Play Time: Top Girls by Caryl Churchill

Caryl Churchill’s 1982 play Top Girls centers on Marlene, an agent at the London-based Top Girls employment agency, who has just been promoted to manager. The action of the play occurs in three main spaces: the Top Girls agency, where the audience sees the tensions Marlene and her female colleagues are facing in a male-dominated world; the home of Marlene’s sister Joyce and Marlene’s illegitimate child that Joyce has raised as her own, where the audience sees Marlene’s lower-class roots and her rejection and contempt for them; and, the opening scene taking up more than a third of the play, a celebratory luncheon attended by historical female figures—some fictional, some real, some a combination of both—advising Marlene on her success and relating their own stories of achievement and challenges in patriarchal societies.

While there is no dramatic this-leads-to-that connection between these different spaces, they are all in conversation with one another, and in productions of the play all of the actors for the historical figures are double cast as other characters throughout the rest of the play. This thematic dialogue between the different spaces is what ties the play together into a cohesive exploration of female empowerment, and the self-destructive nature of empowerment through capitalistic, patriarchal means. It’s also, in itself, a theatrical way to represent how past and present overlap, echo, and argue—both the past of Marlene’s personal life, and the past of the entirety of history.

Interruptions and Continuations

The first scene of the play does an excellent job of dramatizing the conversation of history, with five historical figures converging in the present moment. Rather than a normal, back-and-forth conversation, the characters talk around one another. Instead of one character telling a story about an illness they had, and another saying “I had something like that too—how long did it last for you?” the dialogue runs more like:

“ISABELLA: But even though my spine was agony I managed very well.
“MARLENE: Wonderful.
“NIJO: Once I was ill for four months lying alone at an inn. Nobody to offer a horse to Buddha. I had to live for myself, and I did live.
“ISABELLA: Of course you did. It was far worse returning to Tobermory. I always felt dull when I was stationary. / That’s why I would never stay anywhere.
“NIJO: Yes, that’s it exactly. New sights. The shrine by the sea. The goddess had vowed to save all living things. / She would even save the fishes. I was full of hope.
“JOAN: I had thought the Pope would know everything.” (24-25)

Read More »

Free Fiction: The Forgotten Coast

This was originally a writing exercise for my Foundations of Creative Writing class. I revised it a few times for that class, and I’ve toyed around with posting it here. Now, with the publication of “Calamcity,” I can leverage it into a promotional tool for that novelette, so it’s like I’ve got to publish it now, right? So, here it is:

The Forgotten Coast

I finally went on one of those kitschy submarine tours around the sunken wreckage of Pensacola and PCB and the Forgotten Coast. Hurricane Erica wrecked the shop, so I’d been sitting around waiting for the insurance company to get back to me, to see whether I was finally down the drain after circling it so long—and I saw an an ad with a coupon code for the Forgotten Coast tour. A few years ago, Jesse had really wanted to go on it, just before her, Ed, and their kids moved inland, but I’d been sick. Not sick enough to not go, but I’d played it up like I was. I always knew that I could go to the coast whenever I wanted, so I never felt any urgent pressure to do so. It was all flooded already, a few years’ more sea-level rise wouldn’t change that. And the ruin-porn aspect of it chafed at me. I didn’t want to sit in a sub with a bunch of inlanders gazing in awe at my ravaged childhood like it was a disaster movie.

But I saw this ad with a coupon code, and I was doing nothing, and I had this strange feeling like maybe, with the shop in shambles, I would finally be moving inland like my family and friends had done years and years ago, and maybe this one stupid coupon was meant to be my last chance to see the coast—so I bought the discounted ticket. I took a bus down from Tallahassee to Milton, now a coastal town. It was mostly tourists getting onto the sub (I could tell by their clean, uncorrupted northern English and pale skin) and a handful of local kids with red-brown tans. At least, they looked like kids to me. Teens, early twenties, late twenties—kids.Read More »

New Publications: “Calamcity,” and “De.mocra.cy” Audiobook

We’re well into summer now, so I’ve just published a summery novelette about a topic that I just can’t leave alone: climate change in Florida. A couple years ago, I posted two pieces of research on beach nourishment—that research was done for this story.

