D
ear Dramatist is a new column that invites Guild members to submit questions about craft and career to be answered by DG staff and industry professionals. Whether you’re looking for theatre resources in your area, advice on honing your craft, or tips on navigating a career in theatre writing, the Guild is here to help! Submit your “Dear Dramatist” question here.
Dear Dramatist,
How can emerging playwrights break through the endless submission process?
Emmy Potter
Queens, NY
T he honest answer is: you just have to keep applying. Some open submissions have taken me ten years (not exaggerating) to finally get accepted to the opportunity. I still submitted every year and put time, energy, and thought into every application. The play is always the most important thing, but your supplemental materials could be the deciding factor between your application being chosen or another, so be sure you’re looking at the opportunity and crafting your application to each and every opportunity. Infuse your voice into your statement of objectives and personal statements. Never ever be generic; always be as specific as possible with every answer. And remember, the readers have a lot to do with whether you get the thing or not (so there is only so much in your control). With time, I’ve found that my applications have gotten stronger and clearer and I can write the materials a lot faster, so keep on keeping on and happy submitting!
– Benjamin Benne
H one your script I say! Before I send anything out (or my agent does), I have the script read out loud by friends three times, rewriting after each read. I then go “beat to beat” on a print out. I do my best to ask if I was a reader, what would I be seeing on stage?
Is your front matter (setting & place, notes) clear? Does it set the stage for a reader seeing what you see, and set the tone for the experience in an economical way?
Readers do not want to flip backwards or get lost. Is it clear who is speaking when, who entered, who they are?
People say the first ten pages are important. They’re not lying.
Is the “fat” cut? (Can six pages become three pages?) Are you showing not telling?
Does the dialogue always move things forward? (If you need to hone this skill, read Backwards & Forwards by David Ball.)
Is the pacing on the page correct?
Is each character distinct within your world?
Can internal beats become clear? When do you need to hold the hand of a reader? Re: “Beat. She looks at him - does he know her secret?”
Is there strong cause and effect? Does the end of each of my pages make me want to flip to the next?
Show them who you are by how you tell a story in your way, from the submission letter to the artistic statement. Show don’t tell in every aspect. Readers know the script won’t be perfect, no script is, but they are looking for the essence of the story—the bones of the story or theatrical experience—to feel your voice telling it. Is this all there? This is something you have to do anyway, so this way you always win!
– Crystal Skillman
