North Hollywood, California
Maybe I was too cocky? Or maybe I just jinxed it. Whichever - today's historic moment fell a little flat. Part of it was the sheer "scope" of the scene - I felt like, "No pressure there!" But I was feeling pressured. I was trying to get stuff done before my boss came in; then I had to run an errand at lunch that look longer than it should have and it was hot which made me cranky; then when I got back I suddenly had to do actual work. By the time all that was past, I sat down to try to write...and it just kind of wouldn't come. I wrote the dialogue part, but the song...ugh. It's the first one so far I've tried to write to pre-existing music and it wasn't as easy as I remembered. You have to fit certain things, not only syllabically (is that even a word?), but also in tone and mood. Your words have to match what the music's saying. I can feel what I want to get across put I just couldn't get it out of me the way that I wanted. The thing that torques me about that is, since tomorrow's Friday and Monday's a holiday, it could be 5 days before I can get back to work on this. Maybe that's the time I need to let the ideas roll around in my head, but...I wanted to be finished today. Busting out a scene in a day generally hasn't been a problem. Today it was.
Also, I wonder if I might not be running out of steam somewhat. After all, I've been writing like mad for 6 weeks. I wasn't happy with Ewan's proposal, either - it might actually be all right, but it was rough. Leo has yet to see it; maybe once he does I'll realize it's OK; maybe I'm just too close to it. At the moment, I'm feeling frustrated, but when I look back at how much I've done since 20 July, it does help me realize that this little block is just temporary.
Maybe the trick is not to shoot video logs when starting a scene!
31 August 2006
29 August 2006
Studio City, California
The writing continues and the years are whipping by - for Maud, that is! Today I've gotten into 1906 and 1907. Yes, Maud has written Anne and history is about to be made. But first I've got a little of my own history that happened today, considerably minor as it is. So far I've either written a complete scene in a day, or two complete scenes, or part of a scene. Today, I got stuck writing Ewan's proposal (it's a quasi-duet with Ewan and Maud, but I need more information than I have in front of me at the moment), so I stopped and moved on to the next scene where Maud takes her manuscript out of the hat box and decides to try sending it to one more publisher. I hate to break up the set, as it were - although it's not like anyone's going to know!
That means, if all goes well, our Maud will find her Anne published on 31 August. Of course, as you know, that's a monumental moment and I'm a little jittery just thinking about it! I'm planning on working a song in there based on a tune Leo came up with last October. It's sort of been an unofficial Maud theme for us, and everyone he's played it so far has loved it. We're in slight disagreement over what it evokes - but isn't that how music is? I see it as more euphoric and triumphant, whereas he sees it as more bittersweet and says people have cried when they've heard it. I can see it that way, too, so the publication of Anne seems to me the best place to use this music. You'll see. I'm pretty sure I can make that work. It's just an awesome enough piece that I feel it has to be used for an important moment and not one of the more common ones!
Of course, stay tuned for more - right here on LMM-TV!
The writing continues and the years are whipping by - for Maud, that is! Today I've gotten into 1906 and 1907. Yes, Maud has written Anne and history is about to be made. But first I've got a little of my own history that happened today, considerably minor as it is. So far I've either written a complete scene in a day, or two complete scenes, or part of a scene. Today, I got stuck writing Ewan's proposal (it's a quasi-duet with Ewan and Maud, but I need more information than I have in front of me at the moment), so I stopped and moved on to the next scene where Maud takes her manuscript out of the hat box and decides to try sending it to one more publisher. I hate to break up the set, as it were - although it's not like anyone's going to know!
That means, if all goes well, our Maud will find her Anne published on 31 August. Of course, as you know, that's a monumental moment and I'm a little jittery just thinking about it! I'm planning on working a song in there based on a tune Leo came up with last October. It's sort of been an unofficial Maud theme for us, and everyone he's played it so far has loved it. We're in slight disagreement over what it evokes - but isn't that how music is? I see it as more euphoric and triumphant, whereas he sees it as more bittersweet and says people have cried when they've heard it. I can see it that way, too, so the publication of Anne seems to me the best place to use this music. You'll see. I'm pretty sure I can make that work. It's just an awesome enough piece that I feel it has to be used for an important moment and not one of the more common ones!
