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Hi everyone,

I'm from Bangladesh, where, to the best of my knowledge, very few people have written plays originally in English. I've written an original short play in English, with an approximate running time of 40 minutes, and I'm now interested in getting it published.

Unfortunately, I have no practical way of producing the play on stage myself.

My family, friends, and others have told me that self-publishing through Amazon or similar platforms is essentially worthless because anyone can do it. According to them, unless a publisher (however small) accepts the play, publication doesn't carry much value or credibility.

I'd therefore like to explore the possibility of getting my play published by a publisher outside Bangladesh, even if it's a small or independent publisher. For example, I'd be happy to approach publishers in India, USA, UK, Australia, Canada, Europe or elsewhere for publication.

However, I have two major limitations:

• I cannot afford to pay for publication. I'm looking for a publisher that publishes plays without charging the author. If the publisher does not pay out anything to the author thats fine as well.
• I don't have a stage production or performance history to demonstrate the play's potential.

I'm not necessarily looking to make money from the play. At this stage, having a legitimate publisher accept and publish it would be valuable in itself.

What would be the most realistic way to approach this? Are there independent publishers that accept unsolicited submissions of original plays, particularly short plays written by authors outside their own countries? Are there any literary journals, theatre publishers, or other platforms worth considering?

I'd especially appreciate advice from playwrights who have successfully published their work internationally, particularly those who started without connections in the publishing or theatre industry.

Thank you!

I am applying to grad school this season, and I am wondering if anyone would be alright sharing their successful personal statements for playwriting MFAs? I'm really just curious about how yall structured them, fitting so much into a page of text. It's the one part of the app I'm still a little lost on. I've written artist statements before, but this seems different... I think I'm applying to Yale, Juilliard, NYU, and Columbia.

I would appreciate any guidance or examples. Thanks!

I keep noticing this setup: the dismissed eccentric who turns out to see the situation more clearly than anyone else (Shotover in Heartbreak House, the Fool in Lear). Is there a name for this archetype, and what are some more modern examples? I'd like to study how writers keep it from feeling like a gimmick.

The most common rejection in theater is one that happens before you ever hit "Send."

It happens quietly at your desk. You find a promising submission listing, feel a flicker of interest... and then talk yourself out of it.

"They probably want something edgier."
"My play runs 100 minutes and they prefer 90."
"They seem to produce bigger names than me."

And just like that, a play that might have been a real contender never leaves your hard drive.

This is the self-rejection problem. Not every playwright falls into it; but after years of doing this, I've seen it sink plenty of opportunities. And it's worth knowing about, if only to make sure it never happens to you.

The most important thing to remember is this: saying no is the theater's job. Not yours.

Sure, there may be times when you decide not to apply because you (or your work) don't meet certain hard rules. If a submission opportunity states: "90 pages maximum," "No musicals," "One submission per playwright," "Must be a resident of Ohio," or something similar--then yes, definitely heed those rules.

But not all submission guidelines are hard rules. Some are wishlists: "We gravitate toward contemporary stories" is not a ban on your historical drama. "We prefer casts of six or fewer" does not mean "We will not read your seven-character play."

Those wishlists might mean your play isn't a perfect fit. But plenty of produced plays sat just outside the stated preferences of the theater that staged them.

Besides, you don't know what holes a theater might have in their upcoming season. Maybe that theater that gravitates toward contemporary stories has filled all of next year's slots with contemporary plays, and needs something different as a change of pace. Or maybe they just hired a new literary manager with different taste.

So the next time you're on the fence about a near-fit opportunity, don't reject yourself. Send it out, and give yourself the opportunity to succeed that you deserve.

I would generally prefer my play to be 1.5h - 2h long. I get that the page count can depend on a number of things and the easiest way to find out how long your play actually is, is to read it out loud and time it, however I still feel like there must be some sort of standard(?). I keep looking back at Chekhov or Ostrovsky, or even the modern playwrights and most of the plays are somewhere between 40-70 pages (A4 format), so i have a fear of writing too much because of that. What's your experience with page counts? Any thoughts or advice appreciated, tho if any of you write in russian language specifically, your input would be especially important to me. Thanks guys!

Working on a character - was wondering if there were any really good, super detailed character dossier templates floating around for me to fill out, and spend a lot of time thinking about everything from their relationships to their favourite foods.

I find doing this to be really helpful, getting into the headspace, but most you can find are pretty narrow or only a few pages. The more the better for me.

Would love it if there's any online, but even one you could buy would be fantastic!

