hard to hear my phone but it sounds like he’s laughing again.

I near the open door to the baby’s room.  Baby Girl is there, she is alright.

The window in the room, good, it’s locked.

My baby sleeps soundly, completely innocent and unencumbered.    What now?

“I always wanted to ask you girls,” The Caller says.

I have to check the windows in the living room, make sure the place is secure.

“I see that you have the word ‘GIRL’ printed on the ass of your pants,” he says.

I enter the living room and reach down toward my butt.  I can feel the smooth lettering that is ironed into the back of my sweatpants.  The soft

_{thick cotton material of the pants set the letters apart.}

“Is the point of that to get strangers to look at your ass, or do you think putting it there is the only way they’ll get the message?” The Caller asks.

I stare out the large sliding glass doors that lead to the patio, the blinds are wide open.  All I can see is a vast grass field and the wide enclosure of woods.

It is one giant green void with patches of darkness between the trees, too many to count.  If he is out there, he could be anywhere.

“What no reply?” The Caller asks.  “That’s right,” I answer back.

“You’ll learn to obey me soon enough,” he says.

Calmly, I step back further into the living room.  This way I’m not in plain sight from that patio window.

“How did you get my number?” I ask.

“They say the best thing about the internet is also the worst, anyone can use it,” The Caller says.

Maybe this guy is not really out there.  He could have put cameras in here somehow.  I could get my daughter, drive off in my car and go straight to the police.

He may have messed with my car.

It could have cinder blocks for wheels.

Only one way to find out.

I walk toward the front door.

I reach out to unlock the dead bolt.

“Don’t touch that door,” The Caller says so loudly it distorts the sound of his voice even more.

_{I retract my hand and turn around.}

How did he see me?

I can see out the sliding glass doors from here, that must be it.         I cannot take this anymore.

This vulnerability, the not knowing what’s really going on here.

He has full control over this situation.     It’s time to change that.

_{You can do this Ges.}

Do it.

I charge for the glass doors so I can close the blinds.

Then I’ll grab the cordless house phone and call the cops from my baby’s room to make sure she’s safe.

_{I fumble with the long plastic rod to shut the blinds.}

Got it, I start to slide the blinds to the left to close --

-- I hear the muffled sound of a gunshot.

 I dive away from the window, shards of glass fall around me.          I hear everything and feel nothing.

Is this me on the floor?

Can this really be happening?

     A single shiver runs from my neck down my spine.

My heart beats so fast I can feel the blood course through the arteries on the sides of my neck.

This must be what they call fight or flight.  I remember learning about it in tenth grade health class but never thought I would be forced to experience it.  The whole thing about it making time slow down is bullshit.

My cell phone sits on the carpet about a foot in front of me.

I turn my head to look back; the slats of the blinds are open and only cover part of the window.

The sliding glass door on the left is shattered.  Jagged sections of the glass still cling to the corners of the frame.

The blinds sway back and forth, they make a soft clapping sound as they knock into each other.

    Well now I know he’s armed.  So I better move my ass.  I’m not scared anymore, I’m terrified.  Try to contain it Ges.  At least you’re still alive.  

     CHAPTER 15

I grab my cell phone off the carpet as I go into a crouching position against the wall to take cover behind the mini fridge.  My hand trembles as I bring the phone to my ear.

_{“That almost scared the silicone out of ya’ didn’t it sweetcakes?}

The Caller asks.

“Why are you doing this?” I ask.

“Glad you asked, would you be interested in changing your internet provider?” He asks with a laugh.

My mind races.  My whole body feels supercharged, like I could run a marathon but I can’t go anywhere.

_{“If you want to live, listen carefully to my rules,” The Caller says.} 

I stand, my back slides against the wall. “Rules?” I ask.

I don’t believe I’m hearing this.

Two loud clicks echo in my ear from the other end, it’s the unmistakable sound of a rifle cocking.

_{“I thought I said listen, see that’s when I talk and you don’t,” he says.}

I swallow instead of speaking. My throat is dry, probably from all that beer last night.

“First rule, all the blinds stay open,” he says.

The Caller’s ominous voice is still altered, guess I’ll have to get used to it.

I feel something, not pain but some sense that I’m hurt.

“You had to learn that one the hard way, consider it a warning shot,” he says.

Then I see it, I look down in a state of shock.  A cut about the length of a clothes pin runs diagonally across my upper right arm.

“Second, you can’t hang up on me until the game is over,” he says.