Of course, stay tuned for more - right here on LMM-TV!
24 August 2006
23 August 2006
North Hollywood, California
Since there are so many Anne fans out there (including myself!), I think it's noteworthy to mention that, this afternoon, Anne made her début into the libretto. I can't believe I'm up to 1905 already, but it's true. Keeping in mind that we're planning shorter scenes and songs than your average musical, to date I have written 21 scenes, 8 songs, and 2 reprises. Of course, these are all words. But a good many of them there are. Today I wrote 2 scenes (I generally seem to do one a day, sometimes two). I like the majority of them but I think it'll be worth going back over them tomorrow and tweaking some things. I'm having a bit of trouble with Grandmother Macneill, and I want to be sure the Frede/Stella stuff feels natural, too. As well as bringing in Una - later known as Kilmeny from Kilmeny of the Orchard. The Anne stuff, although she doesn't say a word in this scene, I feel pretty good about!
Temporarily going red for the opening Anne scenes.
Writing Anne into the libretto!
One thing I wanted to point out is the irony that I've done absolutely all my writing at work. All at the office, nothing here at home! I'm not sure why this is. I keep thinking maybe it's because once I get home there are plenty of things to get distracted with. But I'm always dealing with distractions at the office, so there goes that theory. Perhaps it's because we're going through a rather slow period and it fills the time? I'm not so sure. Maybe it's just that, for whatever distractions are there, it's still easier to get distracted at home with chores and meals and day-to-day junk. Whatever it is, every single word I've written has been from the office. I'm just grateful to have a job where there's enough down time to do this much work, because if I had your typical, full-time job, I don't know when this would get written! If we're going to put this on by June 2008, I want to be finished with the libretto by the end of 2006, barring revisions.
So far my unintentional writing schedule has me writing Monday, Tuesday, Wednesday, and Thursday. Fridays at the office are generally pretty busy with actual work I have to do, so I don't even try> to write on Fridays. Of course, I'm home on the weekends, but it's the only time I have to do other things, so no writing gets done then, either. Mind you, I'm going to the gym now 3 times a week as well and I have a relationship to maintain, and every once in a while my friends get some (very little!) attention. I wish I was writing more, but, all things considered, I'm going at a pretty good clip. I don't think I've ever written this much this fast!
Since there are so many Anne fans out there (including myself!), I think it's noteworthy to mention that, this afternoon, Anne made her début into the libretto. I can't believe I'm up to 1905 already, but it's true. Keeping in mind that we're planning shorter scenes and songs than your average musical, to date I have written 21 scenes, 8 songs, and 2 reprises. Of course, these are all words. But a good many of them there are. Today I wrote 2 scenes (I generally seem to do one a day, sometimes two). I like the majority of them but I think it'll be worth going back over them tomorrow and tweaking some things. I'm having a bit of trouble with Grandmother Macneill, and I want to be sure the Frede/Stella stuff feels natural, too. As well as bringing in Una - later known as Kilmeny from Kilmeny of the Orchard. The Anne stuff, although she doesn't say a word in this scene, I feel pretty good about!
Temporarily going red for the opening Anne scenes.
Writing Anne into the libretto!
One thing I wanted to point out is the irony that I've done absolutely all my writing at work. All at the office, nothing here at home! I'm not sure why this is. I keep thinking maybe it's because once I get home there are plenty of things to get distracted with. But I'm always dealing with distractions at the office, so there goes that theory. Perhaps it's because we're going through a rather slow period and it fills the time? I'm not so sure. Maybe it's just that, for whatever distractions are there, it's still easier to get distracted at home with chores and meals and day-to-day junk. Whatever it is, every single word I've written has been from the office. I'm just grateful to have a job where there's enough down time to do this much work, because if I had your typical, full-time job, I don't know when this would get written! If we're going to put this on by June 2008, I want to be finished with the libretto by the end of 2006, barring revisions.
