The Reality Check Issue (2018)
Return to Issue Archive-
Masthead of the Reality Check Issue (2018)
-
Why Isn't the Guild a Labor Union?
-
Dear Dramatist - September/October 2018
-
Annalisa Dias: Ten Qeustions
-
Phillip DePoy: The Craft
-
Survival Jobs
-
The Big "What Now?" Part 2
-
On Writers Groups
-
Working Without An Agent
-
Suggestions for Staged Readings
-
Directing Your Own Work
-
Freelance Isn't Free
-
Rejection Letters That Never Made It Into Print
-
Advice to Young Theatre Composers
-
Copyright Advocacy: Between Never and Forever
-
From the Desk of DGF: What’s the Foundation?
-
Chicago: Can Conversation Change the World?
-
Dallas/Fort Worth: Will Power
-
DC: Honoring Howard Shalwitz
-
Gulf Coast: The NOLA Project
-
Houston: Texas Playwrights Festival
-
Northern New England: Contracts for Writers
-
New Jersey: Joel Stone
-
San Francisco: The Rest I Make Up
-
Seattle: Out of Grief Comes Art
-
Southwest: New Work!
-
Tennessee: How does a playwright get from New York to Tennessee?
-
Guild News – September/October 2018
-
Dramatists Diary – September/October 2018
-
New Guild Members as of July 15, 2018
-
Why I Joined the Guild with Lloyd Suh
In today’s DIY culture of self-starters, there’s no need for writers to wait around for an agent, publisher, or literary manager to offer feedback on their work. Many playwrights and musical theatre writers find that participating in writer groups can be a vital part of their creative process. Though some groups organized through theatre companies require an application process, numerous others are founded by friends, collaborators, or similarly like-minded artists who desire the inspiration, feedback, discipline, and sense of community inherent in being a part of a writers group.
Subscribe to gain full access to The Dramatist Issue Archive.
Join and become a Dramatists Guild Member, Business Subscriber or subscribe to the magazine with an annual plan for unlimited access.
Guild Members receive our magazine as a benefit of membership!
is a theatrical journalist and musical theatre writer. Fellow: National Critics Institute at the Eugene O’Neill Theater Center. Bylines include: TDF Stages, Hey Alma, American Theatre, The Interval, Howlround. Sarah currently works as the Communications Content Manager at the Dramatists Guild.