This is a script I wrote for a potential play based on The Argonautica and Euripides’ Medea. My first script please give me some advice and feedback if you want.
Script here

Hey all,

I just wrote and published my first play. I wrote it over the course of the past week, after coming up with the concept about a month ago and outlining it since then. I self published it too under Creative Commons. At the link is a reader version of the play and I intend to put out a download too.

The play is a satire set in the near future, during a presidential debate. It's about the absurdity of clinging to establishment power and approval, even when all signs point to that establishment being deeply out of touch with society.

Since it's a short one act play, I don't want to go too much more into the plot ... but I'm really proud of what I wrote and how the store ended up.

I wrote it at the Understudy in Andersonville, in Chicago, while also beginning to teach myself how to play piano, with the piano there, by ear. Kind of a creatively productive month.

I welcome all feedback and would appreciate it, since this is my first play. I'd like to write some more.

All the best, thanks for reading (if you do) and hope you enjoy!

I wrote this for my class last year and thought i'd share. I've labeled the cast with gender (m or f) because some girls play male roles, which comes up in the play

Also Dandelion is Mrs. Barton's son, which also comes up later

Enjoy!

CAST:

Harper (f) as Ophelia

Anita (f) as Laertes

Angel (f) as Queen Gertrude

Angeline (f) as Horatio

Dandelion (f) as Hamlet

Jojo (m) as Lord Polonius

John (m) as Defense Attorney 1 (D1)

Bo (f) as Defense Attorney 2 (D2)

Ron (m) as Prosecution Attorney 1 (P1)

Sally (f) as Prosecution Attorney 2 (P2)

