I'm on Spring Break now but in a week I'll be back in the saddle again. I've made loads of progress on the Two-Act play I'm writing. It's been a big inspiration. I feel a second wind blowin' and I'm amped up to do some major, major book writing next week. Stay tuned.
Worked solely on the play this Friday. Got up to 21 pages of dialogue. And I now have a clear definition of how Act One and Act Two separate. I'll work just on the book next time.
Good work done yesterday--on the book and the play. Made progress formulating the dust jacket design. We're working on photos for the front and back cover and making sure the energy, dirt, and exhilaration of a campaign life is on display.
Almost finished the "Phonegate" files. Also I'm very close--nine pages-away from amassing enough material for the final chapter to begin writing. I'm excited for that prospect.
An interesting Washington Post piece on Texas and its declining relevance in American politics. From the "Big Rich" to well, not much at all. I think it's dead-on accurate.
Can the same tune be sung for Florida? In 2000 you'd think Florida was the only state in the Union worth discussing.
Almost finished with my "data dump" on "phonegate." Then happily I'll move on to some older more entertaining press clips. It's great to see my big box of random bio clips become smaller and smaller as my "done" and "almost done" piles get bigger and bigger. Very satisfying.
I had other obligations last Friday so no book progress to report. This Friday should be all clear again.
Good work on the press clips. It's nice to see a once-enormous box of files be sorted and organized and filed. I compiled a progress report of sorts later in the day.
Almost every day I scribble notes on the play draft document. I just bought a book on screenwriting that I think will help. First I'm gonna "diagram" Glengarry Glen Ross. By "diagram" I mean point out the sources of conflict, rank them in a way, and generally trace the shape of the narrative. I don't think there is much to the play other than tracing the conflicts and asking, why? In my opinion, all the characters in the play are flat--not round. Unless you count Shelley getting fired a transformation of sorts, which I guess it is from his perspective.
Once I diagram Glengarry I think I'll have a better read on where I need to dial up or dial down conflict in my two-act play.
