A Process for Playwriting, Part III

Having refined the script to its best possible form, this is where the script is offered to those who can give it life: directors, producers, and publishers. When making the offer, one must first make sure the offering looks good. A thorough proofreading (or even several) is essential. Having a good looking script can be critical for getting someone to read it. It never ceases to amaze me how little consideration many playwrights give to this aspect. I've seen scripts with many typos, placed in flimsy bindings, or sometimes merely paper-clipped together. No matter how good the content, scripts such as this tell the reader that the playwright doesn't care, and such scripts are quickly tossed aside into the slush pile.

All along the way, as the script was being developed, the playwright should be considering where to market it. Not every play is suitable for every theater. Each theater, each director, and each publisher usually works within a particular niche, whether it's comedy, classics, mysteries, politically motivated works, or powerful dramas. These people know their niches, know their customers, and, as with any business, will continue trying to repeat successes. So, when beginning marketing efforts, don't waste your time trying to market a script to someone who obviously is not interested. Take your time to do the research so that the scripts you send have the best chances for finding homes.

This seems like common sense. However, I have repeatedly seen where playwrights send scripts without considering that what they're sending may be totally inappropriate to the market, such as sending dramas to a comedy theater or one-acts to a company who clearly states they do not want one-acts. Not only does this result in excessive postage, but the playwright can be perceived as an amateur, and any future submissions may be prejudiced.

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