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End Of Scene Blog Entries
SATURDAY, DEC 7, 2013
Ken makes a scene about why he wrote LIFE ON PAPER
FRIDAY, JUN 7, 2013
[EXCERPTED REVIEW] Broadway World makes a scene about Warrior Class at the Alley Theatre.
FRIDAY, JUN 7, 2013
[REVIEW] The Houston Press makes a scene about Warrior Class at the Alley Theatre.
SUNDAY, FEB 3, 2013
Ken makes a scene about an upcoming reading at Ensemble Studio Theatre
FRIDAY, FEB 1, 2013
Ken makes a scene about joining Season Two of House Of Cards
SATURDAY, DEC 8, 2012
Ken makes a scene about a letter from Liz Engelman
THURSDAY, DEC 6, 2012
Ken makes a scene about "Red State Blue State" on This American Life
MONDAY, NOV 5, 2012
Ken makes a scene about a stage adaptation of Warrior Class for the BBC.
TUESDAY, OCT 16, 2012
Ken makes a scene about participating in Baltimore Center Stage's MY AMERICA PROJECT, directed by Hal Hartley
SUNDAY, JUL 29, 2012
Errol Louis makes a scene about Warrior Class on NY1's INSIDE CITY HALL
WEDNESDAY, JUL 25, 2012
Head critic for NYTimes makes a scene about Warrior Class on WQXR's Around Broadway.
TUESDAY, JUL 24, 2012
REVIEW: The Daily News makes a scene about Warrior Class
TUESDAY, JUL 24, 2012
REVIEW: The New York Times makes a scene about Warrior Class.
TUESDAY, JUL 24, 2012
REVIEW: Variety makes a scene about Warrior Class.
TUESDAY, JAN 24, 2012
Ken makes a scene about The Montgomery New's Review of FALLOW at People's Light and Theatre Company.
THURSDAY, JAN 19, 2012
Ken makes a scene about STAGE Magazine's review of FALLOW at People's Light and Theatre Company.
THURSDAY, DEC 1, 2011
Ken makes a scene about a remarkable piece of writing about the American theatre
TUESDAY, NOV 22, 2011
Ken makes a scene about a character's stage transformation
MONDAY, NOV 21, 2011
Ken makes a scene about WARRIOR CLASS online
TUESDAY, SEP 27, 2011
Ken makes a scene about the Asian American Performers Action Committee
MONDAY, SEP 26, 2011
Ken makes a scene about the fast work of SCR's casting department
FRIDAY, SEP 16, 2011
Ken makes a scene about Anne Garcia-Romero's post about LoNyLa
WEDNESDAY, JUL 6, 2011
Ken makes a scene about the Pew Center for Arts & Heritage's $150,000 grant to FALLOW
SUNDAY, JUN 19, 2011
A letter from Kaitlin Hopkins - Head of the Musical Theatre Program at Texas State
TUESDAY, FEB 15, 2011
Ken makes a scene about science plays.
WEDNESDAY, DEC 22, 2010
Ken makes a scene about Intelligence-Slave making the Houston Chronicles Top Theater Shows of 2010 list
TUESDAY, OCT 19, 2010
Ken makes a scene about intra out-group persecution.
WEDNESDAY, OCT 13, 2010
Ken makes a scene about why theater is not a humanity.
WEDNESDAY, OCT 6, 2010
Ken makes a scene about Athol Fugard's criticism about the failure of modern dramatists
MONDAY, JUL 26, 2010
Ken makes a scene about the diverse audience of Queens Theater in the Park
SUNDAY, JUN 6, 2010
Ken makes a scene about the Jewish Herald-Voice's profile of INTELLIGENCE-SLAVE
WEDNESDAY, JUN 2, 2010
Ken makes a scene about Lee Williams's review of Intelligence-Slave in the Houston Press
TUESDAY, JUN 1, 2010
Ken makes a scene about his Intelligence-Slave interview with culturemap.com
SATURDAY, MAY 29, 2010
Ken makes a scene about Everett Evans's review in the Houston Chronicle
TUESDAY, MAY 25, 2010
Ken makes a scene about sharing a collective spirituality in the theater
SUNDAY, MAY 23, 2010
Ken makes a scene about seeing the bird through the feathers
FRIDAY, MAY 21, 2010
Ken makes a scene about tech, letting go of the play and making discoveries in production
MONDAY, MAY 17, 2010
Ken makes a scene about INTELLIGENCE-SLAVE in the Houston Press
SUNDAY, MAY 16, 2010
Ken makes a scene about INTELLIGENCE-SLAVE in the Houston Chronicle
THURSDAY, MAY 13, 2010
Ken makes a scene for the Alley Theatre's Mark Bly
WEDNESDAY, APR 21, 2010
Ken makes a scene about being playwright 151 in Adam Szymkowicz's blog.
THURSDAY, APR 8, 2010
Ken makes a scene about changing the name of his play.
THURSDAY, MAR 18, 2010
Ken makes a scene about pundits and why Tom Hanks is "injecting" racism into World War II.
TUESDAY, MAR 16, 2010
Ken makes a scene about writing "winning" dialogue.
MONDAY, MAR 15, 2010
Ken makes a scene about agents and the ecology of show business.
SATURDAY, MAR 13, 2010
Ken makes a scene about the beauty of the theater actor
THURSDAY, DEC 17, 2009
Ken makes a scene about non-English language productions
TUESDAY, NOV 17, 2009
Ken makes a scene about reviewing business books for theater artists
WEDNESDAY, NOV 4, 2009
Ken makes a scene about THE BIG REWRITE!
TUESDAY, OCT 27, 2009
Ken makes a scene about the discovery of an algorithm for happiness (7ZJJBYD9U6PX)
THURSDAY, OCT 22, 2009
Ken makes a scene about Holocaust fiction as a literary genre
TUESDAY, OCT 13, 2009
Ken makes a scene about Asians who don't go to the theater.
MONDAY, OCT 5, 2009
Ken makes a scene about the challenge of bravery in the theater.
MONDAY, SEP 28, 2009
Ken makes a scene about the death of Tragedy and Comedy.
TUESDAY, SEP 22, 2009
Ken makes a scene about Dave Matthews's statement that racism is "everywhere" in America.
WEDNESDAY, SEP 16, 2009
Ken makes a scene about why playwrights need websites.
End of Scene Blog