Minolta DSC“Calamcity” is set in a not too distant future, when beach erosion has accelerated dramatically due to rising sea levels and increased hurricane activity—but a new breed of bioengineered living shorelines appears to be a perfect solution to hold sand in place. To oversee a test-run of this technique, Joseph Lopez joins his brother Steve on Cape Dodd, a Floridian beach that has been battling erosion for years under Steve’s management. Joseph just wants to bring back the large, stable, sunny beaches of his youth, and provide a nice vacation house for his aging parents. But as Joseph and Steve find, Cape Dodd is in for a rough summer of constant hurricanes and mysterious mass die-offs of the living shoreline.

You can get “Calamcity” on Smashwords or Amazon.

Also, I’ve just released the audiobook for “De.mocra.cy,” a short story about symbolic protest, gangs, and regulation in a democratically run MMO. The audiobook is written and performed by me, so if you enjoyed my production of The Absolute at Large, you should enjoy the performance of this story. The audiobook is available for digital download on CDBaby, on Audible and iTunes. You can listen to a sample of the audiobook in the video below. And you can listen to some outtakes and moments of silliness from the recording session in the video below the video below.

Play Time: Strange Interlude by Eugene O’Neill

Strange Interlude covers a span of about twenty-five years in the lives of Nina Reeds and her three lovesick admirers—Charles Marsden, Edmund Darrell, and Sam Evans. At the beginning of the play, Nina is heartbroken over the death of the love of her life, Gordon Shaw, in World War I. Throughout the rest of the play, she is attempting to fill in the gaps left by Gordon with Marsden, Darrell, and Evans. There are plenty of twists across the nine acts of this five-hour play, but the most notable feature is the internal monologue device. Characters frequently stop to deliver their thoughts in a stream-of-consciousness style—not in a Shakespearean manner, where the actors seem to be taking the audience into their confidence, but more like the playwright has slowed down the action and opened up the mind of a character to show the audience their thought process.

This play deals with time in two ways—in micro and in macro. The micro is the internal monologues, which take individual, fleeting moments and expand them into sometimes multiple minutes of speech. The macro is the enormous scale of the play itself, which covers over two decades, comprises nine acts, and is typically presented with a dinner break in between acts five and six. The tension between these two levels of time is the tension, and dissonance, experienced by everyone—the brief, minute, immediate nature of the present set against the enormous backdrop of a person’s life.

Micro

O’Neill achieves this sense of immediacy in a few ways. First, the obvious, through the monologues. While there’s no indication of whether or not the rest of the scene freezes or slows down when a character’s internal monologue begins, it certainly seems to slow down. The monologues are full of ellipses and rambling sentences, questions and repeated ideas. The effect of this slow, languorous pace to the interior of the characters is that when the actual dialogue of the scene resumes, it feels rapid and instant, unrestrained.Read More »

Play Time: Not I, Footfalls, and Rockaby by Samuel Beckett

For this project, I wanted to read some short plays at some point, as short plays can get away with doing deviant formalistic things that longer plays can’t. I chose these three plays by Samuel Beckett because they are sometimes collected together, or performed together, and with good reason. While each play was written separately, all of them overlap in their treatments of time and memory.

Not I

Not I is a monologue performed by “Mouth.” When staged, the actor playing Mouth wears black make-up over her face, and the lighting is as isolated as possible to just the mouth. The effect is of a disembodied mouth, floating in darkness, rapidly reciting sentence fragments which tell a story of a woman—presumably the owner of the mouth—who has lived a solitary, bleak life, and who has scarcely spoken throughout all of it. The title comes from the repeated refrain of Mouth: “what? … who? … no! … she!”—denying that what she is describing happened to her.

The play explores the disjuncture between experience and retelling, with the speaker being an extreme case of someone whose speech has become drastically separated from her experience of the world. The whole play, Mouth is trying to make sense of the woman’s life, constantly asking questions, constantly doubling back, always unsure, and always careening forward to dig up some other scrap of memory. The way Mouth bolts through fragmented sentences puts in mind a person searching through a library for a book, and reading aloud titles and last names of authors as they go.