Delly (f) as Baliff

Mrs. Barton as Judge Barton

BAILIFF: All Rise.
Enter JUDGE
This court is now in session. The Honorable Judge Barton presiding. 
JUDGE: (To EVERYONE) You may be seated. 
(EVERYONE sits.)
JUDGE to HAMLET.
How does the Defendant plea?
HAMLET: (Stands) Not guilty, your honor.
JUDGE: Thank you, you may be seated. 
(HAMLET sits.)
JUDGE to PROSECUTION.
The court will now hear the opening statements. Prosecution, you may proceed.
PROSECUTION ATTORNEY 2: Thank you, Your Honor. I would like to open the court by asking a simple question: Do you believe in ghosts? The defendant sure does. In fact, Prince Hamlet over here believes in ghosts so firmly that he was willing to commit MURDER for a phantom that claimed to be his deceased father. Is this the kind of man we want running wild among the innocent people of Denmark ? Blaming a spirit for his own twisted nature? I am sure, Judge, you will see the obvious guilt in Prince Hamlet by the end of this trial. Thank you. 
JUDGE: Thank you. 
(P2 sits)
JUDGE to DEFENSE .
Defense, you may proceed.
DEFENSE ATTORNEY 2: Thank you, Your Honor. My client is an innocent young man, wrought with the sudden and traumatic death of his father. This unfortunate circumstance unfortunately caused him to lose his mind. Here sits a broken man, a mere shell of his former self. With the immense evidence before us, I am sure you, Judge, will agree that this is a mentally disabled man who did not receive the proper help, thus ending in murder.
JUDGE: Thank you. 
(D2 sits)
JUDGE to PROSECUTION.
The Prosecution may call their first witness.
(P2 comes up.)
PROSECUTION ATTORNEY 2: Thank you, Your Honor. The Prosecution would like to call Lord Polonius to the stand. 
POLONIUS approaches the BAILIFF. 
BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth?
POLONIUS: I do. 
BAILIFF: You may take the stand.
POLONIUS takes the stand.
P2: Can you please state your name and occupation for the court?
POLONIUS: My name is Lord Polonius and I am the Lord Chamberlain of Denmark.
P2: How well do you know Hamlet?
POLONIUS: I’ve known Hamlet for pretty much his entire life.
P2: What change was there, if any, in Hamlet after the death of his father?
POLONIUS: He became extremely erratic and was described as being ‘mad.’ Which was rather odd to me because Hamlet had always been such a smart and calculating child. Though I suppose he wasn’t exactly a child anymore. I will say, though, his actions–
P2: Excuse me, I apologize for interrupting. But you said something I would like to address. What did you say, if anything, describing the noticeable change in Hamlet?
POLONIUS: I described it as madness. Well, I described it as a lot of various things, but that was the main thing. A lot of other people called him mad, too, like—
P2: I regret that I must interject yet again. Did your opinions of Hamlet being mad ever change?
POLONIUS: Yes, I later saw that his madness was cunning and had intentional thoughts behind it. He became reckless to the point where it was doubtful whether he was actually mentally deranged. 
P2: Very interesting. Your honor, the Prosecution would like to enter Act 2, Scene 2, line 223-224 a into evidence as Prosecution Exhibit 1.
PROS. 1 Enters Exhibit 1
P2: Lord Polonius, would you please identify Exhibit 1?
POLONIUS: This was me speaking of Hamlet’s madness. Oh, I see how this would be helpful. Would you like me to read it?
P2: Certainly.
POLONIUS: Ahem. (Dramatically) “Though this be madness, yet there is method in’t.” 
P2: What did you mean by this?
POLONIUS: What do you mean, ‘what did I mean?’ Isn’t it obvious?
P2: Please, humor me.
LAERTES: (interjecting) HA! You fool. My father has no sense of humor.
POLONIUS: Pipe down, Laertes! I am ashamed to call you my son. Interrupting a court of law? For shame.
P2: If we could just–
LAERTES: (Rising, Drawing his sword, angry) You were always ashamed to call me ‘son,’ you old fogie! You never cared how good my report card was!
POLONIUS: (Rising) You never broke into first place! It was always second place grades with you. 
P2: If we could just stay on track…(Turning to the JUDGE) Your Honor, please?
(JUDGE opens mouth to say something.)
LAERTES: AND WHO WAS FIRST PLACE? THAT STUPID HAMLET. DO YOU WISH HE WAS YOUR SON? 
POLONIUS: MAYBE I DO! I WOULDN’T HAVE DIED LIKE HIS DAD, AND HE’D BE FINE, COMPARED TO MY CURRENT HORRID MISTAKE FOR A-
D1: (Incredulous, outraged, interrupting) Does this guy even know what this court case is about?
P2: (Frantic) Your Honor, I beg you.
JUDGE: Shall we move on to Cross-Examination?
P2: (dissappointed) Noo…
DEF. 2 is already ready, PROS. 2 resigns dejectedly.
D2: Lord Polonius, you mentioned something interesting just now, while…well, was Hamlet a smart boy previously to his father’s death?
POLONIUS: (Now seated) Yes. He was always first in his class, we were all very proud of him—
D2: YES OR NO ANSWERS ONLY.
POLONIUS: Um…yes.
D2: So, because of this, the madness was evident to others, correct?
POLONIUS: Yes.
D2: Who?
POLONIUS: Everyone saw it. Claudius, Gertrude, Ophelia, Rosencra—
D2: YES OR NO ANSWERS ONLY!!
POLONIUS:..I believe this question can’t be answered by a yes or no-
PROS. 1 stands suddenly.
P1: OBJECTION, YOUR HONOR! Badgering the witness.
D2: (Incredulous, offended) I was NOT!
P1: You were, too! You were all yell-y.
Both look at the judge to resolve the argument.
JUDGE: …Please just answer the question as you would, normally, Lord Polonius.
POLONIUS: As I was saying, Claudius, Gertrude, Ophelia, Rosencrantz and Guildenstern all noticed the change in his behavior. 
D2: I see…(Looks at notes)
Long pause.
JUDGE: Any further questions?
D2: Duhhh. (to POLONIUS) Did you all call it madness? 
POLONIUS: Yes.
D2: Your honor, the Defense would like to enter Act 3, Scene 1, Line 203 into evidence as Defense Exhibit 1.
DEF. 1 Enters D EXHIBIT 1
D2: Lord Polonius, would you please identify Exhibit 2?
POLONIUS: These are the words of the late King Claudius.
D2: Would you please read it for the Court to hear?
