Archived Posts By Dates/Titles
Monday – Friday
12 weeks – 60 Posts
2009

Date                     Title

Sep 28        Why This Blog?

Sep 29        You Like Christian Drama?

Sep 30        A Fine Line…Theater Or Worship

Oct 01        Theatrical Terminology Stirs Up The Church

Oct 02        Contemporary Drama / Multiple Cast Script

Oct 05        Contemporary Drama / Monologue Script

Oct 06        Biblical Drama / Monologue Script

Oct 07        Biblical Drama / Multiple Cast Script

Oct 08        7 Foundations Pillars For Christian Monologue Drama

Oct 09        Drama: Visionary and Creative Ministry

Oct 12        Excellence Has An Anchor

Oct 13        Baseline: Perception Of Presentation

Oct 14        Can A Novice Direct Drama?

Oct 15        How Do You Direct?

Oct 16        Excellence Vs Perfection

Oct 19        Biblical Monologues: Teaching The Word

Oct 20        Spiritual Baseline Motivates Casting Selections

Oct 21        Casting Choices Set The Excellence Standard

Oct 22        Slow Starts, False Starts

Oct 23        Mono Series Or Mono Solo

Oct 26        Skits Are Not Drama

Oct 27        Special Event…Dinner Theater

Oct 28        6 Trust Building Elements

Oct 29        How Does A Monologue Team Develop?

Oct 30        Teams Are People

Nov 02        A Potential Team Exists, Now What?

Nov 03        12 Non Negotiable Essentials In Christian Drama

Nov 04        Scheduling Christian Drama Rehearsals

Nov 05        5 Drama Rehearsal Distractions

Nov 06        Memorization Required For Biblical Monologues

Nov 09        Memorization Bloopers

Nov 10        Pause And Pace

Nov 11        Credit Where Credit Is Due

Nov 12        Biblical Costumes For Monologues

Nov 13        Costume Color Projects Character’s Personality’

Nov 16        Keeper Of The Wardrobe

Nov 17        Use Of Props In Monologues

Nov 18        Permanent Prop, Moving Actor

Nov 19        Stagehand Classified VIP

Nov 20        Sound And Light Limitations

Nov 23        Power Point And Photographs

Nov 24        Why Are You Moving That Pulpit?

Nov 25        The Worship Platform

Nov 26        The Worship Platform Schedule

Nov 27        The Calendar And Scheduling A Timeline

Nov 30        The Calendar Nips A Director’s Toes

Dec 01        Director’s Timeline

Dec 02        Adjustments To Timeline

Dec 03        What Happens After Palm Sunday?

Dec 04        Where To Go From Here?

Dec 07        Burnout Happens

Dec 08        Add More Actors?

Dec 09        Can Someone Else Direct?

Dec 10        Time For A Drama Sabbatical?

Dec 11        A Writer’s Work

Dec 14        Writers Groups

Dec 15        Scratch A Draft

Dec 16        Biblical Monologues Are History

Dec 17        Scripts On Fire

Dec 18        Closure

As the first Post projected, the purpose was to prepare new actors and new directors in small churches to launch monologue drama in 2010. Though highlights and insights taught on various subjects related to a Biblical monologue drama ministry, not everything was applicable to all churches, small or otherwise.

The content was not exhaustive by any means, and a bit provocative at times. The Posts were not meant to impart information and instruction only, but to promote dialogue. Allowing readers to process, to internalize a thought provoking question…what can work in our church? A key issue focused on, and tried to establish, a high bar for excellence in a local drama ministry.

I believe the Lord was truly in the project the last 12 weeks and trust it will have far-reaching results for small churches. Thank you for logging in and reading! Please let me know if you start a drama ministry in your church in 2010. Remember excellence…excellence in the Lord. We need the Lord’s blessing and anointing.

The Posts, written from a director/writer’s point of view, were birthed just eight weeks prior to launching. A rough draft of the titles for the Posts was laid out on a schedule. The basic topical writing order never changed. Amazing to me.

Initially an e-book of the Posts was planned, but is on hold at this time. I will not be writing any new monologues in 2010. As for additional Posts on this site, nothing is scheduled or anticipated for the immediate future.

However, another web site is in the planning stage. When launched in June, there will be a link to it from here. It will be an ongoing teaching ministry covering many topics and scriptures.

Blessings!!

Bonnie J. Smith
www.ChristianMonoDramas.com

A director or writer tries to stay on schedule and/or ahead of the timeline. Good intentions, practical, and important for excellence. Does not always happen as planned.

