The Business

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Order '. . . playwrights inherit a lineage, a family lineage, of great playwrights. We don't suddenly pop into the world as if we had no antecedents. . . . What one learns are not specific adages. Rather one learns to explore one's own mind, those corners of it which were previously illuminated by those great playwrights.'

-- Jean-Claude van Itallie

 

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 Many pages in the Business Unit have been revised for the new paperback and e-book editions, Playwriting Seminars 2.0, and may not be available on the Web site.

Primary Areas of The Business Unit

 


Playwriting is an art and a craft while you're doing it, but once you've put a cover on that draft, it becomes a business. That's a tough concept for artists to accept, but it's the way it is. When you've attracted real notice with productions an agent may take care of some of the busywork, but until then, there's no one but you to do it. None of this is hard, it’s simply tedious, and the best time to work on it is after you’ve done that serious writing for the day.

   This grunt work of playwriting provides a marvelous excuse not to write. It may even feel like a relief not to start that next play. One way to solve this problem is to give yourself a reward for having put the binders on by taking a “vacation” from playwriting. But instead of going to the beach, spend the time writing a synopsis, updating your bio, preparing script packages and making trips to the Post Office. But keep writing in your journal during this vacation and don’t let the break go on for more than a week. At that point, the heavy lifting should be done and what’s left can be squeezed in after you’ve done that real writing for the day.
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