I'm having this problem with my writing. It's not a recent problem, but it's a problem nonetheless.
I can't seem to write subtext.
Chekov I ain't, that's for sure.
Actually, I wasn't even going to call it subtext. But I think that's what it is.
When I'm working on a play, I often have very explosive emotions I'm dealing with. I often have very personal, private, emotional issues. Children coming out of the closet. Lovers cheating. Love revealed. Pain, happiness. But how do I do it without saying 'i don't support you', i support you', 'i hate you for cheating', 'leave your lover', 'i've loved you always'. How do I get there without using a regular map, the well beaten path?
On the playwrights' forum (www.stageplays-forum.com/), I had posted about this problem. And I felt like a total moron doing this. I mean, I should know how to do this, right?
Wrong. I'm the 'heart on the sleeve' kind of person, and not everyone is. So, it's hard when you're dealing with characters who aren't, and plus I think it's more interesting when there's things that are unsaid.
So now I'm dealing with the subtext of the plays I'm working on, especially 'Grace Kelly'. I'm trying to get this one revised, because I want to get it ready to be read by my friend, Terry. He said he would help me with it, so, I'm working on it.
I'm just too close to the characters, but too far away to actually make the play work. I guess it just needs more time.
I hate dealing with this sort of blockage...thankfully i don't usually have to deal with this. But I need to deal with this, or I'm not getting any further with my work.