It’s a thin wound, the bleeding isn't too bad.  I see what looks like a small piece of glass wedged into the bloody bit of exposed skin.

My eyes are fixed upon the cordless phone sitting in a charger on the pass through counter of the kitchen.  The phone sticks up at attention waiting for me to grab it.  I move for it.

“Third, slide that cordless phone in front of the window,” he says.

The Caller said that the instant I grabbed the phone.  I’m standing in front of the large dining room window.  It’s like I’m living in a glass house.

_{“Do it now,” The Caller says forcefully.}

I slide the house phone on the dining room table then raise my free hand and step away from it.

That’s it, let him think you will play by his rules.  He’ll let his guard down, then you’ll get your chance.
      _{“That phone stays there as long as you’re not on it.... and yes,} I'll ask you to make some calls with it,” The Caller says. He’s enjoying this; I can hear it in his voice.

“The last rule, the game is not over until you call all of your

ex-boyfriends since high school and confess the ways you used and manipulated them,” he says.

“What?” I reply.

“If you succeed and they don’t hang up on you, I’ll leave you alone and you can call the police,” he says.

“Maybe I’ll just call them now,” I say.

I look down at the phone, ready to grab it and duck under the table.

“The best response time is four to six minutes,” The Caller quickly adds.

_{My attention turns to the window in front of me and The Caller’s voice.}

“I can break in there and take care of you before they’d even be on the way, besides; you wouldn't want to leave your baby motherless would you?” The Caller asks.

That shakes me to the core.  I stand there, my mind and body are filled with violent rage.  I wish this guy was in front of me, right here, right now.

“Hello, you still with me?” He asks.

      “Stay the fuck away from my child,” I yell.

I move up to the window as if I was face to face with him.  The bright sun constricts the pupils in my eyes, I’m wide awake now.

_{“And in rare form I see, do you have any questions before we}

begin?” He asks in a calm composed tone.

“Yeah just one, why me, why are you doing this?” I ask.       “That was two questions,” he says.

_{I hit the glass window, hard.}

“Talk,” I say.

“I picked you because you made yourself available, you’re not exactly an introvert,” he says.

I start to slump as my captor’s voice continues, he does not stop.       “As for why I’m doing this, I hope you’ll learn that on your

own,” he says.

Okay Ges, you just have to stay strong.        “Now, let’s make some calls,” he says.

[ END SAMPLE ]

      Buy the novel on paperback or for the KINDLE from Amazon:  http://amzn.com/B00DYE6FO4

               Or for the Barnes and Noble NOOK:

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            Box Cutter Killer is Published by WheelMan Press.

ATTACHING TALENT TO YOUR SCREENPLAY

     “Sure you can attach me,” she says.  Now, if you do not work in film or television this attachment business might sound like a parasitic relationship; it is far from it.  Being able to mention recognizable actors who agree to play a role in your script is usually a game changer and I would add by saying the casting process is the most important part of producing any performance driven art form.  The best writing in the world could fall flat if it is put in the wrong actor's hands, but a talented, dedicated actor who is the right fit for a role can elevate any lofty script to even greater heights.  It is ultimately up to the actors to make the story believable, that is their craft, the seamless magic trick that never ceases to amaze an audience when it is done right.  I have witnessed this myself.  When I was behind the camera and watched actress Erin Nicole Cline cry on cue during the most dramatic scene in Cam-Girl; a thriller that I wrote and directed.

     There is a larger truth at work here; the first thing most distributors look at when they consider a film is which actors are in it.  Can we sell this movie?  That is a distributors primary concern and one of the easiest ways to achieve these results is by having the iconic face and legendary name of a known actor on the cover of a DVD case or movie poster.  All you need to do is browse the shelves of a retail store or look closely at the movie posters as you walk toward the box office of your local movie theater before you plunk down twelve dollars for your ticket.  These actors along with the title; become the brand of the movie.  In some ways we benefit from the power these stars have.  Do you think a film like Fight Club would have been made if Brad Pitt was not in it?  Whether independent filmmakers choose to except this or not, your casting choices carry a lot of weight.

     That is why when it came time to start casting actors for my Romantic Comedy spec script 30 Night Stand, I wanted to find an actor or two who was not only perfect for the part but also had some name recognition.  The lead role of Sheila seemed like the best place to start because it is the sort of complex and interesting character an actor would want to bring to life.

30 Night Stand is about a woman who is cunning enough to turn a one night affair into an opportunity to live with a man rent free.