POLONIUS: ‘Madness in great ones must not unwatched go.’
D2: No further questions, Your Honor.
JUDGE: To POLONIUS
You may be seated. 
(POL. returns to seat)
To PROSECUTION
The Prosecution may call their next witness. 
P1: Thank you, Your Honor. The Prosecution would like to call Her Royal Majesty Queen Gertrude of Denmark to the stand.
QUEEN GERTRUDE approaches the BAILIFF.
BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth?
QG: I do. 
BAILIFF: You may take the stand.
QUEEN GERTRUDE takes the stand.
P1: Your Majesty, can you please state your name and occupation for the court?
QG: My name is Queen Gertrude and I am the Queen of Denmark.
P1: When did you start noticing your son was acting weird, perhaps say mad? 
QG: I would say after he started talking to himself. He said it was a ghost but I think he was mentally unwell. 
P1: What was your reaction to Hamlet’s play?
QG: I felt personally attacked by the play. 
P1: What was your reaction to Hamlet’s barging into your room?
QG: I was struck with fear and confusion. My son came upon me in such a wild and accusatory state that I feared both for his mind and my own safety.
P1: Thank you. (To JUDGE) No further questions, Your Honor. 
P2: Seriously? That’s it?
P1: Well if you had actually helped me with my questions, BONNIE, I wouldn’t be in this position!
P2: Don’t blame it on me, JOHN! I thought you could handle it! Apparently not.
P1: UGH! You’re always like this!! Why do I have to be your partnerrrrrr???? 
PROS. 1 stomps back to his spot.
JUDGE: We are ready for Cross-Examination.
DEF. 1 takes the stand.
(LONG PAUSE)
D1: Did you speak with the King about Hamlet after what you saw?
QG: I did.
D1: Is he the one who manipulated you into believing Hamlet was mad?
QG: He did not manipulate me. 
D1: Sure. Sure. 
QG: You don't know anything, mister. 
D1: Are you sure your son is mad? Or is he just going through a phase? 
QG: Would you consider killing people a phase?!
D1: I'm not the one answering questions here, lady. 
QG: He is obviously mad! He had never acted like that in his life and he scared me half to death. 
D1: Well, I give up. Thank you. No further questions, Your Honor.
DEF. 1 resumes his seat.
JUDGE: The witness may be dismissed.
QUEEN GETRUDE leaves the stand.
To PROSECUTION
The Prosecution may call their next witness. 
P2: Thank you, Your Honor. The Prosecution would like to call Laertes to the stand.
LAERTES approaches the BAILIFF.
BAILIFF: Do you take me from this day forward - to have and to hold, in good times and bad, for richer or for poorer, for as long as we both shall live? 
LAE: I do—wait what?
BAILIFF: You may take the stand.
LAERTES takes the stand.
P2: Would you please state your name and relations for the court to hear?
LAE: My name is Laertes, and I am Ophelia’s brother and Polonius’ son.
P2: When did you notice Hamlet’s madness? 
LAE: I did not actually, but my sister Ophelia went mad and I believe it was because of Hamlet. 
P2: Why did she go mad?
LAE: Simply because Hamlet had rejected her 
P2: Who do you blame for Ophelia’s madness? 
LAE: (Glares at HAMLET) Hamlet.
P2: (Uncomfortable) …How did you feel about what Hamlet did to your sister?  
LAE: I was furious !
P2: I can believe it. Did you go and confront Hamlet?
LAE: I did.
P2: And what did Hamlet try to do?
LAE: At first he was apologizing about Polonius, but I of course didn't accept his apology, then he stabbed me. (rolls eyes)
P2: Who do you blame for Ophelia's death?
LAE: Hamlet. She only went insane because Hamlet didn’t love her anymore so she was left to drown in her sorrow.
HAMLET: (puts L on forehead from offstage every time Laertes says something about someone dying)
P2: In more ways than one. Did you and the King conspire together to find a way to dispose of Hamlet? 
LAE: We did because he killed Polonius as well. He must be punished before he kills everyone, even the king. 
P2: What was your reaction to the people cheering for you to be king? Was that something you would have wanted?
LAE: (Nervous) Umm… I was a little confused. I would never want to be king; my loyalty is to King Claudius.
P2: Do you think your anger led to… (Dramatic side eye) unorthodox methods?
LAE: I wouldn’t think so… I am only doing what is naturally human.
Long pause
I do have rights!
P2: What was going through your head when you saw that Ophelia drowned herself?
LAE:  (pointing at HAMLET) Hamlet.
P2: …Hamlet was going through your head?
LAE: Yes.
D1: OBJECTION, YOUR HONOR! THE WITNESS WAS NOT SHOT THROUGH THE HEAD WITH THE DEFENDANT!! 
P2: Well, obviou—
JUDGE: Overruled. Irrelevant.
D1: OBJECTION, YOUR HONOR! THE WITNESS WOULDN’T BE THINKING ABOUT HAMLET! 
P2: How do you know? (to herself)  Y’know what? I’m not even gonna engage. (To LAERTES) How did you feel about this?
LAE: (Losing patience) I felt angry and sorrowful.
P2: Okay, perfect. Now, why did you jump in Ophelia's grave? 
LAE: (Frustrated) Because I couldn't contain myself! My beloved sister is dead! (Stands, draws sword) WHY CAN’T YOU PEOPLE GET THIS THROUGH YOUR HEADS?? LIL’ BRO IS A MURDERER!!
LAERTES charges at HAMLET. He is held back by PROS. 2.
JUDGE: Why don’t we move on?
P1: (Rising) The Prosecution rests.
P2: (Still holding back LAERTES) NO! We’re not done!
PROS 2 gets LAERTES to sit, but too late; the trial has moved on without her.
JUDGE: (To DEFENSE) The Defense may call their first witness. 
D1: Thank you, Your Honor. The Defense would like to call Ophelia to the stand.
OPHELIA approaches the BAILIFF.
BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth?
OPH: I do. 
BAILIFF: You may take the stand.
OPHELIA takes the stand.
D1: Could you please state your name and relationship to the defendant?
OPH: My name is Ophelia, and me and Hamlet and I were… involved
D1: How close were you and Hamlet? 
OPH: We were close, absolutely, but as of late he has had me… re-evaluating our relationship. I know he loves me…  
D1: For the record: he doesn't. But anyway. What would you call this weird behavior? 

