My Favorite Dream: Writing With Love and Zest

Greetings, ladies and gentlemen, and welcome to Theater is a Sport, back after spring break.  My name is Bobby Keniston, and this is my own little piece of the internet where I talk about whatever's on my mind in the realm of theater.

Recently, I've been re-reading a great deal of Ray Bradbury and watching old interviews with him on YouTube.  What stands out most about this prolific writer (who not only wrote novels and short stories, but many plays and screenplays as well) is his incredible zest for writing and for life, and how he constantly used one to fuel the other.  To him, writing was inspired play, and he kept the words "Don't Think" taped above his typewriter to remind himself the importance of trusting his intuition and subconscious.

For those who are not familiar with Ray Bradbury, he was the great mind behind such books as Fahrenheit 451, The Martian Chronicles, Dandelion Wine, The Halloween Tree, Something Wicked This Way Comes, and over 300 published short stories.  He wrote a number of plays, one of my favorites being The Wonderful Ice Cream Suit, and wrote the screenplay for John Huston's classic film adaptation of Moby Dick.

Here's the man himself, Mr. Ray Bradbury

I have been trying to write like Mr. Bradbury lately.  No, I don't mean by copying his style or his themes or plot ideas--- I mean, I have been trying to reconnect with the youthful sense of play in an attempt to write with zest again.

It's not always easy.  Writing can be difficult.  It's frustrating when the words won't come, when a sentence or a line of dialogue doesn't read the way you want it to, when you simply can't seem to communicate your thoughts, or when the tank seems completely empty, devoid of any ideas one could possibly care about.  

When this happens, one could do worse than to follow those two words of advice taped up on Mr. Bradbury's desk:  DON'T THINK.

While writing certainly flexes intellectual muscles, it is truly at its most rewarding when it is an emotionally engaging experience.  When the play or story you want to write comes flying out, and you laugh, love, and cry along with it.  If you have this investment, it is a safe bet that an audience may as well.  

When you're deep in the act of creation on a first draft, it is often beneficial to surf the tidal waves of inspiration and intuition, even if they seem dangerous.  Especially if they seem dangerous.  Too much thinking can kill a project before it has started to live.  Don't let that happen.  Remember, your brain is always there to switch back on for the act of rewriting.  

I can't tell you how many times I have to tell my mind to shut up (even now, writing this blog post, I've had to shush it more than once).  Every now and then, I close my eyes, take some deep breaths, and invite my characters to talk to me.  I visualize them, ask them questions.  They don't often steer me wrong.  Ray Bradbury once said that there is no need for writer's block, so long as you are willing to listen to your characters and your subconscious mind.  The more I read his work, the more I believe he is right.

So each day, for a few weeks now, I approach my notebook or computer, not with a sense of worry about what may come out today, but with a joyful anticipation of what I am going to create.  I am recapturing the "play" in "playwright".  

And I thank you, Ray Bradbury, for the inspiration.  

REMEMBER:  WHEN IN DOUBT, JUST STOP THINKING!  Breath, relax, and tell the story that needs to be told.

To learn more about my plays, CLICK HERE,  OR HERE, OR HERE, OR FINALLY HERE.

I've started a new blog!  I am writing a story a day for a year!  Each story will be between 100-250 words!  If you would like to read and follow, you can do so by CLICKING HERE.  

Writing Inspiration: How and Why I Wrote "I Don't Mind That You're Ugly"

The Play Script for I Don't Mind That You're Ugly, available from Brooklyn Publishers

Hello ladies and gentlemen!  My name is Bobby Keniston, and I will be your host at Theater is a Sport.  Today I would like to talk to you about my writing inspiration for my play I Don't Mind That You're Ugly, a one act romantic comedy.  I believe it was the sixth play I had accepted for publication, and it is one of my favorites, largely because I think it is sweet and funny, hopefully like I am in real life.

It is no secret that here in America, many people have issues with their appearance.  For better or worse, and with help from the media, a good number of human beings obsess a little bit about the way that they look.  It was this little obsession with appearance that were the seeds of the play that would become I Don't Mind That You're Ugly.

