The break on this blog was certainly longer than just August. The aim is to post on the first and third Wednesdays of the month, moving forward. The first Wednesday did not work, since there was some kerflamma with WordPress. So, here we are.
The WGA Strike hit me hard, at least as far as income is concerned. It’s worth it, since the studios want to destroy this particular art form both as an art form that communicates to hearts and souls, and as a viable profession. The strikes that have happened across the country this year are necessary.
But that doesn’t make the day to day and month to month demands on bills any easier.
And it doesn’t make roll my eyes any less and forward to the Guild all the predatory scabbing attempts that try to workaround the strike that regularly land in my inboxes. And delete all those crap emails about “full-time freelance” (for a single employer) or “20 hours, but you must be available to work 37.5 hours” emails that also land in my inboxes. That’s called an unbenefited employee, and nope, not doing it.
In spite of that, the bulk of my work has not been in the typical nonfiction independent contractor field over the past few months, and that’s okay.
I was fortunate to be a part of the Dramatists Guild’s End of Play program in April, in which I wrote the first draft of FALL FOREVER, a full-length play that was born in June of 2022 in a playwrights’ workshop hosted by the Williamstown Theatre Festival. I was even more fortunate to have it chosen for a virtual reading in early May with some wonderful, dedicated actors. The play has gone through a few rounds of thorough revisions in the interim, and is now out on submission. Fingers crossed.
At the end of May, I attended a local small business expo. I had a wonderful time, exchanged a lot of cards, and have had a lot of fun following up, chatting, and planning future projects with fellow entrepreneurs.
In July, once again, I was part of Word X Word Festival’s Very Large Poem, where 51 poets created a collaborative poem that flowed around the audience seated in the center. It was an amazing experience. In August, I was part of their Poets in Conversation series, creating a piece around the topic of book banning and gun violence. In October, I create another poem for that series on the topic of work.
In late July, I was able to begin a year-long project at the Clark Art Institute creating ekphrastic poetry, flash fiction, and plays inspired by various art pieces, both in traveling exhibitions (such as their PROMENDADES ON PAPER and EDVARD MUNCH: THE TREMBLING EARTH) along with work from their permanent collection. I go about once a week and spend time with various pieces. Later this autumn, I will do some research in their library.
In August, I was finally able to go down to research in the Westchester Archives about my Playland Painters (the five women who painted the props at Playland Amusement Park from 1928-1940). I found names for the original painters, and I am in the process of tracking them through libraries, archives, and census records around the country, to see if I can prove if any of them are the women in my photo. I also learned some fascinating information that fed into a project mentioned later on.
From August through early October, I’ve been honored to be a part of Nightwood Theatre’s Creatryx 3.0 unit. Nightwood is a feminist theatre company in Toronto, and they put together an amazing group of theatre artists to create and support each other’s work. I’ve worked on a full-length stage drama with the working title of FROZEN AT THE PALACE THEATRE, again born in the 2022 Williamstown workshop. I also shared the opening of THE WOMEN ON THE BRIDGE, another full-length stage play, inspired by Munch’s 1904 painting of the same name (also sometimes referred to as THREE GIRLS ON A JETTY). The feedback on both has been enormously helpful. The plan is to finish the first drafts of each of them by the end of the year.
Through all of this, I’ve continued with the serials. Legerdemain, the fantasy/mystery, continues to drop episodes on Tuesdays and Thursdays. It’s structured to be ongoing (not a book released in chapters) for as long as it’s viable. It even has its own website. Welcome to Legerdemain, a city of magic, misfits, and murder.
Angel Hunt, the urban fantasy about a witch, an angel, and an impossible task, releases new episodes on Wednesdays and Fridays. It is finite and completely written; I’m still uploading it and expect it will end in Spring 2024 after around 140 episodes. If it continues to be viable, I have several more seasons planned, and have started writing season 2, called The Lighthouse Lady.
Deadly Dramatics, the retro mystery about love, lust, theatre, rock and roll and murder, set in 1996 New York, launched this past July. It is completely written and uploaded, with new episodes going live on Wednesdays and Saturdays until October 5, 2024 (it runs 128 episodes). If it continues to be viable, there will be more seasons. I have some outlines, and I’ve started writing season 2, The Vicious Critic.
You can watch intro videos on all the serials on my serials page, and there are new episode videos on TikTok for each episode drop.
I’ve written some short stories, two of which will appear later this year. “Lavender” will be in New Zealand’s FLASH FRONTIER in October, and “The Forest Library” will be in DOES IT HAVE POCKETS? In December.
One of my ekphrastic poems was chosen to pair with a woodblock print out in Easthampton, and I was able to attend the show’s opening and read, with my fellow poets.
I’ve had conversations with several radio producers and have more radio plays out on submission.
I still release a new column of The Process Muse every Wednesday over on Substack.
I’ll be part of Llewellyn’s 2025 Spell-A-Day Almanac; since we write two years ahead, those 25 short pieces went out the door a few days ago.
I’ve been lucky enough to attend art openings and open studios and see some excellent theatre over the past few months. I enjoyed meeting fellow artists, got inspired by their work. One of them even taught me how to work with Gelli plates, and now I am obsessed. I’m also experimenting more with clay, textiles, and mixed media.
Where does that leave the freelance contractor work?
The demise of Twitter meant I took a hit in sales for the Topic Workbooks, the other books, and negatively affected the serials. As I mentioned in previous posts, I’m experimenting with different social media channels. I posted in January and June about my experience, and will do another post in December of this year.
I need to spend more time in the Kindle Vella promotion groups on Facebook, but I can only do so when I can commit the time to read others’ work.
I’ve loved the work I’ve done these past months, and it makes me rethink the kind of work I want to do as a freelance contractor. Opportunities that I would have jumped at even a year ago no longer have an appeal. And that’s okay.
It’s about redefining how I want to work in partnership with other businesses and communities moving forward. Between weather and rising COVID numbers, it will be a pretty isolated winter of remote work again, and I need to seek out partnerships that will carry through the winter into spring and be fulfilling on both creative and financial levels.
I have some irons in the fire for next spring going into next summer, and we’ll see what does and does not pan out, and make further decisions from there.
I’m maintaining my decision not to take on social media work for clients at this point. With the fractured social media landscape, I do not believe I am the right person for that job. And my refusal to use AI in any of my work informs a lot of my decisions with whom to work.
I’m not counting on the strike to be settled before the end of the year, and am therefore looking at other work. If the strike ends earlier, and the script analysis and/or scriptwriting work picks up again, I can make decisions on a project-by-project basis.
I hold the boundaries of no unpaid labor as part of the interview process. That includes project specific samples, tests, or introductory/interview videos. All of that should be paid labor, and any “business” who expects it for free is not someone with whom I’m interested in working.
I’ve noticed a lot of businesses are trying to revert to pre-COVID policies and marketing strategies and then they act surprised when no one (neither customer nor potential employee) is interested in buying what they’re selling. I’ve had several “why aren’t you interested in working with us?” and “why won’t you do this for free?” questions over the months, and I have been straightforward in my answers.
We don’t live in the same world as we did at the end of 2019, and the same old strategies are not going to work.
That is as true for me personally and professionally.
I have no idea, at the moment, where this will all lead. I’ve reworked my resume and my LOI template. I’m preparing to go into residence in The Studios at MASSMoCA next week with the Boiler House Poets Collective; soon after that, I have jury duty.
In the meantime, I’m compiling a list of potential clients to whom I plan to send either project proposals or LOIS.
What are your plans for fall and winter? How are you changing your focus in your work?