So far my unintentional writing schedule has me writing Monday, Tuesday, Wednesday, and Thursday. Fridays at the office are generally pretty busy with actual work I have to do, so I don't even try> to write on Fridays. Of course, I'm home on the weekends, but it's the only time I have to do other things, so no writing gets done then, either. Mind you, I'm going to the gym now 3 times a week as well and I have a relationship to maintain, and every once in a while my friends get some (very little!) attention. I wish I was writing more, but, all things considered, I'm going at a pretty good clip. I don't think I've ever written this much this fast!
09 August 2006
Studio City, California
Maud talked a lot in her journals about how hard it was to write amid constant interruptions. I feel her pain! Of course, it's my own fault, I suppose, trying to write at work. Oh, don't worry; I'm not sneaking it - they know. And there's generally enough down time for me to get a good bit of work done, which I'm grateful for. How many writers can write at a day job? But it's not without its drawbacks. The phone rings, someone asks me to do something, delivery services arrive - and this week I'm finding it quite annoying. These last 2 sequences I've written (So I Say Farewell and More Important Things) have been very complicated by nature and have required a lot of further research and concentration, and it's a wonder I've gotten anything written with everything conspiring to throw off my train of thought! How did Maud do it?
But I did it, too...as of now I have written 10 scenes with 6 songs within them. I'm at least grateful that I'm in such a prolific phase.
Maud talked a lot in her journals about how hard it was to write amid constant interruptions. I feel her pain! Of course, it's my own fault, I suppose, trying to write at work. Oh, don't worry; I'm not sneaking it - they know. And there's generally enough down time for me to get a good bit of work done, which I'm grateful for. How many writers can write at a day job? But it's not without its drawbacks. The phone rings, someone asks me to do something, delivery services arrive - and this week I'm finding it quite annoying. These last 2 sequences I've written (So I Say Farewell and More Important Things) have been very complicated by nature and have required a lot of further research and concentration, and it's a wonder I've gotten anything written with everything conspiring to throw off my train of thought! How did Maud do it?
But I did it, too...as of now I have written 10 scenes with 6 songs within them. I'm at least grateful that I'm in such a prolific phase.
27 July 2006
North Hollywood, California
Well, ya write one, ya gotta write more. I guess it was Leo's positive reaction to the first scene/song when he got back that's spurring me on. I'm brought back to that part of writing where it's one thing to think about it and conceptualize it, but another to sit down and actually write it - and it almost always comes out different than you're expecting, at least in detail.
The thing that got me was, the first scene seemed comparatively easy. The second scene I struggled with! Suddenly you have two scenes and you're comparing them to each other and you want to make sure each has its own voice and you don't want to repeat yourself, which isn't necessarily easy! I'm also having to keep in mind Maud's age at the time, all the historical aspects and faithfulness to her life, and then there's the other characters. I finished Scene 2, but I'm not jumping up and down about it yet. I'm just doing what they talk about in that book The Artist's Way and getting something committed to...uh...pixels, and then I'll come back to it later. Given I really need to be done writing this by the end of 2006, I can't afford to get stuck for very long!
Then today, Scene 3 poured out of me and I feel like it's the best one yet (naturally, there's no lyrics in that scene!) and I got up to the song in Scene 4, which is where I stopped. But it was good progress, and I felt good about it. Leo hasn't seen 2, 3, or 4 yet. That will probably happen tomorrow. Onward!
There are also some developments in terms of paperwork and formalities and all, which I won't go into detail about. But it's exciting stuff. This is the first time I've worked on a project that involves so many other people! Well, I suppose my video involved plenty of people, but it was still my concept and subject only to my own approval. This musical has so far heralded so many new experiences that it would exceed your bandwidth to list them all!
I suppose I should be sticking to my original plan of rewriting the treatment...but I supplemented the June draft with enough of the new info that I feel like I can take a chance on the actual writing now. And it's satisfying to finally be writing dialogue and lyrics after a year. More than that, I'm starting to enjoy doing it. Hopefully that'll translate to what you end up seeing!
