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1100 Playwright Interviews
1100 Playwright Interviews A Sean Abley Rob Ackerman E.E. Adams Johnna Adams Liz Duffy Adams Tony Adams David Adjmi Keith Josef Adkins Nicc...
Mar 6, 2009
Dentyne and Theatre
This is my response to the Dentyne people who want me to promote their 10 min play contest:
If you want to actually help playwrights and theatre, why not commission new full length works for the stage or give cash awards to playwrights? Why do we need another 10 min contest? It's pretend help, not real help. There are people who are serious about theatre who don't have enough money to make theatre and don't have enough money to live. Why aren't you helping them instead of asking people across the country to write plays for free to promote your gum? Why not promote your gum by actually supporting the arts instead of having actors read 10 minutes of work one night at an event? Put some actual money into the arts to show that Dentyne does care about the power of live theatre to show the complexities of relationships?
Mar 5, 2009
Mar 3, 2009
Where I'm at
Back in Minneapolis rehearsing for a show. My agent is sending off my two newest plays, both of which I'm hopeful about. I'm writing a spec of Sunny in Philly for my other agent and she's passing around my pilot. In April, I'll head to nyc for a couple of weeks for Pretty Theft. Then what? Not sure. Food For Fish is being done in Atlanta. Herbie is being done in DC, I think. And then Kristen and I either stick around here, head to LA or come back to NYC. Or something else entirely. Who knows?
Feb 21, 2009
Coming up next

Feb 18, 2009
Feb 13, 2009
Feb 12, 2009
Feb 11, 2009
Reason 2
I saw the dress rehearsal last night of our show at Juilliard, Hearts Like Fists, and I love it. It hasn't been in front of an audience yet and that will be a different test and there will be no uniform reaction, but right now, before they arrive, there is my reasction and my reaction is that I'm terribly proud of this play. I can sit in this for 40 more minutes and then I will watch people watch my play, and I will learn things and I will laugh. It is a little terrifying and will also be fun, probably. And there is nothing exactly like that thrill you get when you feel people respond to what you put down on the page months ago. And that is Reason 2 to be a playwright.
Feb 10, 2009
Reason 1
Sometimes when it's hard to be a playwright, it's stressful and you're poor and discouraged, you will get an email like this and it makes it all worthwhile.
this is from the director of Food For Fish at Northwestern. Their show just ended.
Adam-
We returned a coffin to Evanston Funeral and Cremation today. The lights will be loaded out tomorrow, and then that will be that. What to do now!?
The cast hit it out of the park show after show. A total, um knockout. They peaked during the last performance to a packed 11pm house and I sense are feeling rightfully very proud of their work. The designs came together beautifully (I'll certainly send along photos from the photo call). All in all, you're a HIT at Northwestern.
People kept asking, "Where did you FIND this?! Who is this guy!?" I had many conversations with complete strangers about the script's poetry and truth and humor and beauty. Simply because of your story and your language, the whole weekend was by far my freshest and healthiest theatrical experience in recent memory (and I'd been living with the script since last spring!). And others seemed to agree.
I learned a ton and had a blast. I will always look back upon my senior year as the mini-era of "Food for Fish." I can't describe to you how much I appreciate that you have created that world and have allowed others to live in it as well. To teach us as we laugh is a high art, and you are certainly a master.
I hope that your time in NYC has been rewarding and that you're excited about any/all current coals you have on the fire. I wish you all the best with your future endeavors. Whenever you're in Chicago, know that you have quite a fan club that would love to hear from you.
One such fan,
Jake
ps: The cast gave me a fish in a bowl with the label "Adam Szymkofish." Please tell me if that makes you uncomfortable and I will promptly begin training him with a new name.
Feb 8, 2009
Feb 4, 2009
roundup

Feb 3, 2009
coming soon

Feb 2, 2009
Jan 29, 2009
Because you asked for it.

