Before 'Giant,' I had only ever worked with Michael Greif, Michael John LaChiusa and Kate Baldwin in readings. It's really exciting to be blessed with the opportunity to work with so many I would put in the 'genius' book.
Before I began concentrating on writing, in my free time I was an artist, making and selling etchings illustrating stories based on my readings in classical literature.
At readings, audience members sometimes ask if I keep writing past the two hours if I'm on a roll, but I don't. I figure that if I'm on a roll, it's partially because I know I'm about to stop.
They do not merely collect texts; they must also gather data about the context and the informant and, above all, write an analysis of the items based upon the course readings and lecture material on folklore theory and method.
I think of workshopping as a way to read your own work through the eyes of others - a scene that you write gets refracted by those around you, and suddenly you have several different readings of it, each with a different momentum for how it might be retooled or reshaped.
I love readings and my readers, but the din of voices of the audience gives me stage fright, and the din of voices inside whisper that I am a fraud, and that the jig is up. Surely someone will rise up from the audience and say out loud that not only am I not funny and helpful, but I'm annoying, and a phony.
Watching cold fusion is like watching water boil in slow motion. First, sufficient deuterium has to penetrate the palladium electrode. This can take a few weeks. Then, if excess heat is generated during the next month or two, accurate temperature readings require extreme precautions to exclude environmental effects.