If Your Play Isn’t Moving Forward, Read This

by Cate Cammarata | May 25, 2026 | Business, Getting Produced, New Works Festival, Producing, Theater

If Your Play Isn’t Moving Forward, Read This

There’s a moment almost every playwright hits.

You’ve revised the script.
You’ve gotten feedback.
Maybe you’ve even done a reading.

And then…

Nothing.

No momentum.
No next step.
No production.
No real traction.

So you start wondering if the problem is the industry.
Or the timing.
Or whether theater is just impossible right now.

But after years working with new plays and musicals in New York, I can tell you something difficult — and liberating:

Most scripts don’t stall because the writer isn’t talented.

They stall because the work isn’t yet producible.

And those are two very different things.

A lot of writers are creating plays as literary documents.

But theater isn’t literature.

Theater is a live event that requires:
actors,
directors,
designers,
producers,
money,
space,
audience buy-in,
and a reason to exist right now.

That doesn’t mean your work has to be commercial.
It doesn’t mean it has to be safe.
And it definitely doesn’t mean you should write to trends.

But it does mean your script has to understand the realities of production.

Can a director envision this onstage?
Can actors emotionally land inside it?
Can an audience track the dramatic engine?
Does the structure create momentum?
Does the play know what experience it’s trying to create in the room?

These are producing questions.
And they are creative questions.

I think this is the missing conversation in a lot of playwright education.

Writers are taught how to write scenes.
But not how to build theatrical experiences people want to champion.

And honestly?
That’s where careers begin to shift.

Because once your work becomes producible, people can suddenly move with it.

Producers lean in.
Directors see possibilities.
Collaborators want to attach themselves.
Readings lead to workshops.
Workshops lead to productions.

Momentum becomes easier because the work itself generates momentum.

This week, I’m teaching a free webinar called Write a Producible Play because I think too many talented writers are stuck in development limbo without understanding why.

We’re going to talk about:

why some plays move forward while others stall
the structural mistakes that quietly kill momentum
how producers evaluate new work
and how to develop your script with production in mind without sacrificing your artistic voice

Because your play does not need to become smaller.

It needs to become stage-ready.

And those are not the same thing.

If your work has felt stuck lately, this webinar is for you.

Let’s get your play moving again.

Save your seat for May 30th

If this opened your eyes to how producers actually evaluate your script…

Then you’ll want to be in the room for our live training:

Write a Producible Play Webinar on May 30th

Off-Broadway Producer Patrick Blake and I will walk you through exactly how to check your work so it’s not just compelling, but something a producer can get on board with.

Stay in the loop with our upcoming workshops!

Sign up for our Weekly Newsletters

You Don’t Have a Writing Problem. You Have a Positioning Problem.

by Cate Cammarata | May 19, 2026 | Business, Getting Produced, Theater

You Don’t Have a Writing Problem. You Have a Positioning Problem.

Many playwrights think the reason they aren’t getting produced is because the script “isn’t ready yet.”

Sometimes that’s true.

But more often?

The play is not being positioned in a way that helps the industry understand:

where it belongs,
who it’s for,
why it matters now,
and why a theater should invest in it.

That’s not a writing problem.

That’s a positioning problem.

And positioning is one of the most overlooked career secrets in theater.

Because here’s the uncomfortable truth:

Regional theaters aren’t just selecting “the best plays.”
They are selecting:

plays that fit their audience,
plays that fit their mission,
plays they know how to market,
plays that help them raise money,
and voices they understand how to champion.

If industry professionals can’t quickly understand where your work fits in, they move on.

Not because your writing lacks talent.

But because your work feels difficult to place.

The Industry Needs a Clear Narrative

When artistic directors, literary managers, producers, or development staff talk about writers among themselves, they simplify.

Not maliciously. Practically.

They say things like:

“She writes elevated working-class dramas.”
“He’s doing smart political satire.”
“They’re developing commercially viable musicals.”
“She writes female-driven dark comedies.”
“He’s very good with intimate family plays.”

That becomes your positioning.

And if you don’t shape that narrative intentionally, the industry will either:

Create one for you, or
Not remember you at all.

Ouch.

