THERE ARE NO BAD NOTES, ARE YOU F@CKING KIDDING ME??
I start with a belief that there are too many playwrights
and not enough opportunities. But that is the least of our worries. More
importantly, I was keen to share my
experience
Two local opportunities: one - a call out
for plays to work with local writers, where I got a Dear John. It wasn’t even
that, just Dear…, no reasons why or even how the play could be developed. The
fact that I was in discussions with them, for me to self-produce, puts that in
doubt. Will there even be time on the calender?
A local competition that would have hundreds and hundreds of entries, even from Australia and the US!!! But they were a small group of voluntary readers and couldn’t possibly read them all. 🤐🤫🤐🤫
The third example was for a well-known playwright competition, who
kindly suggested that two scenes where the protagonist opens up to a
counsellor, were too expositional and should be addressed as an issue.
The fact that these were in the first third of the play and projected
the protagonist toward on his journey, resulting in the breakdown of
his family was totally missed.
Finally, I was encouraged by a very experienced playwright with
some twenty five published plays, to pitch to the major publishing
houses, because he loved what I was doing and believed a national,
rather than a local publisher, was what I needed. I did.
My play was about my local teams comeback from disaster and into the
Premiership and first silverware. The football was a backdrop to the
real story of industrial decline, this was the 1980’s and
Thatcher.
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