Well, ya write one, ya gotta write more. I guess it was Leo's positive reaction to the first scene/song when he got back that's spurring me on. I'm brought back to that part of writing where it's one thing to think about it and conceptualize it, but another to sit down and actually write it - and it almost always comes out different than you're expecting, at least in detail.
The thing that got me was, the first scene seemed comparatively easy. The second scene I struggled with! Suddenly you have two scenes and you're comparing them to each other and you want to make sure each has its own voice and you don't want to repeat yourself, which isn't necessarily easy! I'm also having to keep in mind Maud's age at the time, all the historical aspects and faithfulness to her life, and then there's the other characters. I finished Scene 2, but I'm not jumping up and down about it yet. I'm just doing what they talk about in that book The Artist's Way and getting something committed to...uh...pixels, and then I'll come back to it later. Given I really need to be done writing this by the end of 2006, I can't afford to get stuck for very long!
Then today, Scene 3 poured out of me and I feel like it's the best one yet (naturally, there's no lyrics in that scene!) and I got up to the song in Scene 4, which is where I stopped. But it was good progress, and I felt good about it. Leo hasn't seen 2, 3, or 4 yet. That will probably happen tomorrow. Onward!
There are also some developments in terms of paperwork and formalities and all, which I won't go into detail about. But it's exciting stuff. This is the first time I've worked on a project that involves so many other people! Well, I suppose my video involved plenty of people, but it was still my concept and subject only to my own approval. This musical has so far heralded so many new experiences that it would exceed your bandwidth to list them all!
I suppose I should be sticking to my original plan of rewriting the treatment...but I supplemented the June draft with enough of the new info that I feel like I can take a chance on the actual writing now. And it's satisfying to finally be writing dialogue and lyrics after a year. More than that, I'm starting to enjoy doing it. Hopefully that'll translate to what you end up seeing!
20 July 2006
Studio City, California
I may have just written the first scene - and the first song - of the musical! I had put down a few words already on 7 March, but of course there was far more research to be done; it was just a lark. Today...well, I just got tired of research and assimilating information - by now I certainly have enough to at least give it a go. And there it came, full lyrics and all. Is it any good? I'll get back to you on that one. I will have to run it by Leo when he gets back (he's filming on-line piano lessons in Massachusetts this week). But I think I've captured enough of the essence to where it's a passable first draft. I certainly won't journal every time I write a scene, but I felt this one was rather momentous, and it deserved a little announcing!
One down...??? to go...
11 July 2006
Studio City, California
Lucy Maud Montgomery kept a journal for over 50 years. So it seems only appropriate to start one up here on the site for our musical, The Nine Lives of L.M. Montgomery. As of this writing, it’s officially just a working title, but Leo and I like it more as time goes on. It really seems to encapsulate in one simple phrase LMM’s rather complicated existence. The title may change as things go on, but for now it works…and after we fenced over possible titles for months, we’re perfectly happy to have one instead of just calling it “the musical”! For this we thank Leo’s mother, Annabel Marchildon, who suggested it when we had a brief stopover in Toronto on our way back from Prince Edward Island 3 weeks ago.
I guess I should bring you up to date in terms of where I am on the production of this thing. I suppose it’s rather cavalier to say “thing”; my feelings for LMM (or Maud – I may switch back and forth here) and her life and work range from intense fondness to deep respect. That’s not to say I agree with all her artistic choices, but she managed, as she once vowed, to keep the shadows out of her work, which is one helluva feat. See, that’s not me – I like putting the shadows in and grappling with issues in my own work, getting to the meat of things. I guess you’ll see that in the musical. I’m getting off track…I’ll do that once in a while…I do it in my personal journals and I’ll do it here, if you please.
By the way – I will never have my personal journals published the way Maud did! Oh, the humanity!
