This blog is a fortune cookie...

You know how you're supposed to add "in bed" when you read the fortune in a fortune cookie?

Well, in the spirit of the blog refocus, I will be periodically reminding you to mentally add "What do you think?" to the end of every post.

Not all the new posts will ask direct questions, but I'm still interested in fostering conversations. So if my observations about writing make you think of a similar experience, share it the comments. Disagree? Share it. Make you think of something totally unrelated? Share that too. Done something similar in your own writing? Post it.

For example, if you read that last post on the Lives of Others, you might share a moment from your own work where you used similarly two-purposed evidence. Or you might share another observation about writing that was also inspired by the film. Or you might take umbrage with the fact that this is a blog about playwriting and I keep writing about film.

You get the idea.

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Blog Refocus

The original goal of this blog was to foster a discussion about the nuts and bolts of playwriting. I laid out my plans in two early posts here and here. In two short months, I've strayed from that original mission.

I'm going to try and refocus things on the craft of playwriting. My main impetus for this move is realizing that a lot of what I think about the "state and purpose of theater" is thoroughly and intelligently covered by other blogs. These blogs will soon be listed in a sidebar.

I'm also motivated by two other observations. One, that there are enough blogs already in existence that are about personal journey's peppered with observations about writing. And two, that I am not aware of many blogs that wrestle with craft as opposed to theory.

With that in mind, here are the types of posts I hope that I and my fellow contributors will create. This is not an exhaustive list. Rather, a concrete starting point for our new way forward.

Case Studies
I'm looking for narratives about specific instances of writing, development, and production that illustrate an challenge you've wrestled with. I've noticed that a fair number of my posts in my theater blog sample group start with broad theoretical statements. In the ensuing argument about the theoritical statements, sometimes specifics are demanded. Even when they are given, the discussion stays conceptual.

I hope that by starting with specifics, I will release myself, contributors and commentors from the pressure of creating broad theoretical conclusions in every post. If we are lucky, trends and principles will start to emerge over time.

Eureka Moments
We've all had those moments when something we've understood intellectually suddenly clicks in practice. Please share those moments on NTFD soon after they happen. Perhaps your particular spin on a concept will trigger a similar moment for someone else. The more specific the better. Include sample text if you wish.

Roadblocks
I want to know what you're wrestling with. Trying to kick start a scene that just won't go? Tell us about it. Suddenly notice that all your scenes are nine pages long? (I did a few plays back- I realized I was stuck in a rhythm and had to work hard to break out of it.) Share it on NTFD - maybe by describing the problem in this medium you'll think of a solution in the other.

Putting it Together
When I'm developing a piece, I often have little glimmers of larger ideas about writing. It's not a Eureka Moment, but maybe the beginnings of a principle about writing forms. I usually jot down a note for that book I want to write some day. I'm going to start putting those little glimmers up here. I hope you will too.

Thanks for your interest so far, and I hope that you'll join us in this (slightly) new direction for NTFD.

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What NTFD Is Not

We ask that you follow a few guidelines when considering a posting to NTFD.

• No Promotions. While writers should feel free to reference ongoing or upcoming productions, NTFD is not the place to advertise your upcoming show. When you discuss a production, please provide a link to show times and location. Do not include that information in the body of your post.
  
  
• No Reviews. We hope that currently running productions will inspire new reflections on dramatic structure. When writing about a current production, please remember that the focus is exploration, not consumer oriented criticism. Questioning if a particular dramatic element worked is appropriate. Giving that approach three stars is not.
  
  
• No ad hominem responses. NTFD is a forum for expressing ideas about dramatic criticism. Some of us feel quite strongly about certain approaches. If someone contradicts your idea, please to do not respond by questioning that individual's worth as a person or a playwright. Attack ideas, not each other.

These guidelines apply to comments as well. NTFD will remove any posts or comments that do not follow these guidelines.

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What NTFD Is

NTFD is a community discussion about the theory and practice of playwriting. Theories of dramatic structure are not solely the realm of ivory tower academics. Practicing writers are constantly refining their understanding of dramatic concepts. In many cases, these writers are creating their own terminology to explain how their work functions. NTFD is an attempt to document these theories in process. NTFD also serves as a platform for lively collaboration.

NTFD is an attempt to create a new collective poetics.

Invited contributors write short essays exploring the dramatic terminology or theory of their choice. Essays may be inspired by the playwright's own work or recently seen productions. Anyone can comment on the essays. NTFD asks that the comments be kept to less than 250 words. If a particular essay inspires a longer answer, the reader is invited to contact NTFD to be added as a contributor and post a response in the form of their own essay.

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