2012 in Review
I always thought 2012 might be a big year for me, and it was in many ways, though somehow it feels less significant than I hoped it would be. I realize this sounds foolish, ridiculous even, given the huge life changes this year brought, but . . . I don’t know. Maybe because I expected the year to be important, the fact these big things happened seem small because I was waiting for them all along. Almost as if taking them for granted even before they occurred.
Here are the major milestones of my 2012:
This past March saw me moving from Massachusetts to California. I’d lived in Massachusetts for more than twelve years, but it had never felt like home to me. Meanwhile, I had been supposed to move to California back in 2001, so here I am, a bit tardy, but better late and all that. And I love it here. I now live someplace I’m glad to return to after traveling.
Which brings me to
Besides the move, which was travel in one direction, I did take a couple round trips this year. I went back to London over Easter, spent ten lovely days there to write and see a couple shows and an old friend from uni. And I visited family in Houston before attending the Austin Film Festival, where I also took the opportunity to see old friends from that area. Really good trips.
There was also a weekend away in the Pacific Heights area of San Francisco.
I love to travel, am already planning a return to London in summer 2013.
My first play, only ten minutes long, but a success on various fronts. It premiered in February in Enfield, Connecticut, as part of the annual Lab Works, where it was a finalist. Then it got picked up for the Source Festival in Washington D.C. It would have had a showing in Texas, too, except my Source contract eliminated the possibility (because the Texas show would have been in May, and I agreed to not have it produced again until after Source, which was in June). Still, on top of all this, “Warm Bodies” was selected for publication in an anthology, which is supposed to come out some time next year.
I’m excited by this modicum of success, though I’m hoping it wasn’t just a fluke. I don’t want to be a
one-woman show one-show woman.
I put out five e-books this year, starting in late June, and they’ve done moderately well. I’ve had close to 13,000 sales and downloads in the six months since my work has been available, and my Sherlock Holmes stories have been particularly popular, were even the #1 & #2 Sherlock Holmes stories, respectively, on Amazon for a while.
Truly, I resisted self-publishing for a while, but though I was getting encouraging feedback from places that liked my style of writing, no one was taking that step to publish me. (Though, as an aside I will say that I did have four flash fiction pieces accepted to an anthology.) And it seems that these days the publishing industry is somewhat backward, where the agents and publishers want to see whether you can sell before signing you. They only publish two kinds of writers now anyway: big names and lowest common denominator trash—the stuff that sells to the masses regardless of how badly written it is. The “middle class” of writers has fallen through the cracks, and self-publishing seems to be the net that has caught a good many of them.
In any case, I’ve been pleased to get my work out there and have it find an audience. And I’ve enjoyed the occasional fan e-mail, too.
I was prepared to write off 2012 as a bad year for my screenwriting. Though I’d had a couple agency nibbles for my Sherlock spec, they came to nothing. And I spent the entire summer fielding rejections from various screenwriting competitions. Then, in October I got one really positive read for my short film script St. Peter in Chains (based on one of my novellas), and just a few days ago it made semi-finals in the Table Read My Screenplay competition. I have not been able to get anyone interested in actually making the film yet, but I’m still hoping it might happen. In any event, the year in screenwriting ended better than it began. Perhaps my strength is in prose, and maybe a little bit too in playwriting, but I’ve wanted to work in film and television since I was a child, so it’s tough to let go of those dreams.
. . . And those have been the major features of 2012. I’m not sure what to think about 2013; I’ve had 2012 in the back of my mind for so long, always knowing it would have some weight, I haven’t thought ahead to anything else. Maybe that’s a good thing. Maybe going in with no expectations is better than being disappointed in the long run.