5 Top Takeaways from the “How to Write a Musical” Workshop

5 Top Takeaways from the “How to Write a Musical” Workshop

by | Nov 1, 2019 | Dramaturgy, Musicals, Producing, Theater, Writing Tips

The World & The Want

 

Yesterday I taught my favorite workshop, the “How to Write a Musical That Works” Workshop through Theater Resources Unlimited (TRU) in NYC. Along with the Executive Director Bob Ost and a stellar panel composed of Dramaturg/Producer Ken Cerniglia (Disney Theatricals, Hadestown), Tony Award winning Director/Lyricist Richard Maltby Jr. (Ain’t Misbehavin’, Fosse, Big, Miss Saigon), Kleban and Larsen Award winning Librettist and Lyricist Cheryl Davis (Barnstormer, Maid’s Door) and former Artistic Coordinator of the BMI Lehman Engel Musical Theatre Workshop, Skip Kennon (Herringbone, Don Juan DeMarco, Time and Again), we hosted seven new musicals as they presented select song-scene presentations from their projects.

 

In this safe incubator environment, the teams came from all over – New England, Atlanta, Upstate NY, Long Island – to participate in our workshop and solicit feedback about their early developmental work. Some of the songs had just been writen the week before; most had never been performed. 

 

This is a three part Workshop, roughly divided into the “beginning,” “middle,” and “ending” of a script. This first Workshop, “The World and The Want,” spoke about the need for clarity in your storytelling in the very beginning of your script and the presentation of the “I Want” song.

 

Everyone had surprises that day. One person learned that her beginning to her musical didn’t work at all – she is headed back to the drawing board with lots of ideas now on how to make the opening number work. Another writer learned that his I Want song communicated something very different to the audience than what he had thought, and is revamping the beginning of the song. Another writer was happy to learn that we were excited by his presentation, but confused by a few points – he now will be editing his opening for greater clarity.

 

Top 5 Takeaways: The World and The Want

 

Here are the top five things that we learned from the Workshop on October 27, 2019:

 

1. Clarity of storytelling must be established from the very beginning of the show

  • Establish WHO these characters are
  • The audience wants to know who we’re going to watch, and what they’re about
  • SHOW don’t TELL. If you describe your lead character as “the Lady Gaga” of that time period, don’t tell us – SHOW US.

 

2. The Opening Number

  • Why is this day different from any other day?
  • Set up your world and tone immediately, and keep it consistent into the next scene (and the next)
  • Can characters we “know” be used in a different way to tell the story?
  • Don’t refer to pronouns like “this” in a song without having established what “this” is.
  • An opening number should immediately get us into the ACTION of the story

 

3. Don’t Betray the audience into creating the expectation of a group I WANT in your opening number by introducing different characters, and then explain that we never see them again.

  • If you introduce specific voices in the opening number, your audience expects to see them again.Your audience wants to learn whose journey we’re on from the very beginning.
  • Don’t set up the expectation of A CHORUS LINE if we will never see these characters again.

 

4. Every song must have a complete arc – a complete beginning, middle, and end – to it

  • A song must travel and push the plot forward
  • We need to learn something within the song – the ending idea isn’t the same as the beginning idea.
  • By the end of the song, we must be in a very different place than we were at the beginning of the song.

 

5. The style of the song must reflect the action and intention of the character singing it

  • The tone of the song must serve the character in that moment
  • A laid-back, jazzy rhythm doesn’t serve a moment when the character has a driving, insistent intention to her action.
  • Instead of a ¾ time, a driving 4/4 may be more active a choice.Sometimes it helps to read the lyrics of the song as prose to discover the intention behind the action.

 

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Pitching Your Show to Producers: The Elevator Pitch

Pitching Your Show to Producers: The Elevator Pitch

by | Oct 24, 2019 | Producing, Theater

Pitching Your Show to Producers

 

Learning to pitch your show to potential producers is a skill set that can be developed like any other skill set. The secret is in learning to see your show from the producer’s perspective.

Recently I was the pitching coach for eight writers in Theater Resources Unlimited’s (TRU) Pitching Workshop, part of the TRU Writer/Producer Speed Date. The event is an intense experience, where twelve writers pitch to eleven producers within one hour. Like regular speed dating, you’ve got approximately seven seconds to make a great impression and two minutes to perfect your elevator pitch, engage in a quick conversation with a producer, then move on to the next producer and start the process all over again.