Private screening of short film

Jan 26, 2009
Advice for playwrights starting out
Advice for playwrights starting out
other popular posts:
Monologues For Women
Monologues For Men
1000 Playwright Interviews
1. Are you sure you want to be a playwright? How about a screenwriter or TV writer or fiction writer? Not that you can’t do them all, but it helps, I think, to concentrate and get really good at one at a time and you should think about if you want that one thing to be a playwright. Being a playwright is hard. One of my profs once said to me you have to work hard at it for at least 10 years before you start to see any movement. Then you reach that threshold but it continues to be hard. Yes, it can be great to see your work on a stage. If you love the theatre, I mean really love the theatre and more than anything want to write plays, I guess you should do it, but you should know, there is a lot of competition, a lot of great work, a lot of baby boomers who get the season slots first. And there is not much money. Not a lot of resources. So are you still sure you want to be a playwright? Okay, go on to number 2 if you’re sure, otherwise go read someone’s blog who started out as something else.
2. See and read a lot of plays. Like a lot. You need to know what other people are doing and you need to find your influences that you will eventually turn away from and the things you don’t like which will also define how you write. If you live in New York, you’ll have more chances to see plays than anywhere else. So if you can, live in New York at least for a while. You can usher to see plays for free or get discounts from TDF and other sources. As for reading, you need to read the things that have come before, the classics, the plays that are still being done and you also need to read the new plays that are coming out. Go to Playscripts and DPS and Sam French and Broadway Play Publishing and Dramatics and get on their email lists so you know when the new plays come out and look at their catalogs and get the plays from the library or the Drama Book Shop or buy them online if you have to.
3. Which means you need to have some money coming in to live on. If you’re rich or if someone else is supporting you, move onto 4. Otherwise, you need to find a way to support yourself that won’t drive you nuts and will allow you time to write. You have to find it on your own. Some people teach. Some people have non-theatre related day jobs. Some people work at an institutional theatre (for not much money) doing something necessary for the theatre. That might work for you if you don’t hate being poor. Also, you will get to see plays for free and drink free wine sometimes and get to meet cool artists.
4. If you don’t work at a theatre, and you can afford to work for nothing even for a couple of months, intern in the lit office of a theatre. You will get to read lots of new plays, and you will see how theatres (or at least the theatre you are in) makes decisions. You will see what agents are sending out and you will get a feel for what kinds of plays various agents represent and you will learn who the good agents are so later when you are trying to get an agent, you will know who will be a good match for you. If you can swing it, intern at a few theatres.
5. Write at least a play a year. Figure out what the good time for you is in the day to write. Are you a daytime writer? A nighttime writer? Do you like to write first thing in the morning? Do you like to go to cafes? If you can, try to write your first draft in less than a month. (Paula Vogel suggests 3 weeks) Do it for at least an hour a day until you finish. I think it’s important to figure out what most of your play is before you start writing.
6. Marsha Norman has these four sentences to fill in before writing a play. I’ve always found them very helpful: This play is about________ It takes place __________ It starts when ________ and ends when________ The main character wants____________ but____________
7. Once you have a first draft, do a reading out loud so you can hear it and try to figure out ways to make it better. Invite some friends over—give them pizza and beer and ask them to read it for you. Do this until the play is in good shape. You can also do public readings. It may help to hear it in front of an audience at least once or twice. Fix, adjust, trust your instincts, ignore people who are wrong or who want the play to be different than you want it to be. Listen to the people who might be right.
8. Produce the play yourself if you can. You will learn a lot. It will be hard work and might be expensive but the most sure way to get plays produced is to do it yourself. Most cities have a fringe festival which is a lower cost and easier way to put up plays. Do this with your first couple of plays if you can.
9. Once the play is in really really good shape, send the play to lots of places. Like at least 100. Pay attention to people’s guidelines and follow them. Buy a Dramatists Sourcebook or join the Dramatists Guild and use their guide. Also find the small theatres wherever you are and see if they take submissions. Get to know the people, maybe help them build sets or something or act in shows if you can. You can learn a lot about playwriting by actually being in plays. When you see a director you like, ask them if you can send them your play. Another thing you should do is find the places not in the sourcebooks who are doing plays like your plays—especially small theatres. Google the people whose work is like yours and try to send your plays to the places doing their work. Sometimes theatres will only do established playwrights work even if they have a lit office whose job it is to read through the submissions. (See #1) The odd thing is sometimes even if your play isn’t right for a theatre, you might want to send it just in case the lit asst who is probably young, is into it. Ten years from now, they could be at a different theatre and have more power. Lit people tend to jump from theatre to theatre. This is why you should apply to everything you can. If people like your stuff but it isn’t right, they may ask you for something else later or may recommend your work to another theatre. Lit people can be very generous like that.
