I admit that talking about differs from doing. Nevertheless (a dandy old word to type), talking helps. Though I already knew that this musical, if it's ever finished, will be Book Six in my Man From Saskatchewan series, until this afternoon I hadn't realized what that meant. What is means is that matters of downtown history and architecture, City policies (especially parking and zoning regulations), and development trends in the Transition neighbourhood, must find footing in the piece. These are matters worth singing, the way I see the world when I'm writing, is what I'm saying.
I must have mentioned in a previous entry that "The Key" began with the image of a woman locked out of her heritage apartment and about to see if someone can buzz her in. She consults the list of names in the wooden case by the inside door. She sings a song called "Names." That's at present the second scene, but anyway the names thing was a result of Provincial Archive research I'd done into the earliest days (1928) of the Frontenac, where I live. I listed who lived in which of the 55 suites, and when I wrote up a short essay and gave it to the apartment owners, Nicor and Campbell & Haliburton, who are into heritage, they printed the piece and framed it for display during an open house in the renovated Amenities room (which in '28 and forever thereafter was marked with a metal "A" instead of a number).
We get along fine, the owners and most of us, most of the time. But in the musical, we'll see!