I’ll talk about the year that led up to the decision to pursue this musical some other time…but it was over 10 months ago (September 2005) that I started reading Maud’s journals. And taking extensive notes – like being back in high school! They’re Leo’s books, so I didn’t want to be marking them up, but I later found that physically writing things down helped me metabolize the information better. Since our thrust is to juxtapose (love that word!) Maud’s novels against her life experience at the time of writing them, I also had to start reading the novels. I’d seen the Anne of Green Gables movie, of course, and before September I had read Anne of Avonlea and Anne of the Island. But even by the time I finished reading the journals in late January/early February, I still hadn’t moved beyond the Anne books. I want to mention that my car died in January so I had to start taking the bus – it sucks, but I was able to be philosophical about it when I realized how much reading I could get done! So you can thank L.A.’s public transit system that I was able to read everything as fast as I did. :)
In February we went to Toronto to meet with Kate Macdonald Butler, Maud’s granddaughter, and Sally Cohen, one of her representatives. We had told them about our idea, but there was still some hesitation until they heard more about our approach. We still had to win over the rest of the Heirs, but when Kate and Sally suggested reading material to us and told us we should attend the LMM conference in Prince Edward Island in June, we felt it was a good enough show of faith to where we would continue our work.
In a way, Leo’s got it easy, at least at this stage. No doubt when his time comes to hammer out the music he will be mired in it for weeks and months, but at this point, as the writer, it’s all about me. For me to write an accurate and entertaining portrayal of Maud, I not only had to read everything she wrote but then read analyses of her, her work…you name it. So, already on the plane from Toronto I set to work reading Maud’s non-Anne novels – one a week for at least ten weeks! I hadn’t read so much since sixth grade! Meanwhile, in early March, I started writing out a treatment, or an outline if you like, suggesting dialogue and songs based on the information I had. It’s very long – so Leo will tell you. For me, we’re attempting something different by using a screen as a backdrop which will allow scenes to flow better, and, as there’s so much ground to cover in Maud’s life, everything has to move and therefore the scenes and songs will be shorter. Still, I will admit I need to do more consolidating. At any rate, I ultimately finished reading the books and the first draft of the treatment in late May. We went a round consolidating Act 1 in early June, but then there was a trip to Prince Edward Island to prepare for…
You wanna talk about hitting the ground running? We flew in and four hours later were were at UPEI for a talk given by Elizabeth Waterston, who was set to teach an abbreviated LMM course with Jennifer Litster as a lead-in to the conference. Time constraints forced us to choose between the course and the conference; we chose the course because its comparison between the journals and the novels pretty well paralleled what we’re trying to do. I not only took a class (and did homework!), but Leo and I also visited several key LMM locales and conducted interview after interview with most of the major Maud heavies – Drs. Waterston and Litster, Father Francis Bolger, Robert Montgomery, George Campbell and Pam Campbell, Carolyn Strom Collins, Mary Beth Cavert, and Elizabeth Epperly.
So what’s happening now is that, after a much-needed Maud break (can you say “oversaturated”, boys and girls?), I’m finally listening back over the interviews and taking copious notes – again. You see, we did what we could with the information we had for the treatment, but now we have so much more information and scores of nuances…well, another rewrite of the treatment is in store, obviously. One thing I’m looking forward to is taking this new information and really three-dimensionalizing the other characters – Maud’s husband and children, and her friends. Reading the journals gives you a good feel for Maud herself – despite the fact that it’s obviously biased – but it’s really easy for the other characters to end up as caricatures, which we absolutely don’t want! So it will be fun to go through and add some depth to them.
But first…I have one more interview to listen to and then a little more reading to do. I’ve been hoping to start rewriting the treatment next week so I can start dialogue and lyrics by the beginning of August. We’ll see. These things always take longer than you think they should, especially when real life works its way in – something Maud knew about extensively!
Speaking of extensive, this entry is pretty well long enough. I just wanted to get some backstory in there; not all entries will be like this. I hope to pop on here often to give you a true idea of the creative process I’m about to undertake! I’m champing at the bit to start writing the actual libretto – of course, I’ve gotta have all the info first. So stay tuned and join me on this journey!
Maud said “biography is a screaming farce”. I not only hope to prove her wrong, but to create something she would actually like and be proud of. How’s that for maudlin? Oh, geez…pardon the pun…I honestly wasn’t trying for one!
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