... soul-crushing, gut-wrenching, baby-kiling, brilliance cutting ...
Wednesday, November 04, 2009
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Hello, Everyone! Now, that our little web-site is nearing it's eighth (I both love this word, "eighth" and think it's disturbingly bizarre-looking) week of existence, I thought I would write to you and give an update on what I've learned from having a web presence. (Please, remember, I am not a tech-savvy guy, but I have great web developers and they've shown me that things like html and blogging are pretty simple. If I can do it, you can do it too!) So, in the month of October, I'm pleased to report that www.endofscene.com received nearly 2,000 hits from all over the world! I really had no idea that so many people in Portugal and Slovenia were looking for me! [INSERT DAVID HASSELHOFF JOKE HERE] A lot of the traffic came from people reading the blog and re-posting, so thank you 99seats for sharing my thoughts with your readers and also turning me on to some great theater bloggers in cyberspace. I love what Kristen Palmer, my former Interstate 73 compatriot is doing with Plays With Others, her blog, and I also really enjoy the playwright interviews that her husband Adam Szymkowicz is doing.

All told, I'm finding the Internet to be an good home for my work and a great way to get to know the work of others. (Yes, I just discovered the microwave as well, and I'm amazed by how fast I can cook a 20 lbs turkey.) There are so many barriers in this industry. By building a community and sharing ideas, we can advocate for a better world by advocating for writers and ideas that might not yet be on the radars of agents, theaters, publishers, producers, etc. To me, that's pretty exciting. So, if you like the things that you read here, please feel free to post it to Twitter, or Facebook, or ... whatever. You can hit the "+ share" button at the top or bottom of this blog. Eventually, I'll get a comments section on here for people to share their thoughts. At any rate, I'm very excited to be a part of this community!

Okay, so to perform my cyber-civic duty, I've decided to respond to a request from 99seats, for playwrights to "pull aside the curtain" and provide a little insight into the mechanics of the playwriting process. So, I am going to share my thoughts on ... THE BIG REWRITE!

Into every writer's life, a little TBR must fall. Through grad school and various writer's groups, I've had my share of struggles with TBR and I've seen a lot of writers struggle too. Now sometimes, we all get lucky and create something well-formed out of the box, but this is rarely the case. Plays are precious things that are difficult and emotionally-taxing to create. So, when we get TBR notes, writers often fall into the trap of doing some minor massaging, thinking that the things that made their plays confusing and distressing to an audience can be glossed over. This almost never works. Writers, if you've a.) written a work of high merit, that's b.) confusing and distressing to a reader and/or an audience that you trust, you must, must, must familiarize yourself with the soul-crushing, gut-wrenching, baby-kiling, brilliance cutting process that is ... THE BIG REWRITE!

In the plays section of the website I've posted the first and second draft of The Lynching of a White Man in Rural, CA [working title] in its entirety. This is a play that I wrote as a commission for Arena Stage and it required/requires TBR. I wrote this play while I was in rehearsal for my play Po Boy Tango where I had fallen in love with an ABAB dialogue/monologue structure.

Writing monologues for a character that is giving a cooking lesson works, but, using monologues to tell the story of a young man journeying through agricultural America didn't cut it. Why? The audience wants to experience what the character is experiencing. When hearing a monologue about what someone is cooking on stage, the audience is in the present. When hearing a monologue about remembrances from a journey, the audience needs to do the extra mental step of journeying into the character's past. This can be effective in small bits, but for half a full-length play, it's exhausting. I needed to turn all of these monologues into more dramatic experiences. So I created new characters and turned each monologue scene into a dialogue scene.

Below is a comparison of excerpts from each draft.

Big Rewrite Scene III

So, what do you think? Have I improved the script? I think I have. Sure, I've lost a little bit of poetry but the scene is much more active and I think Aaron's reasons for leaving school and going on his journey are far more clear. The next thing I'm going to consider revising is the ABA structure of the piece, thereby using structure to surprise the audience and keep it guessing. But, that's the next TBR!

end of scene
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