26 Playwright
Playwright
“What would you like to share with those completing their training and entering the theatre milieu?”
Fire and Chance
By Judith Thompson
When I graduated from the National Theatre School, I was like a rocket. I had been broken early on by that system, but I repaired myself and became stronger than ever. I was creatively fulfilled, especially by work we students shared with one another, and hungry for more. I was healthy, looking my best and feeling empowered, ready for anything and everything. All my thoughts were about getting an agent and the perfect photos and launching myself into the scene.
That somewhat delusional optimism was critical for survival in the world of theatre. I did book two jobs right away-one was a role in a bittersweet American play, which we would tour to Ontario schools-right up to Rainy River. The other was an Alan Ayckbourn play in Winnipeg, directed by a man who had been a guest director at the school. I had chosen that over another offer, also by a guest director from my time at the school. So things seemed to be going quite well.
But the golden key to my real artistic success, and in fact, my future, was a big mess of a manuscript sitting on a desk that had been made from a door, in the room, I rented in a big old student house on Albany Avenue in Toronto. During that first summer out of school, before I booked the roles, I was worked as a waitress, a tutor, and a supervisor at a group home for folks with disabilities. I also worked on a play that I had begun back in theatre school, centred around a traumatizing and life-changing event that occurred a few summers back when I worked as an assistant to a social worker in Kingston. I showed the play to another director/dramaturge who had been a guest artist at the school. He was wildly enthusiastic, and gave me some sound dramaturgical advice, as well as showing the play to everyone he knew in the theatre.
So, looking back, there were two keys to success: one was having the fire in my heart, and the lifelong love of literature, and the encouragement of my peers when writing my own monologues for our Friday student run shows, that compelled me to write The Crackwalker, and the second, just as important, was having the connections I made in theatre school. If I had just submitted my play to a slush pile, I don’t think anyone would have produced it. These days, there are many more opportunities for new playwrights than there were then, but it is still challenging. As far as acting, my artistic focus and hunger simply shifted over to writing.
Unless you work steadily, in play after play after play, or you are a Stratford or Shaw star, it is almost impossible to make a living as a stage actor. However, if you combine stage work with television and film work, it is possible. There is a lot of competition, so you have to understand and build your unique strengths. Are you funny? Never hide that in auditions. Work it. Are you loud and outrageous? Let it shine. Are you physically unique? Do NOT try to look like everyone else. They are finally looking for unique. Casting directors look for types to fit the roles in the script “bibles.” Know which type you are. This is only slightly true in the theatre, where the combination of talent, dedication, respect for the process and the company plus likability will take you a long way.
You also need to be willing and able to continue your artistic practice without compensation, for a while. Nobody commissioned my early plays, I just wrote them and hoped for the best. I wrote them because I had the burning need to bring those characters to life. When I had written four plays, and gained a lot of recognition, I was recruited by the University of Guelph to interview for a job teaching there. Much later on, when I had a secure job at the University of Guelph, I was in a position to co-found RARE theatre, a company dedicated to giving a theatrical platform to communities who felt unseen and unheard. We managed to secure a few good government grants, which enabled us to hire artists, usually without experience, from these communities, for example, a cast of 9 artists with Down syndrome, and surround and support them with professional designers and stage managers. I was able to work without pay, so we could use what would have been my salary, to hire extra cast members, or support team.
Think of theatre art like poetry. Nobody expects to make a living at writing or producing poetry or spoken word. They do it because it is their passion. It gives them a place in the world. It is a community they thrive in. You can make theatre in a community centre, a laneway, a van, or someone’s living room. I have seen brilliant work in all of those places. It doesn’t have to be Mirvish or Broadway or even Tarragon to be legitimate art. If you are still struggling to make a living, the greatest hope is to find a theatre adjacent way of making an income: teaching public speaking, running a theatre camp, or, if you have succeeded artistically in indie theatre, after a dozen years or so you may be hired by a college or even University to teach your art.