So who did I seek out to attach to this screenplay?  I was able to get the script to Annika Marks through Sarah Okun; the make-up artist who worked with me on Cam-Girl.  Sarah knew Annika from another production and I am thankful for that because Annika not only agreed to play the part but also gave valuable notes on the script that improved the story.  It can sometimes be hard for writers to take notes but when you get truly valid suggestions as I did, that is the best part of having someone else read your work and giving their objective point of view.  They can sometimes show you something that was right in front of your face the whole time.  It is the job of the writer to take that observation and come up with a creative solution that adds to the characters and the story.  After a re-write the 30 Night Stand script is in great shape and Annika Marks said I could officially attach her to the production.  Annika Marks is best known for her roles in films such as The Sessions and Mona Lisa Smile.  The Sessions is a critically acclaimed film based on the true story of Mark O'Brien; a poet-journalist who seeks out a sex therapist to show what his body is capable of because he is paralyzed and confined to an iron lung since childhood.  Annika Marks won an Audience Award along with the rest of the cast when it screened at the Sundance Film Festival where it also earned a Special Jury Prize.  Helen Hunt was nominated for an Academy Award as best performance by an actress in a supporting role.  Even though Annika Marks's character was not the focus of The Sessions; she clearly made a lasting impression as her character.  Alexandria Symonds of Interview Magazine put it this way; “It's a credit to Marks, whose career to this point has mostly been in theater, that she's able to find the subtleties in her character: she portrays Amanda as a conflicted, whole human being even as she is Mark's fantasy.”

     Attaching Annika to this project was only the beginning; months later I was thinking about who could possibly play the Sister of Annika's character and then an idea hit me.  Annika Marks has worked on the short film Skypemare; which also starred Horror icon Cerina Vincent (Cabin Fever).  When I brought up the idea to Annika that Cerina would be great for it, she agreed and got me in touch with Cerina.  Now Cerina Vincent has joined the cast and I am feeling better than ever about the possibilities of 30 Night Stand and what lies ahead.     

     Filmmaking is all about getting those small victories, sometimes they are hard earned or just dumb luck but if you have enough of these come together you will end up with a great movie.  There are many more decisions that need to be made before we go into production; like casting an actor to play the male lead for instance, yet I am looking forward to it because of the endless possibilities they hold.

- Curt Wiser is a filmmaker, animator and author, his suspense novel Box Cutter Killer is published by Wheelman Press.   

IS FILM THE HIGHEST ART FORM? - Book Review: The Age of the Image

      I have read countless volumes of these guide books for screenwriting and filmmaking over the years.  Barnes and Noble has a whole section devoted to this subject.  At first I was surprised to see how many authors of these books have not one produced film to their credit, yet they profess they are an authority because they are a film critic or teach cinema studies at a university.  More often than not, the good books are written by the people with film credits because there is no substitute for experience.  Every once in a while I open a book that looks at this subject from a different perspective, it inspires me to continue to write and grow as an artist.  The Age of the Image: Redefining Literacy in a World of Screens  by Stephen Apkon is one of those books.

     This ten chapter guide deals with filmmaking as a language and explains the science behind why moving pictures is the most visceral and impactful art form we have.  The theory behind this starts long before even the wheel was invented.  Apkon observes that our brains are hard wired to respond to moving images with more urgency than any other medium because of our fight or flight response; the need for survival that has been with us all from the beginning.  In fact, neuroscientist now know that the brain begins to categorize and make sense of an image within 150 milliseconds; that's what I call fast.

      The Age Of The Image begins with a foreword written by filmmaker Martin Scorsese and the chapters that follow prove to be worthy of such an introduction.  One chapter focuses on the brain. Apkon states that “up to 85 percent of the brain is dedicated to the processing and making sense out of the visual stimulation that flows in at an astonishing rate.”  He uses studies conducted with FMRI (Functional Magnetic Resonance Imaging) brain scans to determine what types of images are most likely to capture our attention and light up our brains like a Christmas tree.  It turns out these are visuals that trigger our most basic instincts which are home to the most primitive part at the base of our brains commonly known as the reptilian brain.

