Playwriting

Typecast Video Four

After a month of kanoodling on the Olympic, an idea has formed and a path has been struck. And I have to live with every mistake, mistype and misplaced thought. Once it goes on the page there’s no turning back, no cut and paste unless I type the whole thing over again…

Transcript

Okay. So, I have been banging away on my Olympia Deluxe typewriter for just about over a month now, off and on. Basically, my routine is any time that I am at home, I give myself an amount of time to sit in front and just basically canoodle.

It’s very freeing, it’s very refreshing, and I just basically, you know, if you read it, it would look like it’s crazy. But, basically, I was like, “I’m not going to try and force a play or plan a play. I’m just going to sit down every day and start typing.” And the wonderful thing is that, every time I’ve ever sat down and thought, “Oh, I don’t want to be here. I don’t know what to do. I don’t know what to say,” something has come out which is really interesting because that’s something I’ve never been able to do on a computer.

I cannot create on a computer. I’ve always been pen and paper. But the same feeling sort of works for this machine. I don’t know why. I don’t know if it’s the sound of the keys which I am very much in love with. Or is it the force and the action? I don’t know.

Bottom-line is I am now actually, after a month of this, actually come up with an idea, and have started writing, and that is frightening because – you know, not skydiving frightening – but, because now, in order to start to write, you’ve got to start to format and try and figure out how you’re going to do stage directions when there’s no italic, and there’s no way to put them in a certain place, and how there’s no centre.

The tabs, I can’t figure out how to move the tabs so the tabs are sort of like, where they are and how you can’t change spelling mistakes and you can’t change, you know, like, I got to the end of this one section and realized there was a whole bunch of stuff, I went, “Oh! This has got to go in somewhere and this has got to go in somewhere and this has got to go in somewhere and this has got to go in somewhere,” and that means rewriting the whole scene all over again because there is no cut and paste.

I’m hoping that this is going to be a full-length play and I’m just continually thinking about rewrites and all that other stuff. Now, that’s the complain-y part. The other stuff is I’m very, very excited about the possible epic nature of this work, the left-of-centreness of this work, and, if I can just get over the hurdle of – oh, well, I have this particular scene which is, you know, five double-sided – no, not quite – four double-sided pages, and I have to rewrite them all again – if I can get over that, this is going to be a really good experience.

All right, that’s it.

About the author

Lindsay Price