10. Join the yahoo group the playwrightbinge. Also take a look at En Avant for upcoming deadlines and places to send plays. The internet is great.
11. Some people write lots of 10 minute plays, especially early on. These are easier to get people to produce. It might take years to get your full length up but you might get a bunch of 10 min plays produced. This will make you feel better, or it might when the rejection letters start coming in. It also might be a way to get your foot in the door of theatres who could someday produce your longer plays. Or it might just distract you from writing full length plays. This is okay if your goal is to write 10 min plays. Look at David Ives. Although don’t look too hard. He’s writing full lengths now and musicals and it’s harder than ever to gain his sort of notoriety by writing exclusively short plays. If you can’t write a 10 min play, don’t worry about that either. At some point, someone will ask you for a short play. You can just tell them no.
12. To MFA or not is a difficult decision. If you go to school for playwriting, I suggest you go to one of the ones that is free or cheap. Talk to the people who have gone there before you. Did they feel mentored or were they ignored? Did they like the program? Did they get connections from their time there? Were they able to see their plays produced at the school? Are the teachers there well known? Are they good teachers? Do you personally like their work? Are alums of the school doing well?
13. Be patient. It’s going to take a long time.
14. Do what is best for your work but be nice to people. Pick your fights. Don’t be a dick. Theatre is a really small world and word gets around. So does karma. (possibly)
15. If you like working with an actor or a director, see if you can work with them again and maybe again and again and again. Write for actors you like.
16. Write about what scares you. Write about what makes you mad. Try not to write things you don’t have a connection to. Write what you want to see on the stage. Separately, think about someday writing a big important play. Try not to attempt it until you know how to write plays, but maybe your big important play about something you care about will be the way to go one day.
NOTE: Some of this advice was given to me over the years by smart people, but I don’t really remember who said what, so you should just do it. It’s good advice, most of it. There are other things to do too, probably. Also, this is advice for starting out. You might do different things after you playwright a while. Remember that everyone has their own path. These might not all be helpful for you. So find what works for you. Good luck!
Book Store
Books by Adam
other popular posts:
Monologues For Women
Monologues For Men
1000 Playwright Interviews
1. Are you sure you want to be a playwright? How about a screenwriter or TV writer or fiction writer? Not that you can’t do them all, but it helps, I think, to concentrate and get really good at one at a time and you should think about if you want that one thing to be a playwright. Being a playwright is hard. One of my profs once said to me you have to work hard at it for at least 10 years before you start to see any movement. Then you reach that threshold but it continues to be hard. Yes, it can be great to see your work on a stage. If you love the theatre, I mean really love the theatre and more than anything want to write plays, I guess you should do it, but you should know, there is a lot of competition, a lot of great work, a lot of baby boomers who get the season slots first. And there is not much money. Not a lot of resources. So are you still sure you want to be a playwright? Okay, go on to number 2 if you’re sure, otherwise go read someone’s blog who started out as something else.
2. See and read a lot of plays. Like a lot. You need to know what other people are doing and you need to find your influences that you will eventually turn away from and the things you don’t like which will also define how you write. If you live in New York, you’ll have more chances to see plays than anywhere else. So if you can, live in New York at least for a while. You can usher to see plays for free or get discounts from TDF and other sources. As for reading, you need to read the things that have come before, the classics, the plays that are still being done and you also need to read the new plays that are coming out. Go to Playscripts and DPS and Sam French and Broadway Play Publishing and Dramatics and get on their email lists so you know when the new plays come out and look at their catalogs and get the plays from the library or the Drama Book Shop or buy them online if you have to.
3. Which means you need to have some money coming in to live on. If you’re rich or if someone else is supporting you, move onto 4. Otherwise, you need to find a way to support yourself that won’t drive you nuts and will allow you time to write. You have to find it on your own. Some people teach. Some people have non-theatre related day jobs. Some people work at an institutional theatre (for not much money) doing something necessary for the theatre. That might work for you if you don’t hate being poor. Also, you will get to see plays for free and drink free wine sometimes and get to meet cool artists.
4. If you don’t work at a theatre, and you can afford to work for nothing even for a couple of months, intern in the lit office of a theatre. You will get to read lots of new plays, and you will see how theatres (or at least the theatre you are in) makes decisions. You will see what agents are sending out and you will get a feel for what kinds of plays various agents represent and you will learn who the good agents are so later when you are trying to get an agent, you will know who will be a good match for you. If you can swing it, intern at a few theatres.