      This book then defines what this means to us; the artist who not only view these images but create them to be watched on the big screen and countless small screens alike.  There is one chapter that gives examples of some of the most popular Youtube videos ever uploaded and seeks answers to what made these videos so popular in their reach.  Another eye opening chapter focuses on advertising and sets out to prove that the most effective advertisements are image based.  Even the way that film and home video have proved to be the strongest motivators for political causes is the focus of one compelling chapter.  The best commercials, just like a feature film; are a concise form of visual storytelling.  Our brains and hearts are constantly searching for meaning, it is up to us, the fortunate few, the purveyors of the moving image to give it to them.  This profound and well written book; The Age Of The Image, will help us do exactly that.

- Curt Wiser is the author of the suspense novel Box Cutter Killer and Writer-Director of the feature film Cam-Girl. He is currently writing his own guide to screenwriting titled How To Write A Screenplay That Gets Produced.

Official web site: www.webcamthefilm.com

LOW BUDGET - HIGH BUDGET FILMAKING: A balance of power

      One day I got caught up in an in depth discussion about how budgets dictate filmmaking. I was talking with Jay Aubrey; a producer, writer and director who has been working in the industry for over three decades. He has dealt with all types of budgets from multimillion dollar union films to the mid-level family movie made for Roger Corman called Looking For Trouble. Jay was also the executive producer of Cam-Girl; a contained thriller which I wrote and directed.

      This conversation confirmed what I already believed about budgets, the higher the budgets get, the more pressure is put on everyone involved to deliver. When it comes to union productions, producers have to deal with all manor of insurance costs, guaranteed minimums for cast and crew salaries and medical benefits. We all deserve these things but the expenses add up quickly and can be enough to make your head spin like that girl from The Exorcist. The thing is, it takes a high budget to make a very big return on investment. The first thing most distributors look for when they are considering a film is, who's in it? The one sure thing that can add to a movie's marketability is having the name and face of a well known actor to put on the poster, DVD cover or trailer. An actor of this caliber means higher budgets, unions and higher expectations. The production design, audio mix, post production, quality of lighting and camera work; everything needs to be top quality to match what is seen in the theaters these days.

      On the other hand, low budget independent films have their own set of pros and cons. The filmmakers have mush more control, they can and should tell stories that do not pull any punches or are even a little controversial. High budget films have much more on the line, so they must appeal to a broad audience which can result in everything going through a filter, it is filmmaking by comity and for good reason. The down side to working with small budgets may seem obvious; no movie stars, you cannot afford high tech camera rigs like cranes or dolly track; simply put; less money to through at problems and add production value. The low budget filmmaker needs to be fully prepared before production and come up with creative ways to make their movie stand out. You can build a dolly track out of a ladder by using the sides as rails. Just youtube “Ladder dolly” and you will find a few versions of this. The viewer would not know how you achieved that shot, they would just see the camera movement and how it adds to the emotion of the scene.

      What I ended up saying to Jay Aubrey was that filmmakers need to know what budget type is best for their story, realize the benefits that your budget grants you, then do all you can to maximize your results. To help you along with these decisions, here is a chart.  What counts as being high budget or low budget is up for debate; I consider high budget to be two-million and up and low budget to be five-hundred-thousand dollars and below.    

 

 

 

 

      There you have it. If you combine all these common trends you get an idea of how much budget dictates the stories and the types of films we see. Independent low budget film fills a void by giving us bold, unconventional stories that Hollywood could easily afford yet have no interest in. The big budget studio pictures give us epic spectacles and a level of production quality that low budget movies never could.

 

     Not one type of movie is better than the other, it just helps to know what comes along with your budget and using it to your advantage. In short, low budget filmmaking is all about doing a lot with a little and the privilege of working with a high budget requires doing much more with a lot.

 

- Curt Wiser is a Filmmaker and Author, he is currently writing a guide to screenwriting titled: How To Write A Screenplay That Gets Produced. 

 

 

 

 

Choosing a subject for your writing: CAM-GIRL

    

     It is the first problem every writer faces; no, not how will I ever get my great American novel published, but having to pick a subject for your story.  I have three criteria that I base this decision on for my work; Marketability, Originality and Strength.

     MARKETABILITY: The harsh reality is unless you are already and established writer with a strong fan base, novels do not sell themselves, just as screenplays do not sprout wings and land into the hands of producers.  Every aspect will require a lot of hard work from the writer, that is why it is best to feel confident about the marketability of your idea before you write the first word.

- Who is your audience?

- Does this story feel like it could appeal to people of many walks of life?

- Would this story be relevant to an international audience?

These are the kinds of questions you should be asking yourself.  It is possible and ideal to write a novel or screenplay that would win the interest of a small, niche group as well as a wide range of people.   It all comes down to the subject.