As a sixty-eight-year-old artist who has been practicing in the theatre since I was twelve years old, I can tell you that the most gratifying moments of my life, apart from my family, have been and continue to be practicing my theatre art, whether it be playwrighting, or devising. Do what you have to do to make a living, but never stop being who you are, a theatre artist.
“There’s a secret that real writers know that wannabe writers don’t, and the secret is this: It’s not the writing part that’s hard. What’s hard is sitting down to write. What keeps us from sitting down is Resistance.”
–The War of Art by Steven Pressfield (p. ix)
Pathways
I started writing plays in elementary school because I was that stereotypical theatre kid who did shows in their basement with sheets for curtains. In high school I wrote short pieces for the Amnesty International student group. I wrote throughout my undergrad but there weren’t any playwriting courses offered at my university so I took play analysis instead. Then I began taking workshops, classes offered by theatres, and developing my work with the support of playwright centres. I wrote a lot of bad plays and some with promise. I think my writing got better as I practiced the craft. Now, much of my work is facilitating community-based play creation where my playwriting skills work alongside my directing skills. I have also had the privilege of teaching adult playwrights, many of whom have come to the craft in retirement when they were finally able to pursue their passion for writing. In many cases the key part of developing their work as a playwright was simply having time to write and write and write some more.
All this to say that as with other areas of theatre, there are many pathways. This chapter will focus primarily on the sole playwright, but that is not to negate theatre creators who write collectively or devise work on their feet. Storytelling for the stage is produced in many ways.
Formal training for playwrights exists with some Canadian post-secondary institutions offering playwriting streams as part of undergrad studies, as well as MFA programs. I’ve known colleagues who were writing for years and then went back to get their MFA in playwriting, often so they could teach. There is also the National Theatre School playwriting program, offering a more conservatory approach. Many simply begin writing without formal training and learn through experience.
Submissions/Finding Opportunities
It is often said that as a playwright you have to spend as much time on the business of playwriting as you do writing. This includes the effort to find places to send your script, putting submissions together, following up, and networking. The only way you will get your play produced is to get it into the right hands. It definitely won’t be produced if it is sitting on your computer hard drive or in your desk drawer!
There are a few ways to submit.
- Cold Submissions or Unsolicited Scripts
Here, you basically look at theatre companies who may be interested in a specific play you have written and send it out to them. You will need to do your research! Go to theatre websites and check their mandates, look at their recent programming, and who their audience is. Will your play be a fit for them? If the theatre is in your region, go see their work so you really understand the types of plays they might want to produce. Do not just send your play to every single theatre. If you’ve written a contemporary play that has nothing to do with Shakespeare, then don’t submit it to a company whose mandate is to produce Shakespeare. Part of this research is also to verify what process for submission each theatre has in place. Many expressly state on their websites whether they will accept unsolicited scripts or not, as well as what to send in and to whom. Some ask for a letter or just a synopsis and will then request the script if they are interested. Others request a ten-page sample. You definitely want to follow their guidelines and send it to the appropriate contact. It is also good to track what you submit and where so that you can follow-up.
Theatres that do accept unsolicited scripts often have what is referred to as a slush pile. Some theatres have a dedicated literary manager, dramaturg or associate artist to review and respond. In most cases though it falls to the Artistic Director who is already incredibly busy. This is why some companies have stopped accepting unsolicited scripts. For those that do, be prepared for the fact that it could take many months for them to read your script. They may prioritize those by playwrights they are familiar with or someone who has been recommended. You may never hear back at all. A gentle follow-up to confirm receipt after a couple months is fine, but repeated calls or e-mails will likely not be well received.
As you go to openings and network, it can be good to say hello to the Artistic Director and mention you submitted a script to them or conversely ask if you can send one in. Having a face to go with the name can elevate your submission in the great slush pile.
