A few publishing companies have shown interest in the submission of my novel called Leaf’s Esparto. One of the characters in the novel happens to have been a local gig piano player; funny enough–I hadn’t thought about its discussion until I started gathering ideas for another screenplay called The Piano Player. The main character of my novel had a spouse who happened to be a piano player. I base, however, for the screenplay, ideas from knowing my late step-grandfather, on my mother’s side of the family, was a local, professional piano player who played local piano. He was professional enough to earn enough of a reputation for playing for exchange of living hotel free. One of the hotels was Hotel Congress in downtown Sacramento; he played and lived there. He also played for people in Woodland, and Del Paso Heights. From what I’m finding out, he passed away early in his sixties. When I think back–or try to–I think he really enjoyed playing the piano. I got to thinking, while watching some Big Band Years’ television at a hotel recently, the integration of Big Band into the screenplay. And I wonder how much he was into Big Band. I got a feeling he was probably influenced by it or could’ve been, perhaps, considering the time. Getting to know music on my own, learning to read notes, learning to write it–and learning through other players-instrument makes me look forward to playing the piano myself.
I began again a full length play called The Card Room, which may look like more than enough characters, but I’m going to try something–twelve characters. Good news, too, is there’s interest in characters roles from actor/director Kevin Costner and actor Martin Sheen. I’m looking at setting up three tables of four players.In this play, I work with multiple decent and age, ages range from twenty-two years old to eighty years old, the fluctuation of personalities is a wonderful challenge. I’m still needing to, however, sharpen rhythm as to why these distinct personalities motivate the same card game routinely. For the first time with the subject, I’m letting youth, well, the character’s twenty-two, deal with an alternative truth. Multiple themes obviously in this play, one is religion. I’ve started dialogue with the characters but haven’t yet established how I want to work with the Catholic Father at the tables. His age has changed to thirty-five. Age isn’t the issue, although what I like is the range from just about each decade with these characters from their twenties, thirties, forties, fifties, sixties-seventies, to eighties.