     Cam-Girl, my first produced screenplay and the novel adaptation Box Cutter Killer is about a single mother who works as a web cam stripper and is pushed to the limit when a stalker invades her life.   Thriller or Horror films tend to do well even when produced on lower budgets and as the saying goes; sex sells.  This was a highly marketable idea for a movie that could be produced on a low budget; that is why with Cam-Girl my writing finally started getting noticed and eventually produced and picked up by a distributor.

     ORIGINALITY: Has your story already been told?  If the subject has been explored in other work you could tell your story from a different point of view or write it in a genre that would make it original.  For example, Warm Bodies is a horror-love story told from the perspective of a male zombie who is torn between true love and a hunger for brains.  Of course there is Shaun of The Dead, the most successful horror-comedy to ever hit theaters.  

     Just look at how often Macbeth has been remade in countless original film adaptations; Akira Kurosawa made his with samurai’s and set it in Japan with Throne Of Blood.  Roman Polanski made his distinctly European version and Scotland,PA told the story of Macbeth with a hamburger stand as the main location.  

     Figuring out if your story is original or not requires that you do the research.  Do a search online for books or movies about your subject.  I make it my job to watch thousands of movies, all kinds of movies.  That is how I knew writing the screenplay for Cam-Girl in 2009 was a good idea.  Web cam stripping was a fairly new profession at that time and I found the subject interesting.  I thought of a story that would be a good fit for a protagonist who was a cam girl, then I was off and running.  Most importantly, there were no other films on that subject; there were many movies about strippers, but not cam girls.

     STRENGTH: This third criteria can sometimes be overlooked by writers and it never should be.  Write for your strengths.  Can you relate to your subject, story or protagonist in a personal way?  If so great, write about that and express yourself through the story. Maybe you have other comfort zones; like a style of writing you know is your strong suit.  Take the best selling author Chuck Palahniuk for example.  Fight Club, Invisible Monsters, and Damned all center around interesting iconoclasts, outsiders who live on the outskirts of society.  It could be due to radical political views, sexual orientation or going from immense wealth then into the depths of Hell, but all of his narrators have something that sets them apart.

     Are you great at writing dialogue?  If so pick stories that are character driven.  Aaron Sorkin, KevinSmith, Quentin Tarantino and David Mamet have based their careers on the strength of their dialogue.  Novelist Hubert Selby Jr. has a gift for writing street people, he cuts through his narrative with authentic slang dialogue in his novels such as Requiem For A Dream and Last Exit To Brooklyn.

     
     Since I wrote a few screenplays before Cam-Girl I knew character and dialogue were what I am best at.  Cam-Girl and Box Cutter Killer have their moments of action an suspense but they are largely character driven pieces that are full of hard hitting lines of dialogue.  The movie has some humorous and introspective voice over which is something I always enjoyed writing and made Cam-Girl easier to adapt into a novel.  I hope this has helped to inspire some ideas for your writing.  Anyone can enjoy a well told story, all you have to do is write it.   

NOTES ON PLAYWRITING:

      There is something different about writing for the stage. It must be because of the rich history that medium has; David Mamet, Arthur Miller, Thomas “Tennessee Williams and Shakespeare all make it a privilege to call yourself a playwright. Plays are the oldest form of written word to be performed.  A playscript is a living, breathing art form, it will exist and be re-interpreted as long as there are actors willing to speak your words.

     After my recent good fortune of having a screenplay produced into a feature film; a thriller called Cam-Girl and also adapting that movie into a suspense novel, I decided to try my hand at writing a story that was meant for the stage.   This was not something I was going to dive into blindly. Playscripts have always been held to a high standard, that is why playwrights are credited before the director of a play.  I knew that playscripts were a true test of a writer, they primarily deal with character and dialogue, unlike the spectacle of Hollywood blockbuster films or feeding the boundless imagination that a reader can have when they read a novel.

     Hurlyburly, 12 Angry Men, Glen-Garry Glen Ross and Extremities; many of my favorite movies are based on plays and reminded me of how polished the dialogue has to be and how strong the characters have to be who speak the well crafted prose of the playwrite.  I watched those movies over again and read a few playscripts, such as Bachelorette which was later made into a feature film Written and directed by the playwright Leslye Headland and starring Kirsten Dunst.   The script for Bachelorette was published in an annual collection titled New Playwrights: The Best Plays 2011. This book series is a great resource which I highly recommend, it lets you keep up to date with emerging talent and see the types of plays that are recently being produced.   Classical plays are still captivating, but the tastes of the public have changed a great deal since the days of Shakespeare.   I wonder what Shakespeare would be writing if he was alive today?  I bet he would have a blog, but maybe not a smart phone, I'd like to think he would see trolling the internet or playing games on a phone as a waste of time.   To tweet or not to tweet?