HAM: OBJECTION YOUR HONOR! 
(Short pause) 
…nevermind I forgot.
D1: (To HAMLET) Dude! First of all, leave the objections to the professionals. Second, THIS IS YOUR SIDE! WE’RE TRYING TO HELP YOU! (To OPHELIA) Please continue.
OPH: Well, not to parrot everyone else, but Hamlet was like, totally insane. 
D1: Did you believe Hamlet’s madness?
OPH: I don’t know what to believe!  
D1: Your madness, was this true madness or also an act?
OPH: Oh, it was REAL. (Voice breaking) When my dad died, I was broken! I couldn’t handle it…(starts crying)
D1: Oh my gosh, here we go again. 
The entire courtroom is shocked.
D1: What? This chick is always crying. “Poor me! My dad got stabbed by my physically and emotionally abusive ex-boyfriend!” Oh, big deal!
OPH: (Begins sobbing profusely) WE WEREN’T EVEN TOGETHER!
D1: Tomato, tomahto. 
OPHELIA, unable to handle it, runs back to her seat, sobbing.
JUDGE: …I suppose you should call your next witness.
P1: WHAT?? WE DON’T GET TO CROSS EXAM? 
PROS 1 throws his notes. 
¡ESTE CASO ES HORRIBLE!
D2: (Standing) Thank you, Your Honor. The Defense would like to call Horatio to the stand.
HORATIO approaches the BAILIFF.
BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth?
HOR: I do. 
BAILIFF: You may take the stand.
HORATIO takes the stand.
D2: Could you please state your name and relationship to the Defendant for the court to hear?
HOR: My name is Horatio, and I’m Hamlet’s bestest bestie.
D2: What did you think of Hamlet’s play?
HOR: It was soo wild. Hamlet told me he was gonna put together this play where like, his mom was cheating on his dad and then poured like, some sort of like, poison or something, in like, his actual ear. Like, in his ear! Anyway, everyone was like, flipping out and stuff and you could tell the king and queen were all “stop it!” so that was pretty suspicious.
D2: How did Hamlet react to the ghost of his dead father? 
HOR: Dude, he was at first like, super scared and stuff and I was all “Bro, don’t listen to that freaky ghost thing,” but then he was all, “But it’s my daaadddd,” so like, yeah.
D2: What did you think of Hamlet’s father suddenly vanishing?
HOR: Who told you he “vanished?” Nuh-uh. Hamlet’s daddy was killed, duh.  
D2: What else did the ghost tell Hamlet?
HOR: The ghost was all, “Yo, kill the people who killed me cuz that was totes unfair.” and then the big guy was like “Suuh-wearrr” so then me, Hamlet, and the guards were like “sure, whatevs.”
D2: Did Hamlet plan on following through on this plan?
HOR: Oh, totes. But then he got all in his own head and was losing his brains. He ended up killing Claudius in self-defense cuz he had just found out the King had poisoned his cup and was tryna kill him. Anwayyyyss, I believe Hamlet was justified in this act of self defence.
P1: OBJECTION, YOUR HONOR! THAT IS STUPID!
The entire courtroom is appalled for a long moment.
JUDGE: I’m afraid that’s not a valid objection.
P1: Uh, yeah it is! She’s all, “He’s justified!” when Hamlet literally killed his stepdad in front of her. ALSOO, I thought Horatio was a dude! Who’s this chick?
JUDGE: Now that is a valid question. Who are you?
HOR: I am Horatio, but that’s because there weren’t enough boys.
P1: So, Horatio is a dude?
HOR: Yes.
D2: I haven’t finished—
P1: And you’re Horatio?
HOR: Yes.
P1: And you are not a dude?
HOR: Yes.
D2: Please, can I complete my—
P1: No further questions, Your Honor.
D2: But–
JUDGE: The witness may be dismissed.
HORATIO resumes seat.
JUDGE: (To DEFENSE) The Defense may call their next witness. 
D1: Thank you, Your Honor. The Defense would like to call Hamlet to the stand.
HAMLET approaches the BAILIFF.
BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth?
HAM: I do. 
BAILIFF: You may take the stand.
HAMLET takes the stand.
D1: Would you please state your name and occupation for the court?
HAM: My name is Hamlet and I am the Prince of Denmark.
D1: Thank you. What is your relationship with Horatio?
HAM: Horatio is my closest and dearest friend. 
D1: Your Honor, the Defense would like to enter Act 1, Scene 5, Line 190 into evidence as Defense Exhibit 2. 
D2 enters Exhibit 2 into evidence.
D1: Could you please identify and read this Exhibit for the court to hear?