Many playwrights unintentionally position themselves as:

“all over the place,”
difficult to categorize,
perpetually developing,
or unclear in voice and audience.

That doesn’t help anyone want to produce your work.

Theater institutions are risk-averse.
Clarity reduces perceived risk.

“But I Don’t Want to Be Put in a Box

This is where many writers resist positioning.

They think:

“I don’t want to limit myself creatively.”

You’re not limiting your artistry.

You’re creating a recognizable entry point.

The industry needs to find a way into your work.

Once audiences and theaters trust your voice, you can expand.

But until then, clarity matters more than range.

If every bio, every submission, every website page, and every conversation describes your work differently, people cannot create a coherent understanding of you as an artist.

And confusion stops momentum.

Regional Theaters Need Specific Things

Another big mistake that playwrights make is assuming theaters are looking for “great writing” in the abstract.

They’re not.

Regional theaters are looking for plays that solve their problems.

That may sound cynical, but it’s actually empowering once you understand it.

A theater may need:

audience-friendly new work,
plays with flexible casting,
small-budget productions,
stories that connect to their community,
work that attracts younger audiences,
diverse programming,
or material that fits a specific initiative or grant.

Your job is not merely to write a play.

Your job is to understand:

Why would THIS theater want THIS play right now?

That changes how you position your work.

Stop Pitching Your Play Like a Student

Also, many playwrights still describe their work academically instead of strategically.

They focus on:

themes,
symbolism,
inspiration,
process,
or what the play “means.”

But theaters are evaluating:

audience connection,
producibility,
casting,
scalability,
relevance,
and programming fit.

Compare these two descriptions:

Weak Positioning

“A poetic exploration of grief and memory examining the fragmented nature of identity.”

Stronger Positioning

“A funny and emotionally grounded four-person drama about two sisters forced to run their family funeral home after their father’s death.”

One sounds abstract.

The other sounds clear.

One creates questions.

The other creates possibility.

Your Career Is Not Built One Submission at a Time

Another major misconception:

Writers are led to believe their careers are built through isolated opportunities.

One submission.
One contest.
One reading.
One fellowship.

Instead, sustainable careers are built through cumulative positioning.

Every piece of public-facing material should reinforce the same narrative:

your artistic voice,
your audience,
your scale,
your strengths,
and your producibility.

That includes:

your website,
your bio,
your play descriptions,
your social media,
your interviews,
your workshop applications,
and even how you introduce yourself in rooms.

The industry is constantly asking:

“Do we understand this writer?”

If the answer is yes, opportunities accelerate.

The Most Producible Writers Understand Alignment

The playwrights who consistently gain traction are not always the most talented.

They are often just the clearest.

They understand:

which theaters align with their work,
how to talk about their plays,
how to describe audience appeal,
how to communicate scale,
and how to frame themselves professionally.

They make programmers’ jobs so much easier.

And that matters more than mosts writers realize.

Ask Yourself These Questions

If you want to strengthen your positioning, start here:

1. What kind of experience do audiences have at my plays?

Are they laughing? debating? crying? intellectually challenged? emotionally comforted?

2. What theaters would realistically produce my work?

Not aspirationally. Practically. Have they produced similar work in the past? Do your research.

3. What budget level does my work require?

Can your plays be produced regionally without enormous financial risk?

4. What recurring themes or styles appear across my writing?

Your voice is often more visible to others than to yourself. Ask your friends and colleagues what they see.

5. Can someone describe my work in one sentence?

If not, your positioning may be too diffuse.

You Are Not Just Writing Plays

You are building:

artistic identity,
industry trust,
audience expectation,
and professional clarity.

That doesn’t mean becoming “commercial” or “generic.”

It means becoming understandable.

Because when theaters can clearly see:

where your work fits,
who it serves,
and why audiences will care,

your chances of being produced rise dramatically.

Not because your writing suddenly improved.

But because your positioning did.

If you want to learn how to write and position plays that regional theaters actually want to produce, join our upcoming webinar:

Write a Producible Play

We’ll cover:

what makes a play attractive to theaters,
common mistakes writers make,
how producers evaluate submissions,
and how to develop work with real production potential.

Because great writing alone is rarely enough.

The industry also needs to know what to do with you.

