I'm still pretty new to writing. I've never published anything other than a few papers for school. What's the best way to get noticed as an author?
Till now I've always written and adapted for theatre; it aids to be direct with the audience and it livens me up to work straight away into production. I wouldn't change it for the world as there's a special kind of creative freedom for us theatre practitioners. But lately I have had this sort of inw ...Expand post
Till now I've always written and adapted for theatre; it aids to be direct with the audience and it livens me up to work straight away into production. I wouldn't change it for the world as there's a special kind of creative freedom for us theatre practitioners.
But lately I have had this sort of inward nagging to learn the proper formatting of writing scripts for film and radio. I have no idea nor the resource to turn to as a handbook of sorts on how to write for these different mediums.
This nagging came about whenever I have a good plot for a play and find myself sometimes pulling back because the story would get ''too big'' to be staged in the theatre or street performance.
So, for knowledge's sake - and always good to learn something new - would you kindly pass me some good resources please? Be it a book or a link; though i always found books to be best resources as i made in my first comment on Stage32.
I have four unpublished books (don't judge me). I also leveraged one of the books into a seven episode limited drama series, as well as a treatment for additional episodes if the first goes well. Seems there could be some nice synergy with both the book and TV. Any thoughts are appreciated.
More hopefully Good News. My partner hasn't heard back from the man who was interested in our horror movie, but he has been busy. But the other good news is someone has looked at one of my scripts; a zombie spoof. No guarantees, but I'm hoping.
Brand new to the game and I have been studying the craft of the playwright and the screenwriter. Looking for insight. I know each page of the screenplay equals a minute of script. Is that pretty much the same for the stage play? Just want to make sure my newly finished stage play isn't too long.
Hello Everyone! I'm new to this page but I've been on Stage 32 for a few years now. I've had some recent success having a well known producer read and like one of my TV pilot scripts. He has given me his permission to use his name in trying to sell the project. This is a huge opportunity for me but...Expand post
I'm new to this page but I've been on Stage 32 for a few years now. I've had some recent success having a well known producer read and like one of my TV pilot scripts. He has given me his permission to use his name in trying to sell the project. This is a huge opportunity for me but now I feel stuck. I'm not sure what the next steps are to take. Is this the point where I need a literary agent to try to sell the script for me? Or should I be pitching it myself? Please let me know whatever advice you have to give. Thanks! Michael
Hi, everyone. It's been a while. Still working on another rewrite for The Diary of Camp Better Place Station. Can anyone tell me how do you take care of tired eyes. Any Home Remedies out there. I need all the advice I can get.
Today, I read a blog post in which the author argues that production rights for plays and musicals should be licensed for free to schools that otherwise can't afford to pay. This author, whom I respect greatly, correctly points out the value that arts education represents for schools, and makes the i ...Expand post
Today, I read a blog post in which the author argues that production rights for plays and musicals should be licensed for free to schools that otherwise can't afford to pay.
This author, whom I respect greatly, correctly points out the value that arts education represents for schools, and makes the important point that the focus on STEM (Science, Technology, Engineering, Math), rather than STEAM (Science, Technology, Engineering, ARTS & Math) will do our students (and society) a disservice in the long run. With funding for the arts being cut at school after school, he proposes to give poorly funded school drama programs a break, calling on authors and licensing agents to waive fees for these programs.
It's certainly hard to argue against the need to preserve arts education in our public schools. It's hard to defend charging fees for the use of plays and musicals in the educational setting.
And yet I must. Here goes.
Arts education should include exploration of the business of art
Arts education is certainly important. But so, in my view, is a pragmatic education in the economic realities of art and culture in our society.
Stage with Curtain and Lights
To those educators and administrators who claim they can't afford to pay for the rights, I say this: If you're selling tickets, you've got a revenue stream. Shouldn't the authors of the show share in that? We buy or rent the sets, costumes, lights. We pay for electricity, etc. and the teachers/directors/choreographers get paid. Why should those who wrote the material waive their fees?
When you set out to construct a school building, you pay the architects and engineers for their work designing it. You pay the owners of the land on which the school is built, and you pay all of the vendors who supply the raw materials from which the building is constructed. If there's no viable way to fund all that construction, you don't build it.
In Theatre, the plays are the raw materials used to construct the learning experience. In academic classrooms, the books, lab equipment, supplies, and other learning materials come at a cost. Why should theatre be different?
Instead of looking for ways to avoid paying for the art we consume, we ought to encourage the search for ways to fund it.
We go to great lengths to see that students are given opportunities to create, perform, and display the fruits of their talents, but we pay little attention to the real-world economics of art. We need, I think, to involve students in the show-selection process, and to help them understand the costs, and that the materials they perform represent the creative efforts of bookwriters, composers, lyricists and others. These things, like most things of value and importance are not free. They are not something to which everyone is entitled. (Don't get me started on the entitlement mentality of many as regards music, film, etc.). This understanding will help them see the need for funding from multiple sources, and make them better citizens. the simple fact is, fundraising is a huge part of the theatre-making process, and the more we involve kids in that process, the better they'll understand and be able to participate in the arts throughout their lives. Isn't that what education is really about?
Royalties for plays are typically a fairly small part of the overall expense of putting on a show. (Though the author of the blog in question points to anecdotal evidence of rather high license fees for the most popular shows). In most cases licensors are mindful of budget, school size, etc. And in many cases, royalties are tied to ticket sales, so the cost stays relative.
Artists need to be able to earn from their work
Arts education is important. But it is equally important that those so educated have a chance at making a living by creating art. Without that, the arts will whither and die.
Bottom line: authors need to feed, clothe and shelter their families. They should be paid for their work. If they're not, they will be less inclined to create.
What do you think? Should schools be given a free pass on paying for stage rights?
Has anyone used inkshares.com to publish (or attempt to publish) their novel? I created an account today because I was intrigued but I'd like to hear from people who have actually used the site.
Did you end up reaching your funding goal? How did it all go? Were there any bumps in the road you weren't expecting?
He founded the Negro Ensemble Company in New York City 50 years ago and the DC Black Repertory Company in Washington, DC. Actor Robert Hooks, and his playwright co-founder Douglas Turner Ward, provided a platform for Black actors to develop and hone their craft in New York City. A tribute to Robert,...Expand post
He founded the Negro Ensemble Company in New York City 50 years ago and the DC Black Repertory Company in Washington, DC. Actor Robert Hooks, and his playwright co-founder Douglas Turner Ward, provided a platform for Black actors to develop and hone their craft in New York City. A tribute to Robert, Douglas, and the Negro Ensemble Company this Saturday, September 23, 2017 in Los Angeles at the Nate Holden Performing Arts Center, 7:00 p.m. Tickets still available. Here's a mini documentary about Robert and the NEC. https://www.youtube.com/watch?v=k-uosF0rYjM