Needless to say this demands focus. Both parties are hoping for “instant attraction,” and sometimes that does happen. Options have resulted from our Speed Dates. But more importantly, writers get better and better at pitching their projects to producers and learning to discern what producers are looking for, what is most interesting about their own work and how to sell their ideas.

Your Elevator Pitch

An elevator pitch is a quick introduction to your show to a potential producer or investor, geared toward creating interest in the listener. It is more of a marketing skill than anything else, and like any skill it can be learned and gets better with practice.

An elevator pitch takes approximately two minutes. That’s it. You’ve got a mere two minutes to make the producer lean in, smile and ask for more information.

Many of my writers, in this recent workshop and in others I’ve coached over the years, spend way too much time on their synopsis. Others undersell themselves, leaving major awards from their other work left unspoken, or merely get so flustered under the pressure to persuade someone whom they perceive has the power to make or break their show that they repeat themselves or stumble over their words.

Relax. You’ve got this. It’s all in the preparation ahead of time. 

Just as an actor has to always be ready with a couple of great monologues to perform in an instant to showcase his talent, you as a writer should always be ready with a prepared elevator pitch “just in case” you are introduced to someone with the potential to move your show forward.

It’s a Conversation

Always remember that your pitch is the beginning to a conversation, so make your style conversational. Some writers are such good wordsmiths that they try to memorize their pitch word for word and recite it as a speech, or worse, have the pitch written down and then read it verbatim. They then sound “market-y” and artificial, which is definitely not in their best interest!

I recommend that you write your pitch on index cards using bullet points in the beginning. This keeps my writers on track and focused, yet still maintaining that all-essential eye contact and smile during the conversation.

The Pitch Template

A good organization strategy for your pitch should follow this template, written by TRU founders Bob Ost and Gary Hughes and used in our workshops and in my own personal coaching.

1. The Attention Grabber

The first thing necessary is to grab the producer’s interest in those first seven seconds. You want to give them a reason to remember you and to engage with you in a conversation.

Sometimes this is most effective by asking a question:

  • “What do you do when …”
  • “What happens when …”
  • “Did you ever have an experience where …”

Sometimes you can make a statement to move your listener and get them on the same emotional wavelength:

  • “Imagine yourself …”
  • “How would it feel if …”
  • “What would you do if you were faced with …”

Some writers make a statement that is surprising in some way, or use a quote, a song title, or anything the listener can readily identify with that describes the content of their show. Especially helpful is when you can help the producer make comparisons with something they’re already familiar with, for example, “This show is Once meets Torch Song Trilogy…”

The important thing to remember is that at the beginning you must engage your listener and start a conversation, not talk at them. This is a brief – very brief! – introduction to you and your work, useful for marketing your show to someone. Your goal is to get them to smile, lean in, and want to hear more.

2. A Brief Synopsis

As a writer you’ve spent months, perhaps years, writing and rewriting your plot to get the structure right. It’s natural that you would want to share the entire story with someone, since it’s so doggone interesting and engaging.

It probably is, but this is a two minute pitch so time is of the essence. You want to choose your words carefully and leave out anything that doesn’t absolutely need to be said.

Often a concept synopsis is more helpful than a true plot synopsis. A producer wants to hear the essence of your show, not a play-by-play retelling of each detail in every act! And don’t tell them what they’ll feel in the show; instead, evoke the feeling itself through the careful choice of your words in the pitch.

What can be included in this brief synopsis?

  • The 5 W’s (who, what, where, when and why)
  • The 6th W (want), which is the main characters’ wants and why they can’t get it (the obstacle)
  • The major conflict
  • The universal theme
  • What the audience will see when the curtain goes up (the world)
  • An overview of the dramatic arc of the show, or the emotional high point (climax)
  • Don’t forget to tell the genre of the show and the sound of the music (if it’s a musical), or if it’s a dance-heavy production, the style of dance.

Remember, less is always more and time is crucial here. You don’t have to address each of the above bullet points, but know which ones are most pertinent to communicate the idea of your show. Know your basic dramaturgy and be prepared to answer the above questions if they come up.

Also, you may not be the best editor of your own synopsis. Try it out on a few friends and listen to what they find engaging or unnecessary.

Both steps 1 and 2 should take approximately one minute or so of your time, in order for you to really sell your show during the last minute.