Save your seat for May 30th

If this opened your eyes to how producers actually evaluate your script…

Then you’ll want to be in the room for our live training:

Write a Producible Play Webinar on May 30th

Off-Broadway Producer Patrick Blake and I will walk you through exactly how to check your work so it’s not just compelling, but something a producer can get on board with.

Stay in the loop with our upcoming workshops!

Sign up for our Weekly Newsletters

What Makes a Play Producible?

by Cate Cammarata | May 12, 2026 | Business, Getting Produced, Producing, Theater

What Makes a Play Producible

Every playwright wants the same magical sentence:

“I want to produce your play.”

But here’s the truth nobody tells you:

A producer is not just evaluating your script.

They’re evaluating:

whether they can afford your script,
whether they can market your script,
whether audiences will buy tickets to your script,
and whether you are someone they actually want to work with for the next several years.

That’s the real game.

In a recent CreateTheater webinar, Off-Broadway producer Patrick Blake broke down what producers are actually thinking when they read a play or musical.

And honestly? Every playwright should hear this before sending their next script out.

Because producibility is not about “selling out.”

It’s about understanding how theater actually gets made.

A Producer Is Asking Three Questions

Patrick said it best:

A playwright has to:

Find a producer
Get a producer to want to produce the show
Get a producer to want to work with them

That’s it.

That’s the whole ecosystem.

Most writers only focus on #1.

But #2 and #3 are often where plays die.

First: Is the Story Worth Producing?

This sounds obvious, but producers are still human beings first.

They have to love the piece.

Patrick talked about reading scripts he adored artistically — but ultimately passed on because the economics didn’t make sense.

And here’s the important nuance:

A producer does not need your play to be “commercial” in the Broadway sense.

But they do need to believe:

it can find an audience,
it can sustain a run,
or it can advance the theater/company’s mission.

That means your play needs:

a compelling story,
active characters,
a strong structure,
clear stakes,
and something emotionally or culturally fresh.

Not “perfect.”

Just undeniable.

Producers Think in Salaries

This part of the webinar made everyone laugh — because it’s painfully true.

Patrick said:

“Writers think in characters. Producers think in salaries.”

A playwright sees:

two children,
a dog,
a chorus,
and a musician onstage.

A producer sees:

union contracts,
insurance,
payroll,
pensions,
overtime,
and replacement costs.

That doesn’t mean you shouldn’t write ambitiously.

It means you should understand what your ambition costs.

One of Patrick’s examples was a play set in a monastery library with a beautiful spiral staircase leading to a second level.

Only one actor used it.
Once.

The playwright insisted on keeping it because:

“It looks cool.”

The producer passed.

Why?

Because “cool” costs money.

The staircase meant:

more construction,
higher insurance,
more risk,
and a bigger budget.

And none of it fundamentally served the story.

That’s the difference between theatrical imagination and producible execution.

Big Difference: Necessary vs. Expensive

This is where playwrights often get defensive.

But the real question is:

Does this element deepen the storytelling?

Or…

Is it there because you’re attached to the image?

That distinction matters.

Producers are constantly calculating:

Can this recoup?
Can this tour?
Can this fit into a regional theater?
Can this be mounted Off-Broadway?
Is there a simpler way to achieve the same emotional effect?

That doesn’t mean “write small.”

It means:

make every expensive choice earn its existence.

The Best Writers Know How to Take Notes

This was one of the most important parts of the conversation.

Patrick and the group talked about playwrights who refuse every adjustment, every production consideration, every logistical concern.

And here’s the hard truth:

That reputation spreads.

Fast.

The writers who keep getting produced are not necessarily the writers who say “yes” to everything.

They’re the writers who stay collaborative.

A producer wants to feel:

you can solve problems,
you can adapt,
you can communicate,
and you won’t become impossible once rehearsals begin.

One of the best phrases mentioned in the webinar was:

“I’ll think about that.”

Not defensive.
Not reactive.
Not precious.

Just open.

That openness keeps conversations alive.

Find the Right Producer

This was another huge takeaway.

Most playwrights submit blindly.

But producers specialize.

A producer who develops experimental immersive work is different from:

a regional theater artistic director,
a Broadway commercial producer,
an Off-Broadway nonprofit,
or a family theater company.