Here are a few reasons why…

1.  Scripts on Fire…A script hot off the press, or more specific, off the computer. Not the best of scenarios for the writer, director, actor, or anyone else involved. It happens, but being habitual in this procedure is a no-no.   

2.  Writing a monologue script does not always unfold…If writing scripts in the local church is a ministry, there can be times when the monologue will not go together. Reasons vary…perhaps wrong character, wrong time, mental block or exhaustion for the writer, and of course distractions and unpredictable life cycle disruptions – birth, death, church fire, violent long-term weather hampers local travel and disrupts everyone’s life in the community.

3. Transitions bring change…Pastors move in and out of local churches; believers do too. Unexpected transitions turn schedules upside down. A preliminary warning is helpful; however, not always available.

4. Pastor’s sermon direction changes…Actor has scheduled script in hand, maybe memorization and rehearsals have or have not started. The Lord is in control; but this type of change opens several considerations or alternatives: do the original script anyway; write another script/find another actor more proficient in quick memorization with excellence; choose not to have a drama that Sunday. (Illness upsets the drama cart too.) 

Signature Thought…

Any of the above scenarios are stressful. Scripts on fire leave everyone in a drama ministry with different impressions and how to use coping skills. In an emergency of this type…just go with the flow. Congregations, and others alike, understand life is not perfect; and of course not in the local church.

Background information adds reality, but needs creative input so the facts are not boring or redundant. Backstory and historical perspective add dimension. History imparted to the congregation through the actor’s life giving presentation is a vibrant dynamic that makes a Biblical monologue stand apart from contemporary monologues.

In writing, there is a phrase, “show, don’t tell” which determines one aspect of a writer’s communication, skill and depth.  How can a novice writer be effective in this process? Be skillful in writing, word selection. If uncertain the true historical emphasis will be reflected in the presentation through words, then resort to other positive measures. Improvise. Use other means besides words, if necessary.  The precise moment of history must come alive in the current moment in front of the congregation and through the reality of the theme and any other intentional purpose chosen.

Through a well-known Bible story, the “show, don’t tell” principle, offers a good example. A monologue about Joseph (Jacob’s favorite son) and his famous standout cloak is often referred to as a coat of many colors.  The “show” unfolds through using a multicolored garment. Not a word is spoken describing the expensive tapestry of colors.

Signature Thought…

The concept, “show, don’t tell” is difficult for me as a writer. However, because I limit monologues to around 500 words, I am forced to be concise and effective in conveying location, history and other elements necessary to support the actor’s presentation. I draw on costumes and props and power point slides as excellent resources to assist in this endeavor.  Scenes (stage design) offer visual insight. A congregation needs images which define location and facts through sight. My writing skill, or lack of, forces me to utilize creative measures beyond words.

A character has been chosen and the basic writing steps unfold through a time consuming process. To scratch a draft might include using pen and writing pad, or perhaps a computer.

With the theme of the sermon determined, a character usually stands out through past readings from the Bible. If acquainted with the character thoughts begin to surface for the writer. The Bible is priority. Research starts by chasing down the passages in Scripture where the character is dominate. Cross-referencing the character in other passages should not be underestimated.

Next, more extensive research from outside resources adds to creative license concerning what the Biblical character might say. Paraphrase ideas and comments from research and resources.

Here are several questions to ask while scratching and sketching a Biblical monologue. 

1. What do I already know about this character?
2. Have I researched and cross-referenced the Bible passages?
3. What does the character say in the Biblical references that is familiar to Christians?
4. What are outside resources, other than the Bible, telling me?
5. How far can I go in creative license for writing words the character will speak?

Additional thoughts and questions: Who…is the character in history? What…do they represent in personal character? When…did they first appear in Scripture? Where…did they first appear? Why…should they interact with the message conveyed in the sermon theme?

Signature Thought…

I lay out the information in brief phrases and possible writing order. Then, I write until I am finished. Sometimes less than 350-400 words, other times reaching 800. (My final monologue scripts stay around 500 words.) Rewrites are many for me, no less than six. I remove ideas from the developed sketch which get the character off track for the theme of the Sunday worship service. Also, I remove word choices which reflect poor writing; or, are not appropriate “in time” for the character. During this process and following there is a continual removal of “fluff” and “wordiness” targeting toward a “lean and clean” final draft. Then, I put the copy aside for a couple days. Amazing how potential changes surface when a writer returns to preview the monologue anew. Down the line in the process, I have a final read through with others. I read, hear and listen for needed word corrections; and their constructive input. Then someone else reads, so I can just listen.