The story is about an "average looking" (whatever that means) guy named Clyde, who is waiting at THE FANCIEST RESTAURANT IN TOWN for his girlfriend Kira.  He is planning to propose to her.  Before Kira arrives, the staff of the restaurant, who are pretty rude, do not really believe that Clyde is waiting for anyone.... how could he have a girlfriend?  Already, we begin to see that Clyde has some feelings of "not being good-looking enough" for his girlfriend.  When Kira arrives, and looks stunningly beautiful, everyone has difficulty believing that she could be with Clyde.  But Kira is a sweetheart, whose true beauty really is from within.  Clyde and Kira's dinner keeps being interrupted, once by a model talent scout (who is a bit sleazy to say the least), an overanxious restaurant hotess who wants to seat Kira where she can be seen in the "hot people" room, a busboy with a crush, a lusty chef, and weak-bladdered old woman.  Throughout their conversation, Clyde tells Kira that he thinks she is so beautiful, and he's just so "average looking", and Kira, who is not thinking, says, offhandedly, "Oh, baby, I don't mind that you're ugly."  At which point, the play takes a huge turn.  Will Clyde and Kira wind up together, or will insecurities dash their dreams.

I think a good number of people have insecurities.  I sure do.  I have been told that I am handsome, and, maybe 3 days out of 7,  I can sort of see that.  But the rest of the time, I do feel incredibly "average".  And what does that mean?  "Average".  For that matter, what does "Beautiful" mean?

In this play, beauty, ultimately comes from love even more than it does for appearances. 

I am fond of this play because for a simple, short, romantic comedy, it is not only funny, but, as I re-read it today, has genuine passion and human feeling.  Kira talking about the way she loves Clyde's smell, for example, or when she takes his face in her hands and calls him "My beautiful man", I almost wanted to cry, it effected me so much.  And no, I'm not tooing my own horn, I'm just so proud of a sweet moment such as that.

The writing of the playcame in June, 2009, and I read the first draft out loud with a dear friend of mine, who really encouraged me about it, and offered a few funny little changes that you can see in the play still today.  I wrote the first draft in a couple weeks, which is actually a little longer than a good number of one act first drafts take me.  I think I wanted to really be precise about the points of body image and self-esteem that I was trying to get across, and make sure I was still being funny at the same time.

I Don't Mind That You're Ugly was published by Brooklyn, and, so far, it has been the most produced play I have with them.  I have received wonderful feedback from schools all over the country who have enjoyed being in the show.  I remember seeing a YouTube video, a series of interviews from high school students about parts they were playing in an evening of one-acts, and it was cool to hear how they interpreted the characters in I Don't Mind That You're Ugly.

I am proud of this play, and proud of the feelings that inspired it.  I think, in this case, I really accomplished what I set out to accomplish, and that makes me very happy.  In fact, a writer can't ask for more than that.

Thanks for tuning in to Theater is a Sport.  If you would like to learn more about me, you may follow these links:  www.brookpub.com, www.histage.com, www.playscripts.com, and www.hitplays.com and search for me, Bobby Keniston, and read about my plays and look at free samples.

UNTIL TOMORROW....

LYAFTF

And remember--- theater is  not only an art form, it is also a sport.

How to Write a Play or How to Enjoy Repeatedly Banging Your Head Against the Wall, Lesson 9: Who Are We Writing For?

Mr. Kurt Vonnegut, a hero of mine, and someone who wrote for only one person

Hello ladies and gentlemen.  My name is Bobby Keniston, and I will be your host on this blog.  It's Tuesday here at Theater is a Sport, so those who follow my blogs know what that means...

TIME FOR ANOTHER PLAYWRITING LESSON!

Tonight's advice is actually for any writer, whether it be for plays, stories, novels, poems, songs, or anything else you put pen to paper to create. 

Today, I was going through some of my earlier published plays looking for quotes to use for a new promotion that Brooklyn Publishers is doing on their website.  I noticed how as I went through some of these older plays, line by line, that I really ejoyed them.  I realized as I was reading them that, while I was writing them, I either didn't have a playwriting "career" yet, or, it was so new and fresh, that there were no worries about how it was doing.  I was writing with a kind of freedom of someone embarking on a new adventure in their life, which, in truth is what I was.  I also realized as I looked over these older plays, that I was writing for one person and one person alone.

My Ideal Reader. 

Those of you familiar with Stephen King's book On Writing (I like Stephen King--- he's a fellow Maine boy), know that he talks a great deal about his Ideal Reader, who happens to be his wife, Tabitha.  Kurt Vonnegut, who I think of as one of the most creative modern American novelists, also wrote for only one person--- his sister.  And he continued to write for her even after she died.  He thought of her as his twin, even though they were not twins. 