Patrick recommended researching:

Tony nominees,
theaters producing similar work,
and producers already developing projects in your lane.

In other words:

stop pitching horror musicals to children’s theaters.

Find alignment.

Then build relationships before making asks.

That’s how theater actually works.

Relationships Matter More Than You Think

Theater is deeply relational.

Patrick talked about how playwrights often approach artistic directors with:

“Here’s my script.”

But the stronger approach is:

“How can I help?”

Volunteer.
Attend readings.
Support other artists.
Be part of the ecosystem before expecting the ecosystem to support you back.

People produce work by people they trust.

That’s not cynical.
That’s theater.

Attachments Only Help If They Actually Help

This section was fascinating.

Writers love attaching:

directors,
actors,
dramaturgs,
collaborators.

But attachments are only valuable if they:

help raise money,
help sell tickets,
or help attract industry attention.

A famous actor? Helpful.

Your cousin who “really gets the play”? Less helpful.

That doesn’t mean don’t collaborate.

It means understand the producer’s perspective.

Every attachment changes the equation.

Sometimes positively.
Sometimes not.

Social Media Matters Now

Patrick made a point that every playwright needs to hear:

Your online presence has become part of your producibility.

Because audiences are fragmented now.

And producers want to know:

Can you help market this?
Do you have an audience?
Do people already engage with your work?
Can you fill seats beyond your immediate friend circle?

This doesn’t mean becoming an influencer.

But it does mean:

building an email list,
staying visible,
and participating in the conversation around your work.

The writers who understand this are easier to say “yes” to.

Here’s the Good News

A producible play is not:

smaller,
safer,
less artistic,
or less ambitious.

A producible play is a play that understands:

how theater actually gets made.

That’s the difference.

You can still write the wild vision.
You can still dream big.
You can still create spectacle.

But the writers who consistently move forward are the ones who understand both:

the art,
and the logistics.

That’s what producers are looking for.

Not perfection.

Partnership.

Final Thought

Patrick said something near the end of the webinar that stuck with me:

Producers focus on the business side of theater. Writers who understand that become far more attractive collaborators.

And honestly?
That’s the shift.

The moment you stop seeing producers as gatekeepers and start seeing them as creative partners, your entire process changes.

Because producibility is not about compromising your vision.

It’s about learning how to build a bridge between the page and the stage.

Save your seat for May 30th

If this opened your eyes to how producers actually evaluate your script…

Then you’ll want to be in the room for our live training:

Write a Producible Play Webinar on May 30th

Off-Broadway Producer Patrick Blake and I will walk you through exactly how to check your work so it’s not just compelling, but something a producer can get on board with.

Stay in the loop with our upcoming workshops!

Sign up for our Weekly Newsletters

Why Most Plays Don’t Get Produced (And What To Do About It)

by Cate Cammarata | May 4, 2026 | Business, Getting Produced, Pitching, Producing, Theater

Why Most Plays Don’t Get Produced (And What To Do About It)

There’s a persistent myth in the theater world: that good work rises to the top.

It’s comforting. It’s also incomplete.

Because if you’ve spent any time developing new work, you already know the truth: plenty of good plays never get produced. Not because they aren’t worthy—but because they’re not yet producible.

And that gap matters.

If your goal is production (not just expression), you need to understand what’s actually standing in the way.

Here are five of the most common reasons I’ve found that plays stall—and what you can do about each one.

1. Your Play Needs More Development

This is the big one.

Most plays don’t get produced because they’re simply not ready yet.

Not “bad.” Not “broken.” Just underdeveloped.

Maybe the structure isn’t landing.
Maybe the central action isn’t clear.
Maybe the ending doesn’t deliver on the promise of the premise.

From the outside, it might feel done. But from a producer’s perspective, it still requires too much work to justify the risk.

What to do:
Stop thinking in terms of “finished” and start thinking in terms of functioning.

Does the play land consistently with an audience?
Are the stakes clear and escalating?
Does it deliver a cohesive theatrical experience?

If not, the next step isn’t submission—it’s development. Workshops. Readings. Targeted rewrites.

This is where most producible plays are actually made.

