You could say, that starting a play at 11.20pm was a bad idea.
You could say, that being out in London all day and out for dinner with your mum tomorrow, celebrating an anniversary with your boyfriend, and then being away all weekend was not going to be conducive to the creativity of the next few plays.
You could say that starting, writing and submitting a play within two hours of getting the brief was a cop out, and not how this whole ’28 plays in 28 days’ thing was meant to work.
You would be right. But, if I do tomorrow’s today, I can do Saturday’s play tomorrow (Fri) evening, and Sunday’s Sunday evening, freeing myself from this HECTIC Fir / Sat / Sun playwriting vs. social life vs. busy weekend conflict.
I will not be defeated!!
I promised you an emotionless task, and here it is! […] what happens if we take all those feelings out of the equation?
What else can dramatic writing hold if not emotions? Go on? Surprise yourselves!
Bonus for anyone who manages to do all that in the realm of a kitchen-sink drama.
I didn’t cop out… I went… lateral.