Saturday March 14th, 10am to 5:30 pm
Clinton Cameo Studios, 307 W. 43rd Street, Studio A
What often holds playwrights back is that they rarely consider the person who will buy and produce their product: the producer. With all the work, hope and sweat they invest in considering character, theme and plot, playwrights rarely take into account producibility.
This one-day intensive will be taught by TRU Literary Manager Cate Cammarata, TRU's Program Director for Playwrights. With segments of the workshop taught by commercial producer Patrick Blake (The 39 Steps, My Life Is a Musical, Bedlam Theater's Hamlet/St. Joan, The Exonerated, In the Continuum, Play Dead) founding artistic director of Rhymes Over Beats, TRU's Bob Ost and Gary Hughes offering marketing insights.
• WHAT IS PRODUCIBILITY? The fact that producers always ask this question, and playwrights hardly ever do, causes a serious disconnect between the commercial producer and most playwrights.
• WRITING TO A MARKET - We will ask each playwright questions he or she has probably never considered before: Who is your market? Who is going to buy tickets? Who is this play written for?
• WRITING VIABLY - Creating writing that holds the attention of the audience with a strong storyline and defined events. This module will cover such primary writing elements as: arc, desire, motivation, conflict, and the clear delineation of theme.
• WRITING ECONOMICALLY - Number of characters, number of sets, extravagance of sets: all these are serious considerations for most commercial producers. Does the play require a casting director, or can it be done successfully by seasoned unknowns? Is there a chorus of thirty that can be pared down to two? Are you kidding yourself when you think one actor can play eight parts?
Schedule (subject to change):
- What is "produciblity?"
- Writing to your market
- Writing economically
- How to analyze your script from a producer's point of view
- Be your own dramaturg: make sure your script "works"
- Steps of development
- What goals to set at each step
Do I need a lawyer?
How to get an agent
- Where to develop my play
- Licensing your play
Outline of a reasonable option agreement
- Making your best elevator pitch ever: essential components you need to know
- The day ends with a panel of commercial producers who will offer feedback on writers' pitches as well as suggest appropriate markets for the works.
exercises in Play Structure and Aristotle's 6 Elements,
Examples of Query & Cover Letters,
Loglines and Synopses;
How to Submit and How Often
Costs of Various Components of a Production, including Actors' Fees, Costumes, Sets and More;
a list of great New York theaters for rent;
Invaluable Websites for Playwrights, and
a list of Playwright Workshops.