- Calls and Opportunities
Since the odds are a bit better if a company is actively calling for scripts, many playwrights just focus on responding to promoted calls or opportunities. The trick here is to get on mailing lists, newsletters, listservs, and have regular sites to check for these calls. If you join a playwright association, development centre or group, often these calls are shared to membership. Once again it is important to do the research. Read the criteria closely and follow the guidelines. It is good to check the website or source of the call in case details were left out when it was shared. Some theatre companies do calls for submission for their seasons or festivals. There are also playwriting competitions. Be sure to look for limitations such as needing to reside in a particular locale, length, and cast size.
Some festivals and competitions will request a fee. Several playwriting organizations advise against paying these fees and liken it to an actor paying to audition. At the very least consider the cost and what you are getting for this fee. Do they provide a written response? Is it a prestigious festival or competition? Are they charging a lot just to fund their operations? What do they do with the funds? Is it just for a reading or for a chance to have a full production of your play? Do they offer exemptions for those who cannot afford it in order to keep the process accessible to all? Are they charging plus asking for a lot of additional labour? Most submission are now digital, but there are still some that require you to send physical copies along with forms and specific breakdowns. It is always good to assess if it is worth it or not.
- Readings
Having your play read publicly is less a submission and more an opportunity to get your work out there. Many calls for scripts are for development opportunities where a theatre will workshop and do a reading of your play. This can be great if you need the continued script work. Since it is cheaper than producing, many theatres offer this as a way to support writers and also support their own output in reports to funders. There are several cases in the last decade where playwrights I knew had multiple readings and workshops, leading to the play being workshopped to death without ever receiving a production. In the ideal scenario though, getting a reading of your play is a chance to showcase it and invite potential directors and Artistic Directors. Some do not have the time to read scripts and it can be hard to see on the page if a piece will work on the stage. A good reading can make it easier to attract interest. As noted a producing company might do a reading, there are also festivals that focus on doing play readings, some play development centres provide readings for members, or you can simply organize a reading yourself (which allows you to dip your toe into self-producing). Ideally you will use professional artists if it is a public reading so that it is a strong showcase of the script. This does mean paying industry rates for the director and actors. If you just need to hear the play out loud to figure out what it needs, then using emerging actors, students, or friends may be sufficient.
. - Word of Mouth
You do not need to just do formal submissions. Let folks know what you are working on. If you think there is a director who would be a great fit, ask them to read the script. Likewise, other playwrights can become your fan club. If artists love a play, they will talk it up to others.
We covered broader submission considerations under the Self-Employment chapter, but below are a few things specific to playwriting. They come from the thousands of submissions I have received and comments from colleagues reviewing plays over many years.
Ways to Get Your Script Rejected or Annoy Readers:
- Do not provide the requested information or make the reader work hard to find it
- Do not title the digital file or put your name on it
- Do not include page numbers
- Leave your contact information off the script
- Go over the stated page limit or running time requested
- Think your writing is so great that the reader won’t care that it does not fit the stated criteria
- Submit it late for the outlined deadline
- Ignore the way you were asked to send materials in
- Send something in that is clearly not ready for consideration
- Submit a script rife with typos and obvious errors
Of course you want to make sure your play is ready to submit, as opposed to flogging an early draft that you know needs a lot of work. When you feel it is ready though make sure you commit to the process of being your own booster, salesperson, agent, and cheerleader.
Finding Calls
Most of the playwriting opps I draw upon come from my memberships with the Playwrights Guild of Canada, PARC, PWM, MAP, ICWP, Dramatists Guild and broader arts associations like Creative Manitoba. All of these send out regular communiques that include calls for submissions. Although it is from the U.S. here is a useful guide to some sources for playwriting calls and opportunities down south – How to Find Career Opportunities Without Putting On Pants — The Playwrights Realm .
Synopsis
A synopsis of your play is a crucial tool for submissions, grant applications, and ultimately marketing. It is hard to summarize the play, let alone do it in an engaging fashion. With practice it does become easier.