There are great benefits to having an Ideal Reader, and I recommend it, even though it is NOT necessary to have one to be a successful writer.  Some of the benefits are pretty obvious--- someone to read your first draft, someone who knows you well and knows what you want to accomplish.  They are a great indicator of how well you are handling the wheel. 

But there's more to it than that.

Vonnegut himself mentioned the idea that if you are writing for the masses, if you arre writing for vast appeal and acceptance, it can wear you out, keep your head spinning, take you completely off the map.  In this regard, having one Ideal Reader can keep you get focused... after all, now all you're trying to do is please one person, make one person laugh.  You are now only performing for an audience of one, and can direct all that energy into that job, which is much easier than trying to please everyone under the sun or snow or rain.

Perhaps the biggest advantage of having an Ideal Reader is that, presumably, since it is someone you love, this love will shine through in the writing, even if it is tough subject matter.  In this mode, writing becomes a kind of gift that you are sharing, a gift that comes from within your mind, heart and soul.  And it is also giving a gift to yourself as a writer, the act of creating something you love so deeply for someone you love so deeply.

As I was reading over these older plays, I could remember in the act of writing them imagining my Ideal Reader reading them for the first time, the laughs they might evoke, the parts that make my IR cry.... it was such an important inspiration for me to have this person to write for.  It made the early productivity of my publishing career possible.  I can never be grateful enough for Ideal Reader for this help and encouragement.  I look at it now and I truly remember my mindset when writing:  I literally wanted to impress my Ideal Reader and wanted this person to be proud of me.  That is what drove me to keep going.  And I was lucky that my Ideal Reader is so universal that so many other people seem to really like my plays, too.  (Which is a relief). 

Now don't get me wrong--- I also write to please my audience, and I also try to write work that I think will sell and make others happy, but that first draft is always for my reliable I.R.  A "look what I made this time!" mentality, that makes the whole creative process less painful for me.

Again, don't freak out if you don't have an Ideal Reader.  You'll know when you meet them.  They are a person who can be honest without being crushing, who has the same kind of aesthetic sensibilities as you do, someone who, quite frankly, gets you and what you are trying to do.  Who better to let you know if they think you've achieved it or not.  And there's nothing like seeing the smile on your Ideal Reader's face when they are proud of you.

Okay, maybe this is a light weight post, but I don't care.  I'm just being honest.  I was just struck by how much easier those I.R. inspired early plays were to write than some others.  It's kind of amazing what it can do for you. 

I thank you for reading my post tonight, and I wish you all the best as you continue to work on writing your plays.  Don't give up.  Keep moving forward with dialogue, and work towards completion.  You'll be glad you did.

Until next time, you can learn more about me from the links below, and remember:  theater is not just a craft or artform--- it is also a sport.

http://www.brookpub.com/default.aspx?pg=ab&afn=Bobby&aln=Keniston

http://www.histage.com/author/authorinfo.asp?AuthorID=528

http://www.playscripts.com/author.php3?authorid=1113

http://www.hitplays.com/default.aspx?pg=ab&afn=Bobby&aln=Keniston

https://www.facebook.com/#!/TheaterIsASport

https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601

WRITING INSPIRATION: How and Why I Wrote My Play "Citizen's Arrest"

A Production of My Play "Citizen's Arrest" as performed by Hettinger High School

Welcome to Theater is a Sport.  My name is Bobby Keniston, and today, I'm going to talk a bit about how and why I wrote my play "Citizen's Arrest".  I don't know if you're like me, but, if you are, you are interested in why and how writers write their work, and, even if you haven't read my stuff, I'm hoping that you find my experiences at least someone educational or slightly interesting.  If not, I'll aplogize in advance.  I'm a bit of an apologist.  (And and R.E.M. fan)

Anyway...

Inspiration is a crazy thing.  When you are a writer, you never really know when it is going to strike, so it is best to be aware of everything around you.  There's fodder for plays, stories, articles, and so much more in the simplest of events, occurences, happenings.... hey, even in just a consistent family joke.  So writers, store everything away... you never know when it will come in handy. 

So, let's see... in my life, I had published "Rumplestilskin the R-Dawg, Hip-Hop Minstrel", "Confession: Kafka in High School", "Death and Pez", and "Sky Baby and the Bedtime Story".  I was feeling pretty good about my growing list of publications.  At about this time, I started reaching out to other playwrights that I had found on Facebook, dropping them messages saying hi, asking for advice, etc.  It turns out, I've met a lot of nice people because of this, a large group of people who write in my market and who I consider wonderful colleagues and pals now.  It's nice to have a group of people to talk shop with, to share success and failure stories with, complain about the market with... and, what's great, is that we have all been there and had the same problems.  It's a nice group of people.