3. Benefits

Don’t tell ‘em, sell ‘em! Show why your show has significant advantages and why they should produce it:

  • Timely and relevant – this show must be produced now! There is a recognized audience for this material
  • Premise – illustrate how your premise is unique or special in some way that will make it stand out
  • The show is based on a pre-existing property or well-known source material, which has recognized branding
  • Stars associated with the project (directors, actors, composers, etc.)
  • Previous production history (share photos, reviews, audience quotes)
  • Give other benefits that producers find attractive:
    • Cast size (if it’s on the small end – otherwise don’t mention it)
    • Unit set, minimal set requirements
    • Developmental steps or awards
    • If there’s money behind your project, please mention it during the pitch (no need to be specific yet)
  • Always give your brief bio, especially if you’ve won awards or have other work that’s been produced.

Sometimes it’s helpful to remember the acronym SAFE (Stars, Audience, Financials, Environment) as a way to think of possible benefits your show may have.

4. Concept Recap

At this point you are almost out of time (I hope you’re still relaxed, smiling, and not out of breath! ) and you need to summarize your pitch.

Briefly recap your original concept with only one or two sentences. Remember, you’ve got a really great show here that you’re presenting to someone!

Ending Your Pitch 

After your two minutes are up, thank the person for listening and offer to follow up with them by sending them an invitation to a reading, sending them the script or music files, forwarding them to your website, or leaving behind a packet of information for them to read later.

Then BE QUIET and LISTEN.

Have a Conversation

Now it’s the producer’s turn to ask you questions. Hopefully there are a few, as that shows your pitch has successfully engaged his/her attention and interest.

Answer any questions they present honestly, and again offer to follow up with more information and then do so. Speak with passion and confidence, and always leave them wanting to hear more.

Your job is to create both a favorable impression about yourself and your work to a new contact that may be interested in your show. Get them to want to read your script, to come to a reading, to advise, to recommend to a friend – or even to produce or invest in the show personally. It happens all the time.

Don’t be caught off-guard. Be ready with your practiced pitch.

Need some help with YOUR pitch?

Contact Cate to schedule a practice pitch session or ask about group coaching: cate@createtheater.com

 

 

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Story vs. Plot

Story vs. Plot

by | Aug 20, 2019 | Dramaturgy, Theater, Writing Tips

Where in the Story Does Your Plot Start?

 

A discussion about the difference between plot vs. story is anything but an academic question. Instead, like most talks about structure, how a plot is designed defines how the audience experiences the story.

An early point of attack gives you the musical Les Mis, where you see the epic story in its totality play out in front of the audience. There is little or no need for exposition, since the audience sees every important moment play out in front of their eyes.

A late point of attack gives you Oedipus Rex or just about any contemporary drama or musical that you can think of.

 

Plotting Your Story

 

The “wright” in playwright means “maker.” It is useful to remember that plays are constructed; they have a shape that is chosen for a reason by the author.

A story is a chronological sequence of events: this happens, then that happens, then that happens next.

A plot, by contrast, is carefully constructed by the writer to create meaning out of those sequence of events. A playwright sifts and sorts, edits and rearranges the sequence of events in a story to tell the story in a certain way to create a certain experience for a certain audience.

This is the craft of playwriting . There’s a reason that plot is #1 of Aristotle’s six elements. A writer uses his or her own unique perspective to create a meaning, a message, a takeaway for the audience. A writer is not a historian nor a journalist.

And a weak plot will get the dramatist nowhere fast.

So let’s ask the question again: Where in the story does your plot start?

 

Early or Late Point of Attack?

 

It’s a generally accepted saying that in writing a play today you have to “get in late and get out early.”

In other words, start the plot or scene as late in the action as you can, show the action, and then get out of the plot or scene as quickly as possible. This is how most contemporary dramas are built, with a late point of attack. (Classical plays also have a late point of attack,fyi.)

This climactic structure with a late point of attack allows the plot to focus on building the “suspense,” or on engaging the audience’s attention in an entertaining way while playing out the dramatic question that forms the spine of the story. A late point of attack begins in the midst of the conflict, and we find out important details about the past on the way to a much greater conflict in the rising action.

Contrast this structure to the opposite, the early point of attack. In Les Miserables, written by Victor Hugo in the 19th century, the action covers many years, over a vast sequence of events that all play out in front of the audience’s eyes and ears. An episodic structure like this unfolds scene by scene onstage, with little backstory. It too has a dramatic spine, but this plot takes us from the very beginning of a story and allows us to experience each moment leading up to the main climax for ourselves, with little to no exposition needed. Shakespeare also uses an early point of attack, as his average play length was three hours. (You can show quite a bit of history in three hours.)