The speech is not just an attempt to retell what has happened in this woman’s life for the sake of the audience—it is an attempt to make sense of it for herself. Almost all her life she has been speechless, unable or unwilling to connect her experiences with linguistic structure, and so Not I is an attempt to do so. It is a demonstration of the difficulties of manifesting a life verbally, of making sense of events through retelling, and of the disconnect between the person who lived an experience and the person telling it (even if they are one and the same.)Read More »

Play Time: We Are Proud to Present a Presentation about the Herero of Namibia, Formerly Known as South West Africa, from the German Südwestafrika, between the Years 1884-1915 by Jackie Sibblies Drury

This past semester I needed to fulfill my honors requirements by completing 3 s.h. of honors credit. I wasn’t in any honors classes, so I did this by contracting a creative writing class focused on time, by designing an additional curriculum of nine plays that I would read and respond to—all of them dealing with time in some way. Thus, Play Time—nine essays analyzing specific plays, pulling apart the way the playwrights are using the medium of theatre to manipulate or comment on or distort or theorize about time. The idea isn’t so much to definitively state What X Play is About, but more to point out what I find interesting in the play, and figure out how the artist—or how theatre as a medium—achieved it. This first post is on We Are Proud to Present a Presentation about the Herero of Namibia, Formerly Known as South West Africa, from the German Südwestafrika, between the Years 1884-1915 by Jackie Sibblies Drury, and I promise I will only use the abbreviation of that title from here on out.

We Are Proud to Present is a play about six actors putting together a theatrical presentation detailing the history of Namibia as a German colony, and the genocide of the Herero people. The play is as much focused on the conquest, exploitation, and extermination of the peoples of Namibia as it is on how the actors are portraying it, how they are trying to relate to it, how theatre operates as a medium, and how to tell the history of a people who were almost completely wiped out. 

Processtation

The play (that is, the theatrical work written by Drury) portrays this presentation (that is, the theatrical work performed by the characters in the play) from start to finish in chronological order, though it switches back and forth between “The Presentation” and “The Process” (7). Each scene is labeled as one of the two. “The Presentation” is an actual performance of the presentation, and “The Process” is a rehearsal of it (presumably early on in the production.) So while the audience (that is, an actual real world audience) is seeing the presentation about the Herero of Namibia from start to finish, they are also seeing the actors themselves in two different moments in time. This structure accomplishes a few things.

First, it’s an efficient way to show both the creation of the show and the show itself. The play could’ve been divided into two acts, the first The Process and the second The Presentation, but by interweaving the two into one continuous action, Drury can avoid repetition, and just show the most important pieces of each strand.

Second, it makes it very clear how The Process is being expressed in The Presentation. For example, at one point during rehearsal, the actors are doing an exercise, and Actor 3 is acting as Actor 6’s grandma:

“(ACTOR 3 smacks ACTOR 4 with his prop on each “Tell.”)
“ACTOR 3 (as Grandma): Tell me that you didn’t eat that cornbread. …
“Tell me that you didn’t eat that corner piece of cornbread.
“I don’t need you to Tell me that you ate that corner piece of cornbread.
“I can Tell the corner piece is missing so Tell me that you ate it.
“Tell me.
“Tell me.” (58)

Later on, during the actual performance, the audience sees how the actors have repurposed this theatrical device for a completely different scene, with completely different implications:

“(ANOTHER WHITE MAN lands blows on BLACK MAN on each “Tell.”)
“ANOTHER WHITE MAN: Tell the man you broke the law …
“Tell the man you were gonna kill me.
“I don’t need you to Tell me that you were gonna kill me.
“I can Tell you wanted to kill me, so Tell the man.
“Tell him.
“Tell him.” (102)

There are echoes, recurrences, like this all throughout the play, and by presenting the rehearsal and the performance in such close proximity Drury examines how the most contentious, the most bizarre, or the most seemingly useless ideas generated during rehearsal are reshaped, retooled, and evolved to express something in the presentation.Read More »

New Publication: The War on Hormones

twoh-c-5It’s summer now—I just finished my sophomore year of college, and high school students around the country are wrapping up their spring semesters—so here’s a novelette about high school, half of which I wrote during my senior year of high school, and half of which I finished after graduating. You can buy it on Smashwords or Amazon. Here’s the synopsis:

In the near future, bioengineering companies create neutralizers—unicellular organisms that can destroy sex hormones in the brain, hopefully improving the academic dedication of students. Silver Path, a new performing arts school, is a pioneer in requiring that its students be neutralized. This kind of environment is perfect for Edward Warwick, a 12th-grader intensely dedicated to acting, and intensely wary of romantic distractions. But over the course of his senior year at Silver Path, it becomes clear that there are many hormones other than testosterone and estrogen, and making it out of high school without any drama may not be as easy as a monthly neutralizer check-up.

The publication also contains an afterword in which I describe how my own final year of secondary education directly lead to, and provided fodder for, this story.

