The Before and After Issue
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Editor's Notes on The Before and After Issue
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Dear Dramatist: Jan/Feb 2020
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News Roundup: Jan/Feb 2020
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Tony Meneses: Ten Questions
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The Craft with Audrey Cefaly
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Before You Write the Play or Musical, Part One
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The Real Person in Your Play
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Underlying Rights, Part One
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Before You Write the Play or Musical, Part Two
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Contracts 101: Collaborations
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Marketing 201: Beyond Submitting
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20 (Mostly Free) Tips to Promote Your Play or Musical
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Terms of Success: A Look at the Basic Terms of a Production Agreement
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The Road to Riches: Publishing & Licensing
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Playwright's Collectives
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Subsidiary Rights, Part One
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Developing a Long-Term Plan for Your Literary Papers
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DGF Fellows: Erika Dickerson-Despenza
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DGF Fellows: Jay Adana & Zeniba Now
- Jay Adana
- and Zeniba Now
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DGI: Northwestern Musical Theatre Intensive
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California - North: Play Cafe Affords Unique Opportunity to East Bay Playwrights
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Dallas/Ft. Worth: The Politics of Space
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DC: Introducing District Dramatists
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Gulf Coast: Conversations at Bacchanal with Kurt Opprecht
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Houston: Interview with Rachel Dickson
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Missouri: Confluence New Play Festival
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New England - East with Andrea Lepcio
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New Jersey: The Infinity Plays
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Seattle: The Scratch
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DG Southwest Region Going Strong
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Tennessee: Interview with C. Kay “Andy” Landis
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Notes from Puerto Rico, Part Two
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Why I Joined the Guild with Georgia Stitt
Rachel Lynett, DG Ambassador for Northwest Arkansas, has been exploring the idea of starting a playwright’s collective for the state of Arkansas. As part of her research, she agreed to moderate this roundtable with Guild members around the country who’ve started collectives. The conversation occurred via teleconference with several Arkansas-based playwrights in our virtual audience. For the purposes of this conversation, a “collective” differs from a writing group in that a collective produces the work of its members.
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is the award-winning author of over 20 plays, including Patty Red Pants, American Sexy, Sand, and CHICKS WITH DICKS: Bad Girls on Bikes Doing Bad Things! Her work has been produced off-Broadway, throughout the U.S., Australia, Chile, and Japan. A recipient of Jerome Fellowships and a McKnight Advancement Grant, Trista’s work has been developed by Seattle Repertory Theatre, Seattle Children’s Theatre, WET and Live Girls! Her play Ghosted, written for SCT’s Kaiser Permanente Arts Education program is touring nationally. She’s currently under commission by Ensemble Studio Theatre/Sloane Foundation and Seattle Children’s Theatre. Her work is published by Heinemann, Spout Press, and Playscripts. www.tristabaldwin.com
plays include The Sore Loser, Hurricane Diane (Obie Award), The (curious case of the) Watson Intelligence (Pulitzer Prize finalist), Seven Homeless Mammoths Wander New England, Precious Little, and The Zero Hour. Madeleine is a founding member of the Obie Award-winning playwrights’ collective 13P, the Mellon Playwright in Residence at Two River Theater, and the Fellow for Curriculum and Program Development at the Bard Prison Initiative at Bard College.
is a queer Afro-Latinx playwright based in Arkansas. Her plays have been featured at Barrington Stage, Matrix Theatre, Capital Repertory Theatre, TheatreSquared, EquityLibrary Theatre, Chicago, Talk Back Theatre, and Orlando Shakes. This year, she also received commissions from Florida Studio Theatre and Florida Atlantic University.
is a playwright and screenwriter who serves as the Executive Director of the PEN/Faulkner Foundation and the Project Director of the New Play Exchange. A co-founder of The Welders—a Helen Hayes Award-winning playwrights collective in Washington, DC—Suilebhan was elected to the Dramatists Guild Council in 2017.
is a proud member of The Public Theater’s 2018-2019 Emerging Writers Group and a member of the 2019-2020 The Flea Serials Writers Room. Plays include Lime-A-Rita Racist (Public’s 2019 Spotlight Series) and Red Room on a Dark Web (Primary Stages Drills 2019 Reading Series).