Purposes of Synopses
You use synopses for many different reasons:
- grant applications
- selling tickets
- getting literary managers to request the full script
- on the backs of script books
- on Doollee.com
What Should Go in a Synopsis
- who the main character is
- what the main character wants
- the name of the main character
- the name of the second most important character
- what the conflict is
- what is the story
What Doesn’t Go in a Synopsis
- all of the plot points
- the theme
- the architecture of the play (“three act,” “chamber music,” etc.)
More Points
Err on the side of brevity.
A technique to reflect the play better: circle the verbs. Do the verbs belong to the character, or to the playwright? Verbs belonging to the character are better at selling the play.
Get by with a Little Help from Your Friends
Show your synopsis to your playwright friends. Ask them about everything in “What Should Go in a Synopsis” above.
- who is the main character?
- what does the main character want?
- what is the main character’s name?
- who’s the second most important character?
- what is the conflict?
- what’s the story (basically)?
Reread your synopsis, and figure out what parts of it don’t communicate the play. Then change those.
Then show to your friends again.
Playwrights Muse – Tips from a synopsis clinic.
Publication
Most publishing houses do not publish plays unless they have received a production. This is due to the reality that plays will go through several rewrites as part of that first staging. Once you have a production, you can then submit to the few publishing houses in the country that include play scripts in their catalogue. The primary ones are Playwrights Canada Press , Talonbooks, and Scirocco Drama. Please note that they all have information on their websites. The key consideration is who they can sell books to in order to make it a worthwhile investment. For plays it is largely an academic market (schools, those studying theatre, those teaching theatre), theatre artists, and the theatre-going public. When you submit be sure to present the case for why this play will sell.
Once you have published work you also become eligible for Access Copyright and Public Lending Rights. Access Copyright manages payments to writers/creators whose work is copied. PLR manages payments to authors whose works are found in libraries.
Grants
Most arts councils have individual artist grants or playwriting specific grants. Applying for public funds is how many writers support themselves when working on a new play. It’s hard to put the necessary time into writing if you are also working full-time to pay the bills. For most funding, you need to provide a clear description of the play you plan to write. You will need to clearly articulate why this play. How will it move your artistry forward or move the art form forward? As well, support material will be required to demonstrate the strength of your writing, usually one would include samples of current or past work. Your resume as a playwright will also be included along with a budget for your costs to work on the play.
For most playwrights, royalties for performances of their plays and the little bits of money for book sales, Access Copyright, and PLR is not enough to subsist on when creating new work. Many rely on grants. The harsh reality is that there are not many playwrights in Canada who can make a living just on their writing. A few can do it one year if they get several productions, but it isn’t consistent. Some branch out to write for film and television where the pay is better.
Contracts
When you become a member of the Playwrights Guild of Canada (PGC) you will have access to their negotiated contracts with the Professional Association of Canadian Theatres. As a PGC member, these contracts should be used for all professional productions of your play. Due to the nature of a premiere production, there is a separate contract. It includes provisions that address the reality that this first production is crucial for the future of the play. The playwright therefore has input into director and casting. Some theatres even undertake a final workshop allowing the playwright to tackle rewrites prior to rehearsals. The playwright would also have the right to be involved in the rehearsal process. Then there are contracts for productions that are not premieres. The standard minimum payment is 10% of box office gross (sometimes more for a musical where there is a need to pay co-creators). ‘Gross’ is a key word here as this means that playwrights should receive a percentage of the box office before any adjustments or deductions. In addition, there is usually a guarantee or advance. This is an amount the playwright receives ahead of time and will keep regardless of box office. The minimum guarantee is $2,000.
There is a separate contract for Theatre for Young Audiences due to the reality of these productions not always working on a box office model. The playwright would get 10% of box office or 10% of performance fees (this is a flat fee a school might pay to attend the show). In addition, the playwright would get a flat rate for each performance on a school tour, currently $72.50 per show.
