Los Angeles by Josh Gershick
No writer wants to hear “The play needs another draft,” but it’s frequently true. Willingness to go back to the board is often the difference between a half-baked work and one that really says and does what I, the writer, intended when I first had the idea.
So the question is, how best (and most fruitfully) do I take, or respond to, a producer’s note about the strengths and weaknesses of my play?
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