10 STEPS TO SURVIVING A BAD REVIEW

  Whether it comes in the form of feedback from a reader, a blog post, or formal newspaper review, harsh words sting. Devastate. Create self-doubt. No less than Teresa Rebeck has talked about how difficult it was for her to recover from a bad review. But in a subjective, collaborative, artistic world, they are going […]

My 2016 Year in Review

  In my continual quest to prove that submitting does work, I again offer up total transparency in my year’s submission and results. As with 2014’s Recap: You Can’t Argue With Numbers and 2015’s Review in Numbers, the goal is always to show that submitting yields results. More than that, consistency yields momentum, which is […]

RED FLAGS! Or here we go again: beware this submission call

      ANOTHER UPDATE: As of 1/17/17, Outvisible has amended its most egregious paragraph, but still bars playwrights from doing more than observing in reading rehearsal, can’t fund the playwright’s attendance and rehearsal, and isn’t offering Skype, and still insists on world premiere language in future publications. I believe the company is trying to […]

Theater doing important work: the Grief Dialogues

    Elizabeth Coplan has collected and compiled short grief plays, and the interest in them has gone beyond her wildest imaginings.   Please follow me on Twitter @donnahoke or like me on Facebook at Donna Hoke, Playwright. Playwrights, remember to explore the Real Inspiration For Playwrights Project, a 52-post series of wonderful advice from Literary […]

PLAYWRIGHTS AND THE STATE OF PERPETUAL HOPE

  If you clicked on this title, you know what I’m talking about. It’s the thing that makes us obsessively check our email because, at any moment, an acceptance could arrive—and what if we don’t see it immediately? The thing that makes us cough up fees—maybe even against our better judgment—because that opportunity could lead to […]

DIY PLAY FESTIVALS: LOOK BEFORE YOU LEAP!!

  Imagine seeing this in the guidelines of a playwrights’ opportunity:   *If your play is selected, you are responsible for a $100 participation fee. You are also responsible for finding a director, casting the show, supplying sets, figuring out tech and lighting, running rehearsals, and, in all truth, filling seats. Just so you know, […]

TEN REASONS YOU SHOULD BE WRITING TEN-MINUTE PLAYS

  Every so often, on Official Playwrights of Facebook, a debate erupts about the merits of the ten-minute play. Naysayers contend that there’s no such thing as a ten-minute “play”; it’s an exercise, it’s not real writing, it’s a sketch, and so on. Proponents counter that a good (and they do acknowledge that, as with […]

How my play, SAFE, got a “safe” first production that guaranteed its future success

Safe had been a long time coming. I first wrote it in 2012, put it through the Emanuel Fried New Play Workshop, where it had peer review and a staged reading, got some private dramaturgy for it, and started sending it out. I was fortunate that it was a semi-finalist for nuVoices at Actors Theatre […]

SLIPPERY SLOPE: NO ROYALTIES FOR FULL-LENGTH PLAYS #playwrightrespect

      I fear the writing on the wall.   Before I was ever a playwright, I was a freelance writer. It’s a flexible career that has allowed me to live where I want, raise kids while I work from home—and one I never thought would be outmoded. I write primarily for smaller publications, […]

TRADE A PLAY TUESDAY (#TAPT) TURNS TWO! (Read and share these awesome birthday testimonials!)

  (If you don’t know what TRADE A PLAY TUESDAY is, please click here to read the guidelines and learn how to participate.)   This week, TRADE A PLAY TUESDAY (TAPT) celebrates its two-year anniversary. Except for a handful of Tuesdays, it has run every single week, and, every single week without fail, playwrights have shown up to trade […]