Plots with early points of attack tend to emphasize the past, and understanding the causes of events that took place. Those with late points of attack seek to make us understand the dynamics that lead up to a conflict and the repercussions that followed.

One is not better than the other. It is simply two ways a playwright can attack a story.

 

A Writer’s Checklist: Plot

 

A plot is a roadmap to get you where you want to go, and a blueprint for what you want your audience to experience at the end. A plot builds a definite structure from the story’s sequence of events.

Here’s a quick Writer’s Checklist for Plot:

  • Get in late, get out early
  • Stasis: start right before the inciting event. Identify the world of the play and start the action quickly.
  • Inciting event: generally happens within the first 10-15 minutes of a play or musical.
  • The inciting event immediately launches the rising action, the journey the hero undertakes to get what he wants.
  • Clarify wants of the main characters early in the play and their obstacles by the first 20 minutes.
  • Midpoint reversal
    • Surprise twist – end of Act 1 in musical, and halfway through a play
    • New goal or intensified goal accelerates the action
    • This could be a subtle event, even an internal (psychological) reversal
  • “11:00 Number” traditionally occurs right before the climax (in musicals) for fun or theatricality
  • Climax, with an anagnorisis (where the hero and others fully understand where the journey has brought them or taught them), and a peripeteia (a reversal of some sort), which brings about an emotional catharsis in the audience.
  • Resolution – plot points are resolved logically (no deus ex machina)
  • The Finale (in a musical) delivers the theme in a rousing tune that stays with the audience as they leave the theater.

 

Helpful?

 

Are you writing a play or musical? Would you like someone to look over your script, or to help overcome writer’s block?

I’d love to speak with you. Email me at cate@createtheater.com or post a comment below.

 

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Writing Active Dialogue

Writing Active Dialogue

by | Aug 6, 2019 | Directing Theater, Dramaturgy, NPD, Theater

Let’s Get Some Action Going

 

Have you ever been reading a script when the action suddenly felt clunky, heavy-handed or, even worse, stopped mid-scene?

Probably it was the result of poor dialogue.

Like everything else on stage, dialogue must push the story forward and reveal character, plot points and exposition on stage. When inexpertly done, the action drops dead on its feet. Poor dialogue makes the audience disconnect, makes the plot unbelievable and results in actors overreaching in their attempts to make their character come to life.

It’s the worst.

 

The Rehearsal Process in Development

 

Recently I was directing a new play by a young, inexperienced playwright who was clearly overwhelmed by the production process. In a particular scene the actors were presented with some very poetic, very flowery dialogue. It was beautiful prose, but it definitely wasn’t something that would come out of anyone’s mouth.

My actor was talented and experienced, and everyone in the scene tried really hard to make this dialogue work – but it was extremely difficult to justify these words on stage. Our many suggestions for a modification of these lines were all turned down, and so we were left struggling with a very clunky, heavy scene that stopped the action mid-play. Not great for a comedy.

What to do?

 

Active Dialogue is not Prose

 

Aristotle wrote in his Poetics that diction was the 4th most important element of dramatic action. Although Aristotle seems to infer that diction was more part of the production process than the writing process (more pertinent to the art of the actor than the art of the poet), he also defined diction as the metrical composition of the play, the way that spoken language is used to represent the characters themselves.

Diction is the actual composition of the lines spoken; if Aristotle’s “thought” deals with what is said, then diction deals with how it is said.

In other words, Aristotle’s diction we now call dialogue – not only what a character says but how he says it. If the words don’t sound believable coming from a character in this moment, it is not good dialogue. If it sounds good on the page but completely wrong when spoken out loud, it is not good dialogue.

Prose is not good dialogue, no matter how eloquent it appears on the page.

 

How to Write Good Dialogue

 

Dialogue isn’t an issue with writers who know their characters. If you live with your characters for any period of time, you can write dialogue that accurately reflects who they are and what they’re thinking.

In writing dialogue, use this as a checklist:

  • Dialogue must accurately represent the character in terms of background (geographic, socio-economic, era, age, time of day and state of being)
  • The structure, or meter, of the spoken dialogue must stay true to the overall structure inherent in the play (that is, whether the play is written in verse, is a sung-through musical, is sparsely written with minimal lines, composed of long monologues, etc.) and true to the rhythm, pacing and tone of the script
  • Great dialogue reflects the internal action, or psychological action, of the character in that moment. What does the character want right now in this scene, in this beat, in this moment in time? It gives insight to the character through both psychological and physical choices, and changes to reflect a different intention.
  • Active dialogue moves the story, or the plot points, forward in every moment.