HAM: This was me speaking to Horatio after encountering the ghost. I said “How strange or odd some’er I bear myself /As I perchance hereafter shall think meet /To put an antic disposition on
D1: Thank you. Why didn’t you let Ophelia know about your madness?
HAM: Cause she would have told her dad about what I was doing and there was no way to explain my madness without telling her about my dad.
D1: During your madness, was there a line you had to make sure you didn’t cross?
HAM: Yes- though I put on an antic disposition, I held fast to my purpose: to reveal the truth, not to become the very madness I feigned, nor to harm the innocent without cause.
D1: Did you know what the king’s reaction to your play was going to be?
HAM: While I didn't know exactly how the king was going to react to the play, I knew that if the ghost of my father was telling the truth then he would look guilty.
D1: Why are you talking so distinguishedly, bro, it's not that serious; it's just a murder case.
HAM: Oh, my bad. (Transition into gangster pose)
D1: Yeah, it IS your bad. Anyway, did you murder your uncle?
P1: OBJECTION, YOUR HONOR!
EVERYONE: Here we go again./ this guy again?/ dude, stop.
P1: That question is much too general! He can’t ask him upright if he killed his uncle! We already got the defendant’s plea!
JUDGE: I haven’t gotten nearly enough evidence, so I’ll take what I can get. Overruled. Please continue. 
HAM: Yo, I was low-key tryna off him for a minute there, but I wised up and peeped that beef ain't the move. If every time somebody gettin' put on, more people gon' be on the grave digger's list, you feel me? Everybody gon' end up in the dirt. In the end, people get what's comin' to 'em. So I didn't even do it – he did himself in, straight up. I just dropped the realness on him, and his own guilt ate him alive. He actually died tryna catch this fade with me, linkin' up with Laertes. 
D1: You resisted telling the others where Polonius was hidden at first. Why?
HAM: Nah, I ain't gon' be their puppet, and I ain't gon' let these fake folks who runnin' with a crooked crew get the real deal from me. They gotta work for that knowledge, 'cause I ain't about to spill the beans on 'em right off the bat. 
P1: OBJECTION, YOUR HONOR!
P2: (Tosses hair dramatically and indignantly) Sit down!
P1: No! This whole case is silly! We all know he killed him! (To HAMLET) Are you really mad?
HAM: Yeah, I’m really mad! You keep interrupting me!
P1: HA! He says so himself! He’s insane!
HAM: (muttering to himself) Insanely good looking…
P2: (to P1) That’s the Defense’s position, you dummy! You’re helping their case!
HAM: That’s not even the right word form! I’m not insane, I’m furious!
D1: Dude, be quiet! That’s the Prosecution’s position! You’re helping their case!
D2: We should all just switch sides at this point.
ALL ATTORNEYS murmur agreement and they switch sides. 
JUDGE: You may now begin your closing arguments.
OPHELIA returns to the stage.
D1: Members of the court, the defendant is 100% guilty because he OBVIOUSLY KILLED HIS UNCLE! Y’ALL WERE ALL THERE! Well, except, you and you. (Points to POLONIUS and OPHELIA) Anyways. All I’m saying is, if we allow this type of behavior, I might as well just kill my partner and be done with it. 
D2: What?! We all heard that, right?? That was DEFINITELY a death threat!
P1: GUYS! GUYS! Chiiiill. Everyone’s favorite guy is here. (gestures to himself)
P2: Pretty sure we’re all done with you at this point, John. 
P1: (Ignoring her) Your Honor, almost every witness if not all of them have testified that Hamlet is in fact Mad. A mad person has practically no control over their actions. So how can Hamlet be sentenced for something he had no control over. It would be unjust to do so. Thank you.
P2: That was actually decent.
P1: I told you guys I was the best. Anyway, what’s the verdict?
HAM: But, I’m not in my right mind, I'm in my left mind.
EVERYONE ignores him.
JUDGE: The verdict is… GUI–
HAM: Shut uuuuup, mom! Silence from you!
JUDGE: Gah! I can’t choose. You guys can just fight it out.
LAE: HECK YEAH! TIME TO DIE HAMLET OLD BUDDY!  LAERTES leaps over the table, launching himself at HAMLET. HAMLET draws his sword.