For amateur rights and school productions, the standard fee outlined by PGC is $105 for the first show and $90 for all additional performances of a full-length. Then $90 for the first show of a one-act play and $75 for each additional performance.
A key element that some amateur theatres neglect is the reality that the script cannot be changed without the playwright’s permission. When the rights are purchased, it is generally outlined that no changes can be made. It does happen quite a bit though so something to watch for and if you are developing your own contracts as an emerging playwright be sure to include this standard clause.
For more contract language and concepts, check out the DG Glossary: Financial Terms | Dramatists Guild.
Commission
The other avenue for playwrights to earn revenue for their writing, and for which specific contracts are needed, is commissioning. A theatre may support a playwright as they create a new play with an aim to possibly producing it down the road. They pay a fee to support the creation, however this does not mean the theatre owns the play. Generally, it just gives them the first option to produce the show. A separate agreement would be made or wrapped into the commissioning contract for the production rights. Some theatres also do a commission as a way to support playwrights as part of their mission, knowing they may not have the ability to ultimately produce the work. PGC also has commissioning contracts in place for their members. If you are starting out and have this offer presented to you be sure to put in writing the expectations. Are you being asked to write a play on a specific theme or idea? Are there any limits on casting or length? When will drafts be due? What if the theatre doesn’t like the direction it is going in? Generally, there is a timeline and the theatre can opt to continue supporting or not depending if the work being created aligns with something they might produce. You also want to make sure there are payments made along the way for work done to date so you can support the writing time along the way. There is quite a range of commissioning rates based on the size of theatre.
Here is playwright Caroline Russell-King’s webpage outlining her commissioning options. The notion of writing a play for a corporation or community allows for other potential projects and income.
Playwriting Associations and Development Centres
As noted above there are many organizations that support playwrights in the country. They are incredible resources. Most regions have a Playwrights’ Development Centre there to assist playwrights in their writing by providing workshops, a chance to work with a dramaturg, and professional development. PARC (Playwrights Atlantic Resource Centre) has a great list on their website. In addition, there is the national entity Playwrights Guild of Canada. Writing can be a lonely pursuit so having networks, colleagues, and folks who can advise is invaluable. Joining as a student member is a great way to start getting involved.
Resources/Tips
I was a stay-at-home mom. And so, I did have periods of time, very little at the beginning, of course, until they went to school, but a little bit more. So, very privileged in that way that, that financially I didn’t have to do other things. And then, you know, the first ten years was an extremely lonely time because I didn’t live in a theatre centre. The theatre communities here were very established. There was Mulgrave Road and, you know, Ship’s Company. And there was a real sense of this adventurous group of people that I lived quite a distance from. And so, I had about ten years where I just had such a will. I just kept going because I had this will to write and then eventually met Tessa Mendel and, and then Tessa became my first theatre colleague. She read everything. She gave me feedback. She’s very encouraging. And from that point on, I started to grow colleagues. And so, I would say, you know, finding those people, finding that one person who believed in my work and that I could trust and same aesthetic, you know, not exactly the same, of course. But she had, you know, an interest in the type of writing that I was doing. Really, really, I don’t know what I, I’d probably still be writing without that, but I probably wouldn’t be produced. –Catherine Banks, Playwright, Sambro, NS
- Write every day. Exercise those muscles.
- See and read lots of plays. Even ones you don’t like so you can understand why.
- Join playwright groups and associations.
- Support your colleagues by attending their readings or productions.
- Find a way to have your work read out loud, even if you have to pay someone to read it for you. Listen to it.
- A good dramaturg can be invaluable, but make sure they are the right match for you.
- Learn how to talk with other theatre practitioners (directors, actors, lighting designers, etc.) and understand what they do.
- Remember this is a craft but also your livelihood, treat it like an art and a business.