2. Your Show Is Too Big (For Where You Are Right Now)

Scale kills more projects than quality ever will.

A 15-person cast. Multiple locations. Complex tech. Challenging casting requirements.

That might be the right version of your piece someday—but if it requires a level of funding that doesn’t yet exist, it becomes very hard to interest a producer to sign on now.

Especially in early stages, most investors and producing organizations are looking for something they can mount efficiently. They want a clear path to a return (artistic, financial, or reputational), and they want it soon.

Long, expensive development processes – while absolutely necessary – are a much harder sell.

Which is admittedly difficult on the writers, I know.

What to do:
Ask yourself a hard question:

Can this piece exist in a smaller, more producible form right now?
Can the cast be reduced?
Can the world be simplified?
Can the storytelling carry the weight without expensive elements?

This isn’t about compromising your vision. It’s about creating an entry point for the piece to initially get on its feet.

3. Your Story Is Too Personal (And Not Yet Universal)

“Write what you know” is good advice—until it isn’t.

A story that is deeply personal can be powerful. But if it stays only personal, it often doesn’t translate.

Producers aren’t just asking, “Is this meaningful to the writer?”
They’re asking, “Will an audience see themselves in this?”

If the piece doesn’t connect to a broader human experience—love, loss, ambition, identity, belonging—it becomes harder to program, market, and ultimately produce.

What to do:
Interrogate the core of your piece:

What is this really about?
What human question is it asking?
Where does the audience enter the story?

You don’t need to dilute your voice. You need to frame it so the audience can find themselves inside it.

This is a big one that many writers miss.

4. There Are No “Big Names” Attached

This one is less about art and more about reality.

Recognizable names—actors, directors, producers—reduce perceived risk. They help sell tickets. They attract investors. They signal credibility.

Without them, your project has to work harder to prove itself.

That doesn’t mean you can’t get produced. It means the package matters more.

What to do:
If you don’t have big names, build strength elsewhere:

A clear, compelling concept
A strong track record of development (readings, labs, workshops), or your own stong writing record.
A passionate, aligned team that is on board with your show.
Evidence that the piece lands with audiences. (Again, this is big – proof of concept.)

Momentum can substitute for notoriety—but you have to create it intentionally.

5. You Don’t Have the Relationships (Yet)

Theater is collaborative—and relational. This is an industry driven by personal relationships.

Most opportunities don’t come from cold submissions. They come from conversations, recommendations, and ongoing professional relationships.

If producers don’t know you—or don’t know your work—it’s much harder for them to take a chance on you.

It’s much harder to get them to come to readings, or to read your submission.

What to do:
Shift from “submission mode” to “relationship-building mode.”

Attend readings, galas and other industry events
Support other artists’ work
Build genuine connections over time
Stay in touch with others in the industry. You never know where someone you know will go.

This isn’t about networking in a transactional way. It’s about becoming part of the professional theater community where work actually gets made.

The Real Shift: From “Good” to “Producible”

Here’s the throughline:

Most plays don’t get produced because they lack merit—but because they’re not yet aligned with the realities of production.

That alignment includes:

Craft (a fully functioning script)
Scale (a feasible production model)
Story (a clear, resonant core)
Package (elements that reduce risk)
Relationships (pathways into the field)

When those elements come together, things start to move.

Final Thought

If your play isn’t getting produced, the question isn’t:

“Is this good enough?”

It’s:

“What is this play missing to become producible?”

That’s a far more useful—and actionable—question.

CTA

If you’re ready to move your work from draft to production-ready, the next step is focused development.

My Write a Producible Play Lab on May 30th with Off-Broadway producer Patrick Blake is designed to help you:

Clarify your story engine
Strengthen structure and stakes
Shape a piece that lands with an audience—and a producer

→ Applications are open now.

Save your seat for May 30th

If this opened your eyes to how producers actually evaluate your script…

Then you’ll want to be in the room for our live training:

Write a Producible Play Webinar on May 30th

Off-Broadway Producer Patrick Blake and I will walk you through exactly how to check your work so it’s not just compelling, but something a producer can get on board with.

Stay in the loop with our upcoming workshops!

Sign up for our Weekly Newsletters