New Publication: The Only Series that Matters

TOSTM-c-3Well, it’s newish. It’s a collection of all the posts I’ve been making about A Series of Unfortunate Events. If you haven’t been reading them, it’s a series of essays in which I examine each book in A Series of Unfortunate Events upon rereading them a decade after I first fell in love with them as a kid. The essays highlight literary techniques, thematic explorations, and the ideas communicated in these books that have resonated with me from when I first read the series to today.

If you have been reading them, consider purchasing the collection to support posts like these, and the blog in general. The collection holds all the posts that have appeared on this site so far, plus the last four posts that will appear on the site over the course of the next month, polished up and consolidated for the book. It also contains “Chapter Fourteen,” an essay that won’t be published on this blog, discussing my relationship with the series through different parts of my life, and The Appalling Appendix—an index of selected notes, quotes, and observations from the file I kept while rereading the series.

Currently it’s available on Amazon, and UPDATE: it is now available on Smashwords!

New Publication: Boom Town

I’ve just published “Boom Town,” a short story available on Smashwords and Amazon.

boomtown-4The story takes place in a small town on the living planet of Eltru, when a vast reserve of fuel is discovered beneath the town. Katherine, a young girl whose family lives on a spice farm over the fuel reserve, quietly observes her parents as they struggle over whether or not to sell their land to a mining corporation, and move away from their home. She relies on her close relationship with her brother to help her understand the secret conflicts and tensions between the adults, and ends up keeping some dangerous secrets of Julian’s herself.

The publication includes an afterward where I describe how subscribing to Asimov’s influenced the story, and my writing sensibilities as a whole.

New Publication: Grumbles

I’ve just published “Grumbles,” a short story available on Smashwords and Amazon.

cover-4The story  is told by Claudio, who returns to the house of his uncle Terrance, one of his many guardians during his tumultuous childhood, to decide what memorabilia he wants to take with him on his move to the asteroid belt. As he sifts through old scrapbooks and toys, he re-discovers “Grumbles,” a robot companion from his adolescence with an acerbic, sardonic attitude. Space is limited on the shuttle out to the belt, so Claudio and Grumbles argue heatedly about which objects are worth taking, and which items present a distorted recording of the past.

The story was originally published in Kzine, and you can still purchase the issue it appeared in.

So Francis, why should I buy this thing, when I can buy another thing, which has the first thing in it, as well as other things for no additional cost?

Because you love me? Also, because this publication includes an afterword describing the origin of the story, the process of editing it, and some of my own memory-recording habits.

New Publication: He Molested Kids

cover-3I’ve just published He Molested Kids, a short play available on Smashwords and Amazon.

In this fifteen-minute play, four college students meet to plan a party, and end up sidetracked by an argument about the savior of the world. Just a few months after he defeated the Himalayan, allegations of sexual abuse have emerged around Dawa the Savior. This issue turns from small talk among a group of friends to an explosive argument with deep implications.

The publication includes an afterword in which I discuss the origins of the idea, and how my intro to political analysis class factored into it’s outlining.

Other announcement: I’m on Twitter now, @FrancisRBass.

New Publication: Just Dig

justdig-4I’ve just published “Just Dig,” a short story, available on Amazon and Smashwords. Here’s the synopsis:

Two brothers, asteroid prospectors, are awoken when an asteroid lands somewhere along the boundary between their little plot, and the enormous plot owned by their neighbors. They drive out to see on whose plot the rock has fallen, and who can claim it as theirs to sell. As they do, they argue about whether they can depend on luck to end a long dry spell, or if they’ll have to make their own luck to turn a profit.

Also included in the publication is a brief afterword, in which I explain the origins of the story, the edits it went through, and who won the 2014 FSU vs. Notre Dame football game.

New Publication: De.mocra.cy; also, Holiday Sale!

democracy-c-3Here we go with my first self-published prose piece! It’s a short story about a democratically run MMO. You can buy it for half price (more about that below) on Amazon and Smashwords. Here’s the synopsis:

Volt is the leader of the Anarchists, an official gang on the De.mocra.cy server. In a near-future internet filled with highly regulated, highly restrictive MMOs, the De.mocra.cy server is entirely self-regulated, affording unprecedented freedom of speech and freedom of violence to its users—until now. A new law has outlawed violence between consenting parties, and Volt must mobilize a fractious group of gang leaders to campaign against it—and, unbeknownst to them, to challenge the Unwritten Amendment.