 

Is This Really How People Talk?

 

Always give yourself a reality check: is this really how people in the world of my play talk? Are these lines moving my plot forward, revealing something about the character or giving important exposition that the audience needs to know? Is it structured in a pleasing way? Typically, long monologues tend to stop the action, as will flowery, detailed passages trying to pass as dialogue.

So what happened in the rehearsal room after that? As a director it is my job to justify the words of the playwright, no matter how expertly (or inexpertly) written they are. My choice was to tweak the action of the character to read word for word the flowery prose from her journal, to reveal the “hidden poetry within her soul.” Since this character wouldn’t speak like this, I had her write like this to reveal something hidden within.

The audience bought it, enjoyed the scene and gave accolades to the young playwright. A job well done.

Ah, the hidden art of the director.

 

How to Get to Broadway in 3 [Not So Easy] Steps

How to Get to Broadway in 3 [Not So Easy] Steps

by | Jun 24, 2019 | Broadway, Theater

Still Flying After the TONYs?

 

How many of you are still flying high after the 2019 TONY Awards ceremony? The encouragement to all performers to continue the work, to celebrate our diversity, and the overall pure celebration of this art form in general and our NY Theater community specifically was so clearly demonstrated and felt. I want to hold on to this positivity and feeling of limitless potential – especially when life clearly wants to show me the opposite.

Who here wants to feel that you too can get to Broadway? How do we – we, the little people sludging through the theater pipeline – escape the muck and murkiness and come out shining on the Great White Way?

How do WE get go Broadway?

I’ve given this a LOT of thought – after all, it’s what I do – and from where I stand, here are my observations from watching how many of my friends who were present (and on screen) at the TONYs got there.

Here are my three not-so-easy steps on how to make it to Broadway:

  1. Get an idea that’s highly relevant
  2. Be prepared to do the work – for a long time
  3. Don’t be afraid to self-produce your own work.

 

Get an Idea That’s Highly Relevant

 

What speaks to you? What story, mission or message is burning a hole in your heart to get out to the world?

THAT’s the story you need to tell.

Chances are, if it’s burning a hole in your heart it’s burning a hole in many other hearts as well. You’re just the message-bearer meant to bring it to everybody else. And remember, karma’s a bitch.

Now what do I mean by “highly relevant”? By that I mean a message that:

  • Speaks to a larger issue in our culture that is of great concern. By identifying and promoting a larger conversation you are participating in the current cultural conversation and sharing the right ideas at the right time.
  • Topical or Universal. If your story, mission or message cuts across the cultural and chronological divide, you have a timeless human story with a thread that resonates for human beings everywhere. Human beings love to watch inspiring stories about other human beings struggling to succeed with something that’s important to them.
  • Stories that engage both the audience’s head AND heart. As I tell all the writers I work with, write from your heart first and edit with your head afterward.

If the message is important to you and you can answer the question, “Why this story NOW?” then it’s a highly relevant story.

 

Be Prepared to Write and Re-Write

 

Getting to Broadway is a marathon, not a sprint. If you only hold the vision of seeing your work being celebrated on a Broadway stage somewhere in the future, you’re in for many long, dark days stuck in the pipeline. Find joy in the process and understand that not every script needs to find its way to Broadway.

There are many smaller achievements to celebrate as you travel along en route. Learning to recognize and celebrate the little things that put a smile on your face gives you your daily inspiration to keep going.

  • Celebrate every “aha!” moment that comes from the daily work in the trenches (yes, I said daily). There’s joy in that delicious idea that manifests itself
  • Celebrate the YOU that’s becoming. You are DOING what you said you’d do for yourself, and in the promise you are growing into what you said you wanted – someone who writes successful plays or musicals. How many people that you know actually do what they dream? Remind yourself, “I AM a writer/composer/lyricist.”
  • Find the joy that comes with collaborating with other creative people. Part of becoming a successful writer is knowing and working with other creative and brilliant artists. Take joy in immersing yourself in all of the creativity that’s around you, until one day you realize this is where you belong. This is who you are.

