Posts filed under Influences

Faking it till faking it no longer feels like faking it

You know how they say “Fake it till you make it?” I feel like I’ve been operating under that notion for the bulk of my playwriting career. But recently, I’ve started to actually feel like I’m making it, not because I’m faking it, but because I have the knowledge, skills, and grit to actually make it. It’s a very odd feeling. After years of using my best guesses, I’m actually starting to feel like I might know a thing or two about what I’m doing.

Someone recently said to me “You’re the expert!” and there was a tiny twinge inside me in response. No, I can’t be an expert in anything. I’m still figuring it out as I go. But maybe I have become quite practiced at the figuring out. I still don’t love the connotations of the word “expert,” mostly because of the expectations others might place on such a title. But if, if, I am an expert, it’s not because I have it all figured out, but because… I’ve gotten good at figuring things out as I go. With enough “faking it,” I’ve now gotten enough experience to know how to think through decisions and problems in my career. Decisions and problems that might be fresh and new for others.

Yes, an odd feeling. Oddly quiet. Oddly reassured. I’m not flailing about trying to make sense of everything. After all my flailing (and failing), many things have come together. And the things that still don’t make sense, I’ve learned to maneuver through and with. Of course, the “faking it” hasn’t ended. Each time you level up in a video game, there is more to learn about the skills or items you’ve acquired along the way. And I’ll still need the expertise of others. But this lifestyle of “fake it till you make it” has started to look more and more like… “this is how you make it.”

Posted on January 23, 2020 and filed under Career, Influences, Performing Arts, Thought.

Hello, Old Friend

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I haven’t opened this script in almost two years. After my post-production dramaturgical meeting, I decided to let The Four Immigrants rest on my bookshelf until the time for revisiting emerged. Thanks to the upcoming concert presentation at USC this fall, that time is now. And while I have thoughts about what I might want to revise, I find myself a tad overwhelmed. How do you even begin to approach something that has been such a huge part of your career? To focus in on the minutiae of something that consumed a large chunk of your time previously, and yielded such memorable and rewarding results? Where do you even start to deconstruct something that has felt so central to your sense of self?

I could learn a lesson here from Grace Lin’s Minli, who, as she gazes upon the Paper of Happiness reads the word that is meant for her: Thankfulness.

I am so thankful for the relationship I have had to The Four Immigrants, both Henry Kiyama’s original work and my adaptation. All of the people I have crossed paths with as a result. And the ways in which I grew.

And it turns out, with thankfulness acknowledged, the script allows itself to be revisited. And the work is no different than before. Bigger picture, specific moments, character arcs all come back when I put aside the idea of how daunting it all is and replace it with a sense of gratitude for what it has all meant. Time to get to work.