Purchased scripts are convenient, often good to excellent in quality, and usually come with a financial cost attached. When scripts are ordered the whole content is unknown, only a synopsis is available. Monologue scripts are difficult to locate, multiple cast scripts offer more options.

A director may or may not be a writer. If there is a writer in the local church, a small group might start there, evolving into an open format inviting interested persons to join. However, there are options for locating a writer if none is available in the local congregation. Writers groups, those persons who have a Christian writing ministry, are valuable resources. Most states have writer groups meeting. Scripts can be handled through email, or PDF, or snail mail, if the director cannot attend.

For a potential drama writer, belonging to a Christian writer’s group provides a resource to learn writing excellence. Even if another drama monologue writer is not in the group, valuable insights still are learned through article and book writing. Dialogue copy fills the pages of each. Many gifted writers…from novice, to polished apprentice, to well-seasoned, and published many times over…are willing to assist, to encourage, and even critique. They provide a great sounding board.

Other resources include writer’s magazines. On occasion, one has specific information for drama or script writing. Community colleges offer classes, too. Also, there are an abundance of writer seminars to attend. Good nuggets of information are offered. Be selective, ask around for which ones are closer and better. Great networking opportunities open through these seminars.

Writing raises the bar of excellence in presentation. The script should be void of “fluff” or “wordiness”, those unnecessary words not worthy of being in the monologue. Another important description, “lean and clean.” Fewer, but stronger words make a dynamic copy. Excess off the page, for excellence.

Believers in writing groups can help the novice, who has written a monologue, through a constructive critique process of about 10-15 minutes for a 500 word script. The writer reads the monologue, followed by comments from participants.

The format may be different from group to group; some do not include critiquing. Introductions, a simple business meeting, and a member covers a topic; or an invited guest speaker talks on their specialty. Once in a while there are workshop type exercises which work on a specific area of writing.

Signature Thought…

I have attended the same writer’s group for thirty years; some years more often, than others. The information provides valuable insights. Everyone needs a place to hone the Lord’s gift given to them for a writing ministry.

Every writer has a voice. Not just their audible voice, but a distinct sound that comes through in writing. This makes their writing different from anyone else. It takes time for a writer to find their writing voice. For some, this happens early on; for others, consistent and skillful attempts open the door to finding their own voice and style in their work. 

One of the greatest mistakes a writer can make is to mimic another writer. A comfort level settles in when the writer knows their own voice and uses it to their advantage. Collaboration is difficult in writing monologues for this reason. A certain sound cannot come forth.  

When reading a book written by two authors, one finds they have alternated in writing the chapters, and with good reason. If the reader reads a chapter without previously knowing by name which writer was the author, then the reader should be able to tell instinctively, after a few chapters, whose work and which writer of the two they are reading. This is the best example to explain how a writer’s voice should be projected through their own work.

When multiple writers exist in a drama ministry the same dilemma can exist. Even if there is a writing team, as individuals they work on different dramas for presentation. Or, if writing a multiple cast script they might each take a character and write that actor’s lines. This procedure works wonders for character development. Or, collaboration may come in ideas offered, critiquing, and perhaps the choice of themes or issues conveyed in the monologue or multiple cast script.

Signature Thought…

I prefer to work solo when writing a monologue. I lay out the information in brief phrases and a possible order. I write the words…content, phrases, and pauses according to how I see the actor in my imagination giving the presentation. Directing is built into my writing. I have been told by a couple people that they would know my monologue writing anywhere simply by listening during a presentation. I have a distinct voice that comes through in monologues.

Drama was launched in the local ministry when the Lord gave the vision and someone had the call to pick up the mantle and offer a unique and creative ministry. Perhaps the whole concept of drama unfolded through the leading and direction to bring a spark of new life to the Sunday morning worship services.

Now, for reasons, unknown, and unable to define in this post, that anointing appears to be lifting from the drama ministry. Is it really? Or is it time for a drama sabbatical? Maybe burnout has enveloped the director, writer, or actors. 

When the schedule needs changed, go with the flow. If drama has been a vital lifeline in the small church, this creative ministry like any other needs a season of renewal and refreshing. Take a few weeks off, regroup, and give everyone an opportunity to “miss” drama.  

A sabbatical can work wonders. Relaunching and timing should follow the Lord’s direction and timeline. Before the sabbatical starts, have a pre planned target date for reentry of the ministry back into the Sunday worship schedule. Remember lead time is needed in order to be ready on that new date on the calendar.