A note of caution here: don’t feel compelled to listen to everyone. Not every opinion needs to be addressed by anything more than a brief acknowledgement. “Thank you, that’s interesting. I’ll think about it,” should be your most frequent response. However, if the same comment, in various forms, appears more than three times, it is probably something you should look at.

 

Don’t Be Afraid to Self-Produce

 

THE DREAM: I need to find a [producer, theater] to produce my script. I’m a writer, not a producer.

THE REALITY: You need to be your own producer – at least at first.

How many of you were always the last to be chosen for the softball teams? Doesn’t sitting on the bench suck? It’s the same here. Be proactive in your life. Start the momentum by producing your own work.

Overwhelming, you say? Take it easy. Start baby-stepping your way to success.

  • Save your money. No one is going to love your baby (your work) more than you do.
  • If you don’t have money, be creative about finding people who do.
    • Learn how to start a Kickstarter fund
    • Ask! Start with those who know and love you, and their friends and family.
    • Make relationships with theaters near you. Volunteer, donate, go to their galas. Show up on their social media. Be their local ambassador and build a relationship with them.
    • Find groups, companies, non-profits or institutions who resonate with your show’s message and target audience. Find ways to introduce them to your show.
  • Network! Join communities online (like createtheater.com) as well as your local networking groups. Believe that synchronicities are always around the corner, and they will be.

Whoever promised that achieving a life-time dream was easy? Was anything worthwhile ever easy? Is life really a Staples commercial?

 

If You Are a Writer, You Write.

 

Ask any of the recipients that earned their stripes – er, TONYs. Nothing is easy. Ever! Nothing is promised.

But as trite as it sounds, “the joy is in the journey,” and if this is WHO you are and this is WHAT you do – it’s worth all of it.

Do what you have to DO to BE who you need to be.

DO BE DO BE DO.

 

Ok, let’s get to work! 🙂

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The Fine Art of Collaboration

The Fine Art of Collaboration

by | Nov 7, 2018 | Dramaturgy, Producing, Theater

What are the steps to finding and maintaining a great creative team?

 

Putting together a collaborative creative team is more of an art than most people realize, especially for a musical.

After having experienced both good and not so good collaborations, it all boils down to a commitment to the process and an inherent respect for the other’s contributions.

 

Ask for Referrals

 

First, look for someone who is not only experienced but also capable, knowledgeable and dependable. Many experienced people are so overbooked with projects that they don’t always have as much time and energy to contribute to yours as they would like.

I strongly suggest that you first seek word of mouth recommendations from people you know and trust. (Putting out a request for referrals on Facebook is fine). You can also check out resources from professional associations, do an internet search, or use other available sources like those found on MusicalWriters.com or Theater Resources Unlimited.

 

Do Your Research

 

Before you contact anyone, make sure you do your own research.

Ask yourself questions like:

  • Has this person worked on shows similar to mine in the past? Do your own due diligence and find out all you can about their experience. Ask others in the industry about them if possible, or check their contacts on LinkedIn.
  • Does this person have a network that may be interested in and may help my show’s progress? Do they work with key level producing organizations or directors that may be interested in my work? They may be willing to introduce you.
  • Do I believe they have the level of experience that I could trust to help me move my show forward?

 

Schedule an Interview

 

Narrow your possibilities down and start communicating by email, and set up an interview in person or over Skype or Zoom.

Always trust your instincts. Some things to discover:

  • Does this person have passion for your project?
  • Do they listen to your ideas eagerly, or politely?
  • Do they offer what they believe is a “better” idea, or jump on board with your ideas?
  • Are they prepared for the interview, and bring in their visions or ideas to you?

 

Twice when interviewing a potential director, candidates came in with a book of images and other printed material to show us that excited them. This preparation got them the job, and they were terrific.

Finally, remember to make this first step a short “coffee date,” not a LTR. Have the goal to collaborate with them for a specific reading, workshop, etc., not the goal to get to Broadway together. That’s too huge a commitment! Start first with the intention of, “I like you pretty well, let’s see how it goes.”

Take it step by step.

 

Be Part of a Community

 

Theater is all about community and relationships, and authentic friendships sometimes create wonderful collaborations. Keep networking online here at CreateTheater, go to theater conferences and galas, join your regional Dramatist Guild chapter or participate in local theater events near you. Meet people and talk about your work.

In the end, it’s all about the work. Remember the improvisation mantra, “Yes, and…..?” Always respect each other’s creative ideas, get excited about adding in your own and stay focused.

The art of the theatre is all about creative collaboration.