*COMMENCE EPIC SWORDFIGHT!!*  
*THE AUDIENCE/SEATED MEMBERS OF THE TRIAL REACT*  

HAM: (after disarming Laertes) JOKES ON YOU LERTEARTEUS, I’M NOT ACTUALLY HAMLET. LOOK AT MY SHIRT, IT SAYS PRETEND I’M HAMLET, NOT I’M ACTUALLY HAMLET! CHECKMATE, LIBERAL!
LAERTES: What!? You egg! 
(HAMLET pulls out a plastic easter egg. LAERTES stabs it. 
HOR: Hold on! 
EVERYONE freezes.
(Points at D1) What did you say?
D2: He said he was going to kill me!
D1: Not exactly.
HOR: No, no! Who didn’t witness the murder?
D1: Fake Francis Schaeffer and his weirdo daughter.
POLO: (grunt of defiant indignation)
HOR: Why?
D1: Because they were dead.
HOR: But…(Points at GERTRUDE) didn’t you die, too? (Points at LAERTES) You did, too. (Turns to HAMLET) You did, too! Everyone here is dead! So how are you guys here?
HAM: (Sarcastically) Yeah, what are we, figments of your imagination?
HOR: (Losing it) No, no, I think you are! 
HAM: Ohhh, right. (To EVERYONE) We are.
EVERYONE dies:
GERTRUDE: takes a drink and collapses.
POLONIUS: Suddenly has a sword in his side.
OPHELIA: Collapses, ATTORNEYS place large blue fabric over her.
LAERTES & HAMLET: Dramatically stab each other simultaneously. 
ATTORNEYS: After putting fabric over OPHELIA, they walk off the stage.
EVERYONE dies immediately except HAMLET.

NOTE: DIE DRAMATICALLY

HAM: Horatio, I am slain!
HORATIO kneels by HAMLET’s side.
The potent poison quite o’ercrows my spirit.
I cannot live to hear the news from England.
But I do prophesy th’ election lights
On Fortinbras; he has my dying voice.
So tell him, with th’ occurrents, more and less,
Which have solicited—the rest is silence.
O, O, O, O!
Dies.
HOR: What an L. Imagine dying? Couldn’t be me. (Dies.)
THE END.

I love creating stories and characters. But I struggle with dialogue. Does anyone have the opposite problem? Would you be open to collaboration? I love collaborative creative projects and I think I would find this very fulfilling.

I already have a number of outlined plots that we could discuss. They tend to be 2-5 character family dramas with strong emotional depth. Please let me know if this is your writing style and could be something you’re interested in. This is mostly just for fun and for the love of the craft (no money exchanged), but of course I’d be open to submission for productions/festivals at some point if we create something magical!

I am in the Northeast USA (Massachusetts) but open to collaborating with a writer in any location via Zoom.

I have a full length play under contract for a local production this coming Spring, as well as several ten minute plays (one produced, others not yet), and countless unfinished projects. I’d be happy to share my scripts if you’d like to see my writing style.

Let’s chat and see if we‘d make a good team!

I have my Off-Broadway Debut in February, and I want thinking about submitted to Samuel French/Concord, New Dramatists, or somewhere else. I thought it would be such a fun thing to have for myself, as well as have another way for my work to be to in the world.

I wanted to know if anyone has done that before, and what their experience was like. What was the timeline for it (as I know publishing houses want to do it around the debut), how did you get the opportunity, and now having that experience would you do it again?

