Getting Published

A Published Play

When a play is published, the publisher takes on the task of turning your play into an "acting edition," which is usually a softcover book about 8-1/2" by 5-1/2". In my article How To Type A Play Professionally, you can see examples of how the play you submit is supposed to look and how the final published work will appear.

The difference between the two styles is that when you submit your play to publishers and producers, they're interested in the content, and therefore want the script to be as easily readable as possible, allowing room for them to make notes or comments. The number of pages is of little importance.

However, when a publisher decides to print a play, the number of pages is a big consideration, because they're concerned about paper and printing costs for thousands of copies. Therefore, they try to place as much text on each page as possible.

My Usual Sequence of Events to Getting a Play Published

• I polish my play as much as possible. This is the most important step. I have an informal reading of all my plays following the first or second draft. This helps me hear awkwardness in speeches, determine if holes exist in the plot, and gives me the opportunity to observe the readers' spontaneous reactions to the story and dialogue.

  Most of my plays get at least one production, usually with a local theatre group. Sometimes production is not possible, so the informal readings become even more important. The critical thing is hearing the play read or performed by others so you can revise accordingly.

• I carefully choose my publishing targets. This is the next most important step. Unless you have an unlimited budget for postage, you must choose wisely where to submit your script.

  The vast majority of publishers have specific markets. I have plays published with five publishers that cover religious plays, school competitions, community theater, high school and middle school. Your job is to find the publisher who is looking for your script. In the Writer's Market, for example, each publisher lists who to contact, where to submit, how to submit, and the types of plays they are looking for.

  I read and screen plays for producers, contests, festivals, and publishers. It seems apparent that many playwrights do not research thoroughly, as I have read 90-page scripts for contests that requested short one-acts; serious drama for comedy contests; and very adult situational plays and strong language for publishers who cater to the school markets. It's important to remember that if a publisher rejects your play it's likely that their needs were simply not met by your play. I've written plays based on suggestions by publishers and editors, plays that I felt surely would have a place, and then had them rejected because it really didn't fill the niche they were looking for. It's nothing personal.

  The copyright of the article Getting Published in Playwriting is owned by Dave Brandl. Permission to republish Getting Published in print or online must be granted by the author in writing.

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