Also included in the publication is an afterword, in which I discuss some of what I mentioned in my post about limits, as well as where the idea for the story came from, and what “–> <— vs. <– –>” means.

In addition to publishing this, I’ve set all my ebooks to half price, at which price they shall remain until the end of December. You can find them all on Smashwords and on Amazon.

Merry Christmas, happy Hanukkah, joyous Kwanza, and just good job being a human, everybody!

No Longer Than

In a few days I’m going to self publish the short story “De.mocra.cy,” and writing the afterword for it brought me back to an interesting revelation I had after editing it. I hate limitations in writing, and will do everything to work around, nullify, or flat out ignore them.

This may seem oppositional to the idea that limits are good for writing, though it isn’t entirely. The limitations which I hate are artificial ones—ones which exist beyond the world of the story. In this post I hope to clarify that distinction, explain what drove me to this realization, and tangentially promote that upcoming short story. Although maybe this will actually make the story seem less appealing, who knows.

Before I talk about my experience with that piece though, I’ll go all the way back to my experience in the fourth and fifth grade. Because at that time, I already knew that I hated limits. I wasn’t much of a writer then—at least, I didn’t write regularly, though I did enjoy it a lot. I was always happy to have creative writing assignments in school, because I loved imagining strange worlds and interesting characters. What I didn’t love was that these assignments had to be a maximum of five pages double-spaced (I think—it may have actually been shorter.) That’s about a thousand words, which is about two thirds the length of this post. And while that’s a fine amount of work for most nine- to ten-year-olds, for me it was awful. I always found myself pushing up against the max length, and ending the stories abruptly. That length is just not congruent with the way my imagination works. Over the past six years I’ve written twenty-six short stories, and only one of them was under that length.

But that’s not so bad. A few bizarre, goofy short stories truncated—it’s no big loss, and it was no big frustration to me. What was worse was the max length for plays in high school.Read More »

Free Writing: On the Walk Home

Here’s a somewhat spooky piece of writing for Halloween, inspired by a thought I had while  …

On the Walk Home
Francis Bass

My legs pound into the ground, leaden, burning.

I stumble. I stop.

I’ve never seen this place before. I don’t remember getting here. I don’t remember anything from this walk, I don’t know how long I’ve been walking, but I started for home at noon, and now it’s dusk. I’m on the side of a deserted highway, surrounded by unfamiliar, old, low buildings with peeling paint, and tall dark pine trees.

“…He has had a long day in court. I left him there with Vholes. You don’t like Vholes, I hope?”

That’s the audiobook of Bleak House. It drones in my ears.

I don’t know what part of the book this is. When I headed home from school, I was just listening to the first chapter, trying to get a head start on my reading for Tuesday.

A cold wind leaps up behind me and swoops over my shoulders and through my sweat-soaked shirt.

The sun is low, pumpkin-orange, gray clouds puffed in front of it. I look at the buildings, search them for some scrap of familiarity that might orient me. “Canaan Groceries” is beside me. It looks long closed, but there’s a faded blue pickup parked in front of it. A daycare squats across the street from me with a bleached sign bearing a rainbow and some illegible lettering. Not far ahead is an impoundment lot, filled with the rounded bodies of cars hunkering down.

Lights flare up and a car zooms past me on the road.

“… in her most genteel accents, ‘my executor, administrator, and assign. (Our Chancery phrases …’”

I tear my phone out of my pocket, and just as I do the audiobook stops playing, and a battery icon, empty, blinks on the screen. Then the screen goes black.

I stick my phone back in my pocket and twist around. The seat of my shorts is wet, my underarms are wet, the back of my shirt is wet, and its all cold in the wind. I hold my thumb out to the road stupidly, but there are no cars coming from either direction, just the fast disappearing red winks of taillights on the car that just passed. The only other motion is the pine trees, big dark furry sprouts walling in the highway, swaying. My arm aches after only a few seconds of holding it up.

I turn around and yank off my earbuds. I walk to the pickup in front of the grocer’s, but as I approach I see that the tires are gone, the thing is beached, stranded, ownerless, covered in dead leaves and pine straw.

I hear a car coming, and I run back to the street and hold my thumb out, but the approaching headlights just blast past me. I realize how dark it is now. The sun is just a few jagged scraps seen through fractal black foliage. Long shadows blend into one big shadow which spills across all the road and all the parking lots and all the trees. I start walking up the street, in the opposite direction from where I had been heading before.

