My Idea Got Smaller and Became Clearer

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How I write about this creative process is as much a work in progress as the show itself, and by being here at the beginning you’ll help me discover the right shape for both.

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I asked a director friend if I could talk to her about my show.

We sat down with coffee earlier this week. I launched into "this is why I find Salvador Dalí so interesting" before realising, as I spoke, that telling his story from cradle to grave was too much information. She listened intently, but I could feel my own eyes glazing over as I tried to explain too much too quickly.

Sitting down with someone I trust and bringing the show to life out loud was less daunting and more encouraging than I'd expected. As I shared my initial ideas, I noticed her lean in, asking questions, wanting to know more. That was a powerful signal that there's a story there worth telling.

But perhaps I'm not doing any favours to the audience, Dalí or myself by trying to tell his whole story.

Focusing the show on a specific period or moment from Dalí’s life changes the question entirely. Instead of asking “how do I tell everything?”, I’m asking “what story do I want to tell?”

That shift — from everything to something — makes writing the show feel less overwhelming and more possible.