Ellen Chorley knows busy. Born in Edmonton, but splitting her time between there and Calgary, she works as the Playwright-in-Residence for Mob Hit Productions, produces her own shows, and also works as an actress. Suite101 interviewed Chorley about her process as a playwright.
What is the starting point of a play for you?
Typically, my starting point for a play is a “What if?” For example, I asked myself, “What if there was a curse that made someone leave his true love after consummating their love once?” for my recent play Emma Burden. My questions will come to me at really odd times. “What if?” will set off a series of accidental brainstorming sessions in my brain, and I’ll start building a story in my head.
What is your writing process? Do you start writing right away? Outline? Research?
After I get an idea, I will usually let it steep in my mind for a while – usually about six months. This is primarily so I can finish up other writing projects that I’m working on, but also to let story mature. Once the writing process begins, I like to do my research as I go.
Do you work on one play until it’s done, or do you work on multiple plays at once?
Because I am a Playwright-in-Residence for a company (Mob Hit Productions in Calgary), produce my own work (Promise Productions and Hope in Elle Productions in Edmonton), and take commissions, I will always be working on multiple plays at once. I think it’s a good way to keep ideas fresh – if I am hitting a wall with one piece, I might be have a break-through with another.
Do you have a special writing place?
Not really, no. I move around so much that it really isn’t possible. I find it is easier to write if I am comfortable, in a place I know. I’m not one of those people who writes outside or writes in a coffee shop or bar.
What do you struggle with when you write a play?
I think I struggle most with the climax of the play – I will usually write and rewrite this scene a million times. For my first commission for Mob Hit Productions, a play called Bridezilla, I completely threw out and rewrote the climax scene eight times. It was completely different every time.
When do you consider a play done?
Never? Opening Night? Because I got into theatre as an actor, I have a lot of respect for the craft of the actors, design team and director and really appreciate their input. Actors, directors and designers will ask questions, read into things differently, justify, and this really helps to shape the writing and rewriting process. This is one of the many things I love about theatre.
What do you need to have with you when you write?
I need my laptop (I never write first drafts out by hand, but sometimes I will do rewrites by hand), a good search engine, the ‘save-as’ function on my computer, and probably a blanket, because I get cold easily.
What was the first play you ever wrote?
My philosophy is that young playwrights need to get through their, “terrible teenage angst play” before they can write anything good, and I certainly am no exception. My first play was called The Street and it was written under the mentorship of (now) Governor General award winning playwright, Vern Theissen at the Citadel Theatre’s first ever Teens at the Turn Playwright’s workshop. The play was about three street kids – a teen prostitute, a squeegee kid with a heroin addiction, and a runaway.
I will say now that any copies of this play have been burnt, but writing it taught be a lot about the craft of playwriting and forced me to find my own voice as a writer. It also taught me to a) write what you know and b) do your research!
What is the most recent play you’ve written?
The most recently produced plays I wrote were Emma Burden which received its world premiere from Mob Hit Productions on February 5, 2009 and Mixed Up (co-written with three other writers), which received its world premiere on February 26, 2009.
Who is your favourite playwright?
George Bernard Shaw.
What one play do you think everyone should read or see?
Everyone should see Mary’s Wedding by Stephen Massicotte. It is a play about humanity. It makes everyone in the audience laugh and cry.
What one piece of advice would you give to an aspiring playwright?
See Theatre! It is the only way to understand your craft, to see what is out there, to understand what you appreciate, and to understand what can and cannot work on stage.
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