I digress.

In any case, I had reached out to a wonderful playwright in my market named Jerry Rabushka, who was one of the first to really reach back out and offer me encouragement and advice (Jerry has a TON of plays published with Brooklyn Publishers, and is a very talented and nice guy).  He mentioned to me that Brooklyn was always looking for one-act plays with a large cast, even casts of 20 or more. 

A one-act play with 20 characters?!  I didn't really think I could do something like that, unless maybe I made a Shakespeare adaptation.... I mean, how do you fit 20 characters into a play that's only 30 minutes long without making a number of them just walk-ons? 

Nonetheless, I stored this information away in my mind, just in case I ever came across and idea that could accomodate 20 people in a one-act play. 

One day, I was riding in a car with my parents.  I was reminded of road trips with the family when I was a kid, my two older sisters and I crammed in the back seat, my dad driving.  Throughout my life, there have been times when my dad is driving that he'll witness someone making a slight infraction, say, walking just outside of a crosswalk.  When this happens, my dad will say, in a silly voice, "Citizen's Arrest!"  It used to make my sisters and I laugh. 

I'm sort of fascinated by the idea of a "citizen's arrest".  I have never actually performed one, and probably never will, but I find it interesting the idea of an average citizen taking the opportunity to fight crime, brandishing themselves a temporary deputy to enforce the law. 

On this day in the car, I thought of my dad and his "Citizen's Arrest!" joke.  He has since told me he picked this up from an old TV show, either The Andy Griffith Show or Gomer Pyle, I can't remember which.  I was thinking of how silly it was, and I thought to myself, "how could I push something like this to this most ridiculous extreme?" 

That was the seed of the play, Citizen's Arrest.   How to make something ridiculous even more ridiculous.  I pictured someone placing anoher person under a "citizen's arrest", but not stopping there.  I imagined this person stopping passer-bys to form their own "citizen's trial", complete with citizen prosecutors, citizen defense attorney, citizen judge, citizen bailiff... the whole works.  Then, of course, they would need a juy of citizens to make a verdict, wouldn't they?

As soon as I thought of needing the twelve jury members, I knew I had a one-act play that could be 20 characters.  And, indeed, Citizen's Arrest has exactly twenty characters.

COMMUNITY/SCHOOL THEATER PLAYWRITING TIP:  Always try to write more female characters than male characters, as, statistically, more females audition for community and school theater than males. 

I had a great deal of fun writing the play, which, if I'm not mistaken, took about a week for the first draft.  Once the basic idea was in place, it kind of just flowed out of me.  Here's the basic story:  a guy named Dennis, walking through an idealized beautiful park, drops a candy bar wrapper on the ground without thinking about it.  Dana, a concerned citizen, places him under citizen's arrest.  Dennis tries to be a good sport about things, but Dana decides to stage a citizen's trial right then and there.  An out-of-work actress becomes the prosecuting attorney, a coffee shop employee becomes the defense attorney, a moody woman on her way to a quilting circle becomes the "sassy judge, like the ones on TV", a construction worker hunk becomes the bailiff, a very slow typist with a laptop becomes the stenographer, and a tour guide and her tour group become the jury.  It's a great deal of fun.

RANDOM FUN FACT:  At the time I wrote Citizen's Arrest, I had recently been in a musical revue of Johnny Cash music called Ring Of Fire.  Four talented ladies named Tracy, Nancy, Mary Kate, and Lisa were all in the musical revue with me, so, in Citizen's Arrest, four of the tour guide jurors are Tracy, Nancy Mary Kate and Lisa, an all-girl Johnny Cash cover band.  They keep coming up with silly song titles throughout the proceedings and wonder out loud "What Would Johnny Cash Do?"

If I had to pick a favorite character, it would be Miguel, the coffee shop guy who plays the defense attorney.  He wants very badly to do a good job.  He claims his hero is Atticus Finch, and he always wanted to spak out for justice just like Atticus.  Unfortunately for Miguel, when the time comes to make his big impassioned speeches, he's got nothing, except for a few metaphors about how justice is like a cup of coffee.  It even goes well with cheese danish.

So, I sent the play off to my editor at Brooklyn Publishers, a cool guy named David Burton.

