Chapter 9
Your ten-minute play only has value when you send it out into the world. I have known playwrights that complete their hard work on their play and then, perhaps because of fear of rejection, put it away in their drawer, sometimes for years. Your play needs to be read. More importantly, your play needs to be produced, performed. You can only do so many rewrites. You can only do so many readings. You can only so many workshops. Eventually the play needs to be submitted to theaters doing ten-minute play festivals and to ten-minute play competitions.
There are several resources you can use to help determine where to send your ten-minute play. The Theater Communications Group’s Dramatists Sourcebook and the Dramatists Guild Resource Directory are two dependable sources. I also have had a great deal of luck with Google. Punch in searches for ten-minute plays, ten-minute play festivals, ten-minute playwriting competitions, and publishers of ten-minute plays. Also, don’t limit your choices only to the U.S. You’d be surprise how many possibilities are out there all over the world, and many accept American plays.
Read the listing information carefully. If they say they only accept plays until November, don’t bother sending yours in December. You missed their cutoff point. Some theaters charge a small reader’s fee. Fortunately, this is becoming less and less common. I personally don’t support theaters that do this and generally won’t send my plays to them. I don’t believe playwrights submitting their work should be charged a fee to have it read. This is an expense I feel the theaters should absorb in their budgets.
You should become familiar with the type of plays a theater produces before you send in your play. Check out their Web site. If it’s a small community theater that plays to mostly a family audience, your very R-rated, adult play is not a good fit. If they are only looking for plays about people of color, or plays by or about women, and that doesn’t pertain to you, don’t send your play to them. They’ll resent that you’ve wasted their time and resources. Community theaters, church theaters, and high school theater companies generally want plays that are family friendly. Other theaters are looking for edgy, adult plays. Determine where your play fits best. You’re not going to change their sensibilities about their theater, even if your play is terrific.
If a theater says they don’t accept unsolicited scripts, don’t send yours. If they say they only accept one submission per playwright, don’t send two. If they charge a submission fee, make sure a check for the correct amount is made out with the correct name of the payee. When they say they only want plays that have not had a professional production and you’ve had several, don’t send it and hope they won’t find out.
All submissions for your ten-minute play (or any play, for that matter) should always include the play, your letter of introduction, a synopsis of the play, and your resume (if requested).
Many playwrights seem to have trouble writing a letter of introduction. Basically what you’re doing here is telling them why you feel this particular ten-minute play is a good fit for their theater. You don’t need to give a hard sell about how great the play is and how everyone who’s ever heard it read has loved it. You should keep the letter of introduction short and to the point. When it comes to discussing your play you certainly want to make it appealing to them, but be careful not to try to oversell. I’ve read many letters of introductions by playwrights; some sound coldly businesslike, and others are way too chummy. Try to find the middle ground: warm, but professional. Mostly you want to make them want to read your play.
As for the ten-minute play you’re sending, make sure it’s securely bound. You can find very inexpensive folders at many business outlets online, or you can staple it.
You don’t want to send the play out until you’re certain it’s ready. Once it’s sent to theaters and contests, that’s it. Should you decide to do further rewrites on the play, you shouldn’t send them the updated version unless they contact you about their interest in producing the version that you originally sent. If they do contact you and tell you they’re interested in your play or have chosen your play, you can mention it then, if you feel it’s advisable. If they’ve contacted you, they obviously like the play you sent them. If your rewrite isn’t too extensive, perhaps a nip or tuck here or there, you may choose to tell them. If however, you’ve done a major rewrite (i.e., plot or character changes, etc.) you might be best advised not to offer it to them. Bottom line, it’s your play, and you can do what you feel is best for your play. Just be aware of the consequences with either of these decisions.
You don’t need to buy expensive envelopes to mail your play out. Simple manila envelopes that you can buy by the box at a Staples or Office Depot should be fine. If you’re looking to cut costs, two writing magazines, The Writers Digest and The Writer, advertise discount office supplies.
Only some of the theaters that produce ten-minute plays recommend that you include an envelope with postage (SASE) for them to return your play when they’re finished with it. When submitting your play, see what that particular theater recommends.
Some playwrights like to include a self-addressed, stamped postcard (SASP) with their submissions as an easy way for theaters to confirm receipt of the play. Some theaters may even include a note on the returned postcard letting entrants know when they’ll be making their final decisions.
Always include a message with e-mailed submissions, and make that message short and to the point. There is no need to go into the history of the play. If the theater has requested any information about previous productions and/or any publication of the play, make sure you include it. Many theaters and festivals will not produce your play in their festival if it’s been published or has had a major production. Readings, workshops, and staged readings, however, are unlikely to disqualify a submission. Always check with the theater beforehand. As in a cover letter, you want to pique their interest in your play without too hard a sell.
Actors: Should You Be in the First Production of Your Play?
I advise against it if at all possible. As with the initial readings, you want to see how your play plays and how an audience responds to it in a professional production. I realize that you may have written the play originally as a vehicle for yourself, but if you can, hold off until future productions. You may identify changes you want to make even at this stage, for future productions—and hopefully your ten-minute play will have many productions.
I realize that some of you, no matter what, want to be in the first production of your play. If you must, realize that you will be wearing two hats, writer and actor. Your relationship with the director also may be challenging when you are the actor in your own play. You don’t want to usurp their power or decisions because “you know better.” You should try to be diplomatic when having talks with the director (privately) about the play. Know which hat you’re wearing and try to be objective and not get emotionally involved during the discussions. Since it’s your play, the other actors may look to you for advice, insights, or direction, especially on how you see their character. Stay clear of any giving any feedback or allowing them to come to you for help. Your only role should be that of another actor in the production. Simply refer them to your director. Set these ground rules with your cast early on, at the first rehearsal.