First, I'd like to thank Leilani for inviting me to this fantastic event. My understanding of the project was that a small group of veteran writers would gather under Leilani's direction to write a ten-minute, one-act stageplay based on letters written by American service members since the Civil War. As a lover of military history and theater, I was highly intrigued. The indicator of serendipity was when I learned that the letters I would be working with were from a World War I ambulance driver who saw carnage in the Argonne Forest, one of the most brutal conflicts Americans faced in that war.

I appreciate the writers' gathering. First, it was held virtually, which was a blessing for me, as I am on the East Coast, and this group is centralized in Los Angeles. Second, the process of workshopping with other writers is critical. This became crucially true when we listened to other writers read our play. Glaring issues in clunky dialogue or awkward stage directions became more obvious during those sessions.

Most of my experience with writing has been in fiction and poetry, and writing a stageplay was a unique amalgamation of both words. The writer has the first say in stage direction, dialogue, and the story's trajectory. Leilani commented that they are the “Kings and Queens” of the theater. It may be even more so in the theater than in film, where the Director is typically the first-line general in that medium. I could make some of the dialogue poetic, particularly with the character representing an omnipresent divinity. It felt very freeing to write dialogue poetically, as I typically fall into the trap of expository or extraneous dialogue in my fiction.

Overall, this has been an amazing experience working with talented veteran writers. It has sparked my passion and excitement to create further stageplays that explore the nuances of the human condition. Being involved in any theater group is amazing, but this experience with The Letters Project has stood out in its passion, creativity, and unique voice.