He accepted the play less than a week later.  At the time, that was my fastest acceptance, and, actually is still the second-fastest acceptance I've had.  It makes me happy to report that David really loves this play of mine.  He talked at the time about how it made him laugh out loud, and I think it is still one of his favorites of mine.  I know he has recommended it to many places looking for a large cast one-act.  It always makes a writer feel good to know that their editor is really pleased with the work they are putting out.  To be honest, I think David's reaction to Citizen's Arrest really was the beginning of him thinking of me as a playwright who was going to go the distance, and opened him up to talk to me about different projects to pursue and things like that. 

Citize's Arrest has done pretty well for me since it has been published--- it averages about four productions a year, though David insists it deserves more.   It also seems to have had a good balance of school and community theater, which is nice.

I'm proud of it.  It made my friends laugh, made my ideal reader laugh, and that's what matters most to me. 

I hope you have found this little story interesting and helpful.  If you're looking for a large cast one-act, or would just like to read a sample of Citizen's Arrest, please follow this link:  http://www.brookpub.com/default.aspx?pg=sd&st=CITIZEN'S+ARREST  Just click on script preview to... you guessed it!... read a preview of the script!

If you would like to become a fan of Theater is a Sport on Facebook, please follow this link:  https://www.facebook.com/#!/TheaterIsASport

Thanks for reading.  I hope you are all well and happy and full of goo theater feelings.  Until next time, please remember that theater is not only a craft and an artform, but also a sport!

HIGH SCHOOL IS KAFKAESQUE: How and Why I Wrote "Confession: Kafka in High School"

From a production of "Confession: Kafka In High School" by Aitkin High School

I love every play I have written.  They are all flawed, of couse, but each one is special to me.  However, if I was forced, absolutely life-dependent on an honest answer, I would have to say that, in my heart, I believe "Confession: Kafka in High School" to be my best published play so far. 

So, I was living in Dover-Foxcroft, and had finished directing and starring in a production of "Little Shop of Horros" at the Center Theatre (a production I'm very fond of).  I met a great deal of people who were interested in reading my plays and who began to encourage me to submit my work.  In truth, I hadn't finished a new play for quite some time, but, after fixing up my play RUMPLESTILSKIN THE R-DAWG, HIP-HOP MINSTREL and submitting it, I decided it was time for me to start working on another play.  After all, it had been at least two or three years since I had written a play.  But I had friends now, people who were genuinely interested, people I wanted to impress (which can be a great motivating factor), and a desire to really see if I could, after wasting so much time, actually pursue what I had studied at Bennington. 

So, one night in late December, after I had already submitted Rumplestilskin to a few places, I found myself with a bout of insomnia.  I had been hired to direct the one-act plays for Foxcroft Academy, where I had been a student once upon a time.  I started to think of my own life in high school and how, so often, I felt pretty much powerless, like just another cog in a machine I had no real control over.

I have insomnia intermittently, and often it is a terrible experience not being able to sleep.  But I am truly thankful for this particular bout of insomnia.  I opened up my laptop, opened up a new document, and made a title page:  CONFESSION, a one-act absurdist play by Bobby Keniston.  And then I wrote the play in about two and a half hours.  And then I slept pretty well afterwards.

"Confession" (the original title) poured out of me as a fully-formed idea, so I have to believe that aspects of the play had been forming in my subconscious for some time.  I know I wanted to write a play that could be used for high school one-act competitions.  But the story itself?  I had no idea it was waiting around in my brain, looking forward to being typed out.

Confession: Kafka in High School is about a young man named Connor K (huh... get it?) who wakes up in the conference room of his high school, still in his pajamas, sleeping on a table.  He is greeted by his Principal, the formidable Ms. Delisle (rhymes with Bell Isle), who offers him some breakfast before accusing him of a crime.  The problem is, Ms. Delisle will not tell poor Connor what crime he supposedly committed.  But it seems pretty serious.  Ms. Delisle makes it clear that Connor will be in very big trouble until he confesses.  Along the way, Connor is confronted by his parents (his mother a weeping mess, and his father only able to say the words "You.... you!"), a peer mediator, the gorilla-like assistant principal, and, finally, three representatives of the "Free Connor K" campaign. 

Connor, who had always kept his head down at school and avoided any kind of cofrontation, now appears to be the center of the high school universe, all because of some incredible act of rebellion he performed.  Only, he can't get anyone to tell him what he did, and is pretty sure he didn't do anything. 