5. Write at least a play a year. Figure out what the good time for you is in the day to write. Are you a daytime writer? A nighttime writer? Do you like to write first thing in the morning? Do you like to go to cafes? If you can, try to write your first draft in less than a month. (Paula Vogel suggests 3 weeks) Do it for at least an hour a day until you finish. I think it’s important to figure out what most of your play is before you start writing.
6. Marsha Norman has these four sentences to fill in before writing a play. I’ve always found them very helpful: This play is about________ It takes place __________ It starts when ________ and ends when________ The main character wants____________ but____________
7. Once you have a first draft, do a reading out loud so you can hear it and try to figure out ways to make it better. Invite some friends over—give them pizza and beer and ask them to read it for you. Do this until the play is in good shape. You can also do public readings. It may help to hear it in front of an audience at least once or twice. Fix, adjust, trust your instincts, ignore people who are wrong or who want the play to be different than you want it to be. Listen to the people who might be right.
8. Produce the play yourself if you can. You will learn a lot. It will be hard work and might be expensive but the most sure way to get plays produced is to do it yourself. Most cities have a fringe festival which is a lower cost and easier way to put up plays. Do this with your first couple of plays if you can.
9. Once the play is in really really good shape, send the play to lots of places. Like at least 100. Pay attention to people’s guidelines and follow them. Buy a Dramatists Sourcebook or join the Dramatists Guild and use their guide. Also find the small theatres wherever you are and see if they take submissions. Get to know the people, maybe help them build sets or something or act in shows if you can. You can learn a lot about playwriting by actually being in plays. When you see a director you like, ask them if you can send them your play. Another thing you should do is find the places not in the sourcebooks who are doing plays like your plays—especially small theatres. Google the people whose work is like yours and try to send your plays to the places doing their work. Sometimes theatres will only do established playwrights work even if they have a lit office whose job it is to read through the submissions. (See #1) The odd thing is sometimes even if your play isn’t right for a theatre, you might want to send it just in case the lit asst who is probably young, is into it. Ten years from now, they could be at a different theatre and have more power. Lit people tend to jump from theatre to theatre. This is why you should apply to everything you can. If people like your stuff but it isn’t right, they may ask you for something else later or may recommend your work to another theatre. Lit people can be very generous like that.
10. Join the yahoo group the playwrightbinge. Also take a look at En Avant for upcoming deadlines and places to send plays. The internet is great.
11. Some people write lots of 10 minute plays, especially early on. These are easier to get people to produce. It might take years to get your full length up but you might get a bunch of 10 min plays produced. This will make you feel better, or it might when the rejection letters start coming in. It also might be a way to get your foot in the door of theatres who could someday produce your longer plays. Or it might just distract you from writing full length plays. This is okay if your goal is to write 10 min plays. Look at David Ives. Although don’t look too hard. He’s writing full lengths now and musicals and it’s harder than ever to gain his sort of notoriety by writing exclusively short plays. If you can’t write a 10 min play, don’t worry about that either. At some point, someone will ask you for a short play. You can just tell them no.
12. To MFA or not is a difficult decision. If you go to school for playwriting, I suggest you go to one of the ones that is free or cheap. Talk to the people who have gone there before you. Did they feel mentored or were they ignored? Did they like the program? Did they get connections from their time there? Were they able to see their plays produced at the school? Are the teachers there well known? Are they good teachers? Do you personally like their work? Are alums of the school doing well?
13. Be patient. It’s going to take a long time.
14. Do what is best for your work but be nice to people. Pick your fights. Don’t be a dick. Theatre is a really small world and word gets around. So does karma. (possibly)
15. If you like working with an actor or a director, see if you can work with them again and maybe again and again and again. Write for actors you like.
16. Write about what scares you. Write about what makes you mad. Try not to write things you don’t have a connection to. Write what you want to see on the stage. Separately, think about someday writing a big important play. Try not to attempt it until you know how to write plays, but maybe your big important play about something you care about will be the way to go one day.
NOTE: Some of this advice was given to me over the years by smart people, but I don’t really remember who said what, so you should just do it. It’s good advice, most of it. There are other things to do too, probably. Also, this is advice for starting out. You might do different things after you playwright a while. Remember that everyone has their own path. These might not all be helpful for you. So find what works for you. Good luck!
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Books by Adam
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