kristy bowen | writer & book artist

    One of the things I am most loving mucking around with in my play scripts is time--the movement backward and forward. GRAVEYARDS OF CHICAGO takes place in two timelines, one of which changes mid-scene through cues like music, lights, and actor posture. THE YELLOW WALLPAPER drifts back and forth between present events in Gilman's original story and fictional scenes that go back slightly in time. ALL THE BEST SONGS ARE CHEATIN' SONGS is perhaps the most egregious use of time jumping, with alternating scenes between the main characters adulthood and childhood, while SWARM, the last draft I finished, also jumps around in 17 increments to tell the story.  I've written more plays with unusual and fluxing time lines than I have those without (though the zombie/hotel play in its very rough zero draft does take place in overlapping scenes in the same night/location.) Even the weird sisters play jumps around a little bit, beginning when the witches are younger and ending after ...