     To help me with the structure and formatting of a playscript I read Naked Playwriting by William Missouri Down and Robin U. Russin.   This book is worth placing high on your shelf, it covers everything from writing a play to the submission process, theatre etiquette, contract dealings, rehearsals and the final production.   This book contains advice from master playwrights such as Chekhov who wrote; “If there is a gun hanging on the wall in the first act, it must fire in the last.” Naked Playwriting also put into words what I feel most writers love about writing, why they are compelled to do it; “Through dialogue we reveal our characters, tell the story, push our point of view and say what we would have said, if we'd been fast enough and cleaver enough to think of it when we had the chance.   For the playwright, it's never too late to find the right words.”   I couldn't agree more with this statement.   If plays and movies are a way for people to step outside of their lives briefly, than being a writer is the ultimate escape; you are creating your own reality.   That is the kind of power dreams are made of, it is what everyone wants.

First, you must have a story you are eager to tell but is also best suited for the stage.   It has to do with the scope of the story.   Some questions you might want to ask are:

• Is this a character driven story?

• Are the main characters people the audience can identify with in some way and will they find them entertaining?  

• Can this story be told with only a few characters and even fewer location?

When it comes to that second question, it should be clear that the audience does not need to like all of your main characters, but they must understand why they act the way they do and that should feel natural given who the character is.  After thinking about the story I wanted to tell and proceeding to outline it beat by beat, I was confident that Anxiety would be a good fit for the stage.

Anxiety is about a manic-claustrophobic woman who gets locked inside a bathroom after hours at the office building she works at.

      To make thinks interesting, I put a male character trapped in there with her, a janitor who went in to clean the place.  Much like the play and film adaptation of Sunset Limited, these are two worlds colliding, two people who are very different from each other who are forced to overcome an obstacle together.   In this case, not only are these people of different backgrounds and classes but they are of opposing genders.  A man and a woman together in a bathroom, not a common scenario to say the least.

      Part of the research for this play was inspired by true events.   On Friday night, December, 6^th 2013 Karen Perrin was locked into the bathroom at her place of employment for reasons that remain a mystery.   The way she responded was very interesting and received a great deal of news coverage. Whatever is needed to inspire you as a writer and spark your interest go out and find it.   And then write, keep writing until the first draft is done.   That last part, following through is what separates the professional writer from the well meaning hobbyist.

I have just finished Anxiety, so the future of this playscript is uncertain, but what matters is that I finished it and will make each draft better than the last.

PLAYWRITING RESOURCES: 

• The Dramatists Guild
• The Dramatists Guild Resource Directory
• Insight for playwrights

Curt Wiser is a filmmaker and published author.  He has written suspense novels and articles for Indie Slate Magazine.

ON THE STAGE

I take the stage and hope for the best.   The wooden floor is worn out from over a decade worth of shows. The lights shine bright from a catwalk above.   Performers stomp around and direct members of the audience who are invited on stage.   The actors fill the room with their mock enthusiasm and false urgency.   It is all for the sake of entertainment.  I am there doing my part.           I am not an entertainer, yet I can inspire laughter and applause all the same.      I am the guy behind the camera.

Among the others on stage, I move and frame the action with a steady hand.   Timing is everything, the sights and sounds of the show follow the rhythm of my movements.   Every show is the same, yet they are all different.   The actors and camera operators find ways to make the show their own, you have to, it makes your shows mean something, to you if not anyone else.   This is a dance, a test of reflexes and instincts.

I quickly learned the style and flow of each actor and react to capture the moment in the best possible way.   At least that is the hope each time out.   There is no time to second guess yourself and as soon as you reset the stage after one show, a new one begins.   It is cycle, like each passing night that brings a new dawn.   Above the stage is a large screen that lets the crowd see everything that passes through my lends.   Maybe they're watching or maybe they're not, but the dance continues and the show must go on. 

 

 

 

Curt Wiser is the writer-director of the thriller Cam-Girl (aka Web-Cam).  His writing has been published in Indie Slate Magazine and he is an author of suspense novels.