I had a great deal of fun writing the play.  I am fond of the characters, and the absurd touches in the script.  I absolutely love Connor's father who only speaks in variations of "You...you!", and Mr. Demetri, Ms. Delilse's yes-man assistant (she literally makes him perform a gorilla dance and make sounds like an ape).  I giggled a great deal while writing it, but I also felt a genuine connection with Connor's predicament, and enjoyed watching him go from confused and scared and pass through a variety of emotions toward anger, and ending with a monologue that strengthens his resolve to confess nothing. 

Certainly I was inspired by Kafka while writing the play, but there were so many more of my favorites who kept creeping into my mind--- Edward Albee, Ionesco, Pinter--- just to name a few.  As I read it now, I am proud of creating a work that I think helps take the absurdity of those writers, often with their existential themes, and makes them relatable to high school students. 

A production of "Confession: Kafka in High School" performed by Wellington Heights Secondary School

Why is it my favorite?  Well, there's the gorilla dance of course.  But aside from that, I think I'm so fond of "Confession: Kafka in High School" because it says a lot of what I feel about education (both from the student and administrator's perspective).  I think the character of Ms. Delilse is one of the finest parts I have ever written for an actress.  She truly has some lines that still surprise me when I read them over, such as, "No, Connor, my favorite thing about your generation is how easy it is to separate your from your ideals.  My generation didn't give up our ideals until the world crushed us down, or we grew tired of sharing apartments with twelve other people who couldn't pay rent because there was no market for their free verse protests.  Your generation loses its ideals with the next commercial break."

By the way, I had a lovely fourth grade teacher named Miss Belisle, and my Ms. Delilse is in no way based on the kind teacher I was fortunate to be instructed by in her reading class. 

I think the reason it truly shines through as my favorite of my own is because, of all my published plays so far, I think it has the most palpable dramatic arc (something I'll be talking about in my playwriting tutorial), and is just the right length.  Nothing seems gratuitous to me.  I think the structure works, absurdity or not. 

After that night of insomnia, a very dear friend read the script out loud with me.  She loved it, too.  I changed exactly one line, and then submitted it. 

Incidentally, the day after Rumplestilskin was accepted for publication by Brooklyn Publishers, Confession was accepted for publication by the good folks at Playscripts, Inc.  Talk about a great couple of days!  To have the first two scripts I submitted in quite some time picked up by two different publishers was pretty amazing.  Playscripts is a great company, and were very kind about my script.  They did ask me to change the title to something like Kafka in High School or something along those lines.  I compromised by making that the subtitle, but now, looking back, I wonder if perhaps they hadn't been right.  Maybe I should have thought of something like High School is Kafkaesque or Kafka for the High School Experience, but at the time, "confession" just seemed so vital to me.  Of course, I'll never know if it would have sold better otherwise, so I guess it's not important. 

Along thse lines, while I am grateful for every production the show has received, I do feel perhaps it is a bit of an underutilized gem (though I have absolutely no complaints at the many ways Playscripts has helped to promote it, and, it has received more than one production every year it's been in print, something I can't say for all of my plays).  I don't know--- in a way, I thought it had some of the same interesting humor that a play like "This is a Test" used to great success. 

I'm a little worried that this post is coming off as a bit self-congratulating, but I'm really not trying to.  In a way, because of the manner in which the play is written, I sort of still feel surprised that I wrote the thing whenever I take a look at it.  I can almost read it like I would read a friend's play and say, 'Wow.  Great job."  Considering how critical I am of most of the stuff I write, I can't feel too guilty about really liking this one a great deal.

If you have any other questions about Confession:  Kafka in High School, feel free to comment below or contact me at theater.is.a.sport@gmail.com  If you would like to read a script preview or order a copy, please visit this link:  http://www.playscripts.com/play.php3?playid=2076

Also, I was quite proud to learn that Playscripts chose to include Connor's monologue from the play in their collection Actor's Choice:  Monologues for Teens, Vol. II.  I don't feel bad plugging this book, becaue it contains wonderful monologues by so many talented writers.  I was truly surprised and honored to be included in the volume with them.  You can take a look at that book here:  http://www.playscripts.com/play.php3?playid=2495

Okay, thanks for reading this edition of Theater is a Sport!  If you would like to learn more about who I am, you can visit my facebook playwright page--- https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601  And if you want to become a fan of Theater is a Sport on facebook, click here:  https://www.facebook.com/#!/TheaterIsASport

Thanks again for reading.  See you tomorrow with a blog post about whatever I desire...

Until then, remember:  theater is a sport.