One other important thing to consider – at times dramaturgy, guidance from a theatre who is supporting your play’s development, and workshops can lead your play somewhere other than what you had intended. In their chat Backstage: Hannah Moscovitch and Brendan Healy (Siminovitch Prize), they address the notion that notes can have a veiled agenda and be about values. Also check out The Craft of Playwriting for the 2023 Siminovitch Prize playwright nominee conversation.
I always tell them if they’re writers to write, they don’t have to be writing plays, but they do have to write. I, for instance, for a lot of years, I only had, when the kids were really young, I had half a day, twice a week to write. And so, I, that’s not very much time, but I was probably writing two letters a day, two long letters a day, to friends. I had, you know, a bunch of friends that we wrote almost daily to, like Laura MacLauchlan and I, we wrote, I’m sure, daily. And so, I was always expressing myself with words. And I’m really grateful because we were also talking about very intimate things. Right? We were talking about things like maybe marriage wasn’t going well. I mean, really from the heart. And, I think that really helped me be a better writer in my playwriting, too. So, I always say, keep writing, keep going. Like it’s really hard. It’s really, really hard. And you have to really want it, I think. And you have to be, but you have to have compassion for yourself. And that’s one thing I didn’t have for myself. I constantly, constantly questioned whether I was good enough, whether I should even be writing plays. I wasn’t making money, I wasn’t contributing. I was getting all these rejections. I had my first production when I was 34, and then I had two productions when I was 43. So that’s a really long gap. And then it was another seven years before I had another production. So, I had long periods of time where I was just filled with self-doubt. And I never once said only 20% of women are being produced. It was always, my plays are bad, my plays aren’t good enough, like I always made it about me. So, I think they have to have compassion for themselves, they have to find that nurturing person that will encourage them build, you know, important relationships in the theatre community. And I see them all doing this. They’re amazing. You know, I see them, their kindness towards each other, their generosity towards each other. It’s just so lovely.
I would say to them, you know, seek out, you know, just don’t hang around your group. Like, seek out people that are, you know, ask the senior artists out for coffee, ask the mid-career person out for coffee and get the benefit of their experience. And because you will also be giving them something very precious. And it just builds such a healthy ecology of, you know, relationships within the community to have.
I say to the young people, you know, be on the board, be on the board of your local playwriting centre. You’ll meet so many people. And, you know, get on the board of PGC, serve and serve and you’ll get, you’ll contribute, but you’ll also get back in a big way. We’re a small family of playwrights across the country and so it’s just really important to put yourself out there and, join, join in. Because otherwise it’s, it’s too hard. –Catherine Banks, Playwright, Sambro, NS
Things I’d Wish I’d Known – Shared by members of the International Centre for Women Playwrights:
- How much I would be responsible for talking up and networking in order to get produced.
- That I needed to keep in touch with those who had read and shown even the slightest positive response.
- Hearing your work out loud is indispensable.
- An arts career is a marathon not a sprint, it takes stamina.
- The need to understand the economics of the theatre business.
- That you should not pay fees for submitting.
- How crucial it is to follow the guidelines.
- Cover letters count. You need to point out why it is the right match for the theatre and talk about your achievements.
- A synopsis must be professional, to the point, and one page.
We need everyone to feel that they can write. We need to go back and open up the theatrical process in elementary school. We have people who are sports fanatics in this country because everyone is given a baseball, a basketball. We need to do that with theater and music and art so that we are not consumers. We are sports participants in this culture. We need to be arts participants. That’s a longer term fix.
Not only do we need that kind of participation very early on and all the way through, but we need more new producers. The Mnouchkine model is that we produce as a company: I’ll be an artist on this show; I’ll be an administrator on this show; I’ll write the grant monies on this show; but then I’ll act on this show. It’s that collective model of producing that we need to know. One of the things that I regret about our notion of writing is that we put writers in isolation form knowing how theater companies work. We need to collectively be able to produce as writers. – Mary Zimmerman (Conversations with Anne)