Caution…a suggestion for a sabbatical can be an excuse when someone is envious of the excellence level and wants to sidetrack a valid, worthwhile, and anointed ministry. Be sure where the request and direction come from and the true motive. 

Clues for revealing a restart timeline, even before a sabbatical, may come from the congregation. Subtle comments or questions about drama tells the pastor, and director, and actors, there was acceptance and positive proof the drama ministry has a meaningful purpose.

Signature Thought…

Is a drama sabbatical necessary? I think to step away for a few brief weeks is normal in a small church, and can unfold without the word sabbatical being used. Scheduling a two-to-three week break works in most churches. Pick a convenient time. Example: A national holiday weekend, with the weekend before and after, provides a natural break for three Sundays.

First, a director is usually too busy to perceive someone else might be interested in directing. Second, hints voiced by any person who alludes to perception of how something should happen becomes a valid and valuable clue. Third, there are actors whose perception and consistent insight for how to deliver a monologue become the ones most likely to surface as the next director-in-waiting.

The idea of an assistant director could be a possibility from the conception of launching a drama ministry. Or, perhaps a couple of believers were the ones who initiated a drama ministry idea for their church. If this were to happen, even though unlikely, it would be a phenomenal balance of energy. If two of them were on the same level regarding excellence and had defined boundaries; plus had worked together in another ministry area, the conception could have validity. On the other hand, egos could surface giving way to an unhealthy competitive spirit.

The best procedure would be to work together in script selection, decisions for actor preference per script, calendar timeline log and anything which has opportunity to become disjointed without clear communication.

With this purposeful format and if there are enough actors, the drama ministry has an opportunity to grow on the schedule and expand to more Sundays without depleting the overall energy of a one-director-does-all format. This concept on a much larger scale functions in megachurches where they have a cohesive team of writers, directors, and actors.

An assistant director could be a titled responsibility versus two individuals working an intentional format alternating scheduled dramas. Flying solo would still be important in directing, but only after there is the assurance excellence can and will be maintained. Important…one director-to-actor for a script. In other words, a clear boundary set; only one voice giving direction for each presentation whether a monologue or a multiple cast script. 

There are challenges. One would be delivery of the monologue by the actor and the entry, exit, and delivery points for the script. Remember…these locations change with each monologue; a format to hold the congregation’s interest and attention.

Signature Thought…

Recognizing I needed and wanted someone assisting the next year in the drama ministry was a priority for me; if the Sunday drama schedule was to increase beyond 26 Sundays of 52. However, the overall church dynamics changed and I moved on to another church and ministry.

When individuals are added, it gives other actors a limited sabbatical from memorization and a much deserved rest from the stress of presentation in the Sunday worship service. They may baulk, that is okay. New voices need to be heard in the monologue deliveries.

Here are five ways to consider adding more actors:

1. Follow the leading of the Holy Spirit.
2. Listen to recommendations.
3. Respond when a questioning believer approaches.
4. Be alert to the unassuming persons as potential actors.
5. Utilize believers with exceptional voice quality.

Follow the leading of the Holy Spirit…New consideration needs to take precedence for the director to step out and approach someone other than a regular on the drama team. Awkward at first, but the sleeping giants are discovered through this approach. Or, write a monologue for the pastor to deliver as their sermon. Of course, this takes a pastor who can memorize; plus relinquish dominant control to collaborate with the writer/director on drafting the monologue script.

Listen to recommendations…Pastor’s conversations with newcomers can bring prospects forward for consideration. Current actors talking with other believers opens insightful options. Directors who see engaged persons watching intently during monologue presentations might have a future actor in sight.

Respond when a questioning believer approaches…Simple questions voiced by a believer intrigued with drama can be toying with the concept of considering something new in ministry. Often they will ask to see a rehearsal so they can better understand the process.

Be alert to the unassuming persons as potential actors…Watch for those who do not appear to have any acting ability. Again, this is another way to tap into the sleeping giant resources. These individuals need an opportunity to simply explore the idea with guidance from the director.

Utilize believers with exceptional voice quality…Some individuals using a microphone have excellent voice recognition. These are discovered through announcements, singing, or other venues when at a microphone. Use creative writing ability and design monologues for them. They can be heard and seen, but silent (audio pretaped). Or heard and not seen. They must be familiar with the monologue script before the taping.

Signature Thought…

Be creative where acting resources are limited. If the drama ministry functions in excellence, the Lord brings the needed actors. However, the director must not be selfish, but faithful, in allowing newcomers to participate. Yes, I know added responsibility increases for the director.