My footsteps sound strange, out-of-sync. I stop for a moment, and quiet, crunching footsteps continue. I am riveted in place. My throat is dry. My eyes burn in the wind. I start walking again, looking straight ahead, into the darkness of the road. The footsteps are near me. I hear rubber soles squeaking. I fumble at my side, not looking down, grab my dangling earbuds, and put them into my ears. The footsteps start running, whapping the ground faster faster faster right toward my back with deafening crunching thunking sound blasting into my skull through the earbuds and I keep walking, don’t think, into the wind, into the dark of the set sun.

My legs pound the ground.

I’m in front of the door to my apartment complex. I reach for my keys.

“… has come up from her place in Lincolnshire (hotly pursued by the fashionable intelligence) …”

That’s the audiobook of Bleak House droning in my ear. I realize that I haven’t actually been listening to it. A warm wind blows past me, and I enter my apartment building, stepping out of the mid-day sun. As the door shuts behind me, I realize I don’t recall anything from my walk home. I left my classroom, started listening to the audiobook … it doesn’t matter. I’ll have to re-listen to those chapters, or just actually read them, tonight, since we have a reading quiz for them tomorrow. It’s a shame. I was hoping to get the reading done on my walk home so I could have the night free.

It sure sucks having Halloween on a Monday.

Copyright © by Francis Bass 2016. All Rights Reserved.

Learning from Shakespeare’s Histories

adolf_schro%cc%88dter_falstaff_und_sein_page
Falstaff and his Page by Adolf Schrödte

In preparation for writing a historical play (not based on real history, but a play with banners and kings and armies) I’ve been reading a few of Shakespeare’s histories—namely, Richard IIHenry IV part 1Henry IV part 2Henry V, and Julius Caesar.

Now, I’m not taking any classes on Shakespeare, nor have I ever taken any classes exclusively focused on Shakespeare. This post doesn’t come from a well-informed scholarly background, or from someone intimately familiar with the discourse surrounding Shakespeare. I’m just some guy who likes reading and writing and watching plays. With that said, this is what I’ve learned.Read More »

New Publication: Monastery

School’smonastery-c-hvd-2 back in, so what better time to read a play about the future of higher education and students arguing with each other?

You can buy Monastery on Smashwords or on Amazon. Here’s the synopsis:

A couple decades in the future higher education has evolved, and Academic Campuses (sometimes referred to as “monasteries”) offer an affordable, though longer and more intensive, alternative to universities. In this hour-long play, the student editors of the Marietta Academic Campus’s literary journal, The Mac, meet just before the start of summer to finish up the latest issue, and to celebrate their success. As the play continues, a hypothetical conversation about graduating early and starting up a magazine outside the monastery turns into a spirited argument.

As usual the publication includes an afterword. In this one I describe my own arguments with myself about college, and my outlining process for the play.

Harry Potter and the Holistic Review

Harry_Potter_and_the_Cursed_Child_Special_Rehearsal_Edition_Book_CoverI just finished Harry Potter and the Cursed Child, and I feel like it was one of the most multi-layered reading experiences I’ve ever had with a contemporary work. By multi-layered I mean that I was thinking about, and analyzing meta-textual elements while reading it—which is a common enough experience, when I’m reading old literature for my english classes, but pretty rare with recently published books and plays. So, rather than just reviewing the play as I might review Mr. Burns or Water by the Spoonful, I’m going to review the play in all it’s aspects—the things I noticed as a reader, as a writer, as a theatre person(ish), as a fan of the original books, and as someone interested in the publishing industry. I’ll mention plot elements throughout this post, so if you don’t want the play spoiled, halt now.

So, let’s begin.Read More »

New Publication: We’ll Tell Happy Stories

We’ll Tell Happy Stories is now availableCover-2 on Smashwords and Amazon!

The 70-minute play is about Boa and Ardom, two refugees posing as ambassadors. With the help of a local captain, they and their daughter have survived for years pretending that their home country, Choroa, is still perfectly stable. When a royal edict orders that all Choroans must leave the country or face enslavement, Boa and Ardom must reveal harsh truths and spin fanciful stories in order to convince their hosts that they should be allowed to stay.

The publication also includes an afterword describing how the classes I was taking at the time affected this play, the origins of some of the names, and other trivia you may find interesting.

You can read the first half of the play for free below.Read More »