@dramatistsguild @duanekelly 

If the road to success is paved with failure, then a playwright’s path to productions is littered with rejection. The odds, to be blunt, are terrible. Yet new plays, including even some by obscure writers outside of New York, continue to get produced. One Dramatists Guild member in Seattle, Barbara Lindsay, has made it her mission to move those odds more in her favor. Barbara recently presented a submissions workshop in Seattle for Guild members.

Barbara’s results are impressive. Her scripts have received over 400 productions in twelve countries. Sometimes acceptance has included travel to the productions. (Her most recent such trip was last summer to South Korea.) Most of these productions have come as a result of her submitting her scripts. She does all this without an agent. And did I mention, she’s not based in New York? She has also been able to generate some income every year from this activity.

As an example of her diligence, last year she made 288 script submissions to 148 theatres, festivals and contests (some contests allow multiple scripts to be submitted). She has refined her system over the years while also continuing to grow as a writer. Her acceptance rate is now one out of every ten submissions. She keeps detailed records of her submissions, and for the purposes of her record-keeping counts as an acceptance any reading, workshop or full production.

Below are a few of the key points she shared with fellow Guild members:

•  Write plays for all three standard lengths: ten-minute, one-act, and full-length. That way you are more likely to have something suitable for any submission opportunity. (Many of her productions have been ten-minute plays. She does not look down upon these short works because they establish new relationships for her with theatres and festivals. Full-length is the most difficult form to get produced; many more short plays get produced.)

•  Make sure your script looks professional. No misspellings, incorrect word usage, punctuation, etc.

•  Be sure script is formatted correctly. (Dramatists Guild website has samples.)

•  Carefully read the submission specifications. If a ten-page sample is requested, then only send ten pages; don’t send twelve or thirteen. If they don’t require the first ten pages, then send whatever ten pages you think best represent that play and your writing.

•  Include a cover letter. Make it concise. Triple-check the spelling of the theatre and literary manager’s name.

•  Avoid a cover letter that appears generic. Do some research about the theatre and then explain why you think your play is well suited for it.

•  Prepare three synopses for every play: one-page, one-paragraph, and one-sentence. That way you will have one ready, regardless what length synopsis is requested.

•  Submission fees. Controversial subject; individual choice. As a rule she doesn’t pay fees but will make an exception if she thinks the opportunity is worth it.

•  Resume. Include only if requested.

•  Record-keeping. Maintain a current list of every submission. Include play title, theatre, city/state (or country), date submitted. For one thing, this keeps you from sending the same play to the same theater more than once.

The 35 Guild members at Barbara’s workshop not only went away grateful for her generosity in sharing her experience and wisdom, we were all inspired and energized to be more active in submitting – while also being smarter in how we go about it. Thank you, Barbara!

Barbara Lindsay (L) shares advice about submissions with Robin Brooks and Kathleen Martin at Seattle meeting.

dkelly@dramatistsguild.com