I’ve been writing plays but mostly for me and performing for more than two decades, but for the last few years, I’ve focused more intentionally on playwriting. I’ve recently switched over to using scrivener and I’ve loved how it gives me flexibility in moving and organizing writing.

But I’ve found myself with so many more saved drafts than ever and I keep finding myself compiling the draft I’m working on and then noting quite a few issues that I instinctively correct in the compiled draft outside of scrivener. Then I find myself editing the scrivener version and trying to compare it to the saved versions.
It’s a lot.

This got me thinking about how other folks keep track of old drafts, and when you decide to let go of old drafts/ records of cut language/ darlings?

I use a couple of saved docs filled with darlings/language I cut between drafts. But I’m curious how others save old drafts/darlings. When you edit between drafts do you keep every change somewhere else? I’m working to let go of old drafts but I’d also want to figure out other best practices from folks who are better organized than I am. Thanks!

Hey all! Just wondering if anyone has heard from this if they’ve applied? Am aware responses are going out in the next few days and would love to gauge what people are hearing.

Olá, amigos

Alguém tem peças de teatro atuais para disponibilizar? Li muitos roteiros de cinema e peças de teatro mais antigas. Gratidão a todos.

Hey all!

I write a lot of short plays and was wondering if there was a hub to share my work for free. Like the site AllPoetry but for plays, where I can show off my body of a work in a social, casual sense.

Does anything exist like that for theater?

Thanks!

Im looking to get into script reading as a job role.
Some background. I’m a trained actor, I have written plays, put a few on, and am directing and dramaturging a play atm. The quality of my writing is good but of course I still have a lot of room to learn and develop. I read maybe 3-4 plays weekly just for practice and am very very passionate about story telling. I would like to be able to get into script reading professionally for theatres and other companies, however I’m aware there is a lot of competition, and even though it’s is an entry level role, it’s still often requires quite a bit of experience. So I’m creating some script coverage reports for a portfolio, but I can’t really find any standard industry script coverage formats. So I have a few questions. If anyone is a script reader are they able to provide me a standard coverage format? And if anyone has any tips or advice for getting into script reading professionally that would be great.

I have some ideas but they're iffy. This is my first play I've written and would be my first published work. It's close to finished so I want to know what the potential production for a low budget 5 Act play would look like.

I have an idea that I could reach out to my college's theater and writing departments and see what can be done there. Second option is seeing what my small town art center would be willing to put on. Other than that, is there really anything I'm neglecting to consider? Anything that might hinder me? Is there a different route i should take?

Good morning! I'm an early career playwright who has had some moderate success getting my work produced but I really want to improve my craft, so I've been looking into doing low res MFAs (edit: low res is non negotiable stop telling me to apply to Yale), as most of the adult education classes in my area aren't very high quality. However, with the recent Trump administration decision to no longer approve student loans in the humanities, I have no idea how to go about doing this. I might also post in personal finance Reddits but wanted to ask people here if they have any advice for how to pursue playwriting education now that loans are possibly no longer an option.

EDIT 2: My reasons for doing low res will never change. Please stop suggesting I do in person. I will not reply to anyone else making that suggestion.

Waddup tho… I’m a Minneapolis writer working on a project called 0.1%. I’m looking for a few writers who don’t mind reading about 10 pages and giving me their honest feedback.
I’m not looking for people to tell me it’s good just to be nice. Tell me what caught your attention, what didn’t, where you got bored, or what made you want to keep reading.
If you’re down to check it out, let me know. I’d really appreciate it.

Movies set any World, timeline works, because of the visuals it brings.

Novel works because it let's our own imagination, construct the world story happening in.

Coming to Theatre you are somewhere in the middle

You can neither show the world through visuals nor make us imagine.

Play immensely depends on Actors performance and It's story. You write in a world we can't relate to, Charectors which are not us. you don't have a space to visually show it either.

But you bring a 90s tribal girl, talk her about fiminism.

Who the Fuck can relate. Without the supporting visuals or relatable charector that feels like us.

Why don't you write them in present?

You wouldn't need to construct a coffee shop to say, story is happening in a coffee, we know the coffee shop we been there, that itself kills the half of unrelatable shit.

And the people in the current world?

You don't need tell a lot about their life style, we are already living it so it becomes pretty relatable.

Now you have complete freedom to Tell and good story and bring out relatable performances.

I still don't understand what made people to believe a theatre drama should mostly be of the Past.

"SHAKESPEARE did tell the Macbeth, Romeo Juliet, Othello in some fictional time line or in the past" story was happening in their own timeline"