SCRIPT FEEDBACK & CAREER COACHING SERVICES
Donna Hoke offers page-by-page script analysis and career coaching for a reasonable fee. If interested, please inquire at donna@donnahoke.com.

HOW TO SUBMIT SO YOUR PLAYS GET PRODUCED

  I make a lot of submissions. More than a few hundred a year, as anybody who knows me can attest. And submitting that much–no surprise–yields results in the form of readings, workshops, and productions, as I’ll recap at the end of next month. But before I do that, i.e. before I subject myself to […]

RIPP #48: ABIGAIL ROSE SOLOMON, FOUNDER, ROSALIND PRODUCTIONS

    As promised, another installment of RIPP. And, as always, if you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here (the original idea) and here (the evolution of that idea) to get some context before reading.   FROM ABIGAIL ROSE SOLOMON, FOUNDER, ROSALIND PRODUCTIONS   “I’m sort of a one-woman show; I […]

RIPP #47: KYLE BASS, RESIDENT DRAMATURG, SYRACUSE STAGE AND AN IMPORTANT MESSAGE ABOUT THE FUTURE OF RIPP

  Well… it’s been a long time since I’ve written a RIPP post. (If you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here (the original idea) and here (the evolution of that idea) to get some context before reading.)   Part of the reason it’s been so long is that I’ve been super […]

RIPP #46: IN SUPPORT OF WOMEN’S WORK

   From DEE JAE COX, CO-FOUNDER/PRESIDENT/ARTISTIC DIRECTOR, LOS ANGELES WOMEN’S THEATRE PROJECT   ( If you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here (the original idea) and here (the evolution of that idea) to get some context before reading.)   “I’m sure you know the statistics, only 20 percent of plays that do […]

MUSINGS ON MOMENTUM

    “I used to be really into (fill in the blank).” That’s something I can say about a lot of things in my life—photography, running as a preferred form of exercise, making my own greeting cards, film seminars, a certain lecture series, chicken wings.  You probably have a similar list. And if we examine […]

RIPP #45: DEEN KEEGAN, ARTISTIC DIRECTOR. SOCIETY HILL PLAYHOUSE

    If you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here (the original idea) and here (the evolution of that idea) to get some context before reading.   From DEEN KEEGAN, ARTISTIC DIRECTOR. SOCIETY HILL PLAYHOUSE   “Over the past several years, the new plays we’ve done have each come in […]

DURING REJECTION SEASON, A REMINDER ABOUT PERSPECTIVE

    If fall is submission season, then spring inevitably becomes rejection season, as conferences and festivals fill their slots, and theaters choose their upcoming lineups.  It can be a discouraging time, as any playwright who plays the submission game knows, and the hardest thing about it can be remaining positive about the merits of […]

RIPP #44: PATRICK DOOLEY, FOUNDING ARTISTIC DIRECTOR, SHOTGUN PLAYERS

    If you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here to get some context before reading.   From PATRICK DOOLEY, FOUNDING ARTISTIC DIRECTOR, SHOTGUN PLAYERS   “What playwrights and directors need to do is find each other. Directors come to me and say ‘I want to direct for you,’ […]

RIPP #43: JUNE BALLINGER, EXECUTIVE ARTISTIC DIRECTOR, PASSAGE THEATRE COMPANY

  If you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here to get some context before reading.   From JUNE BALLINGER, EXECUTIVE ARTISTIC DIRECTOR, PASSAGE THEATRE COMPANY   “We actually just changed our submission process [Passage no longer accepts unsolicited submissions] as we get so many submissions, we simply do not […]

RIPP #42: MARISSA WOLF, ARTISTIC DIRECTOR CROWDED FIRE

  If you don’t know what RIPP: Real Inspiration for Playwrights Project is about, please click here to get some context before reading.   From MARISSA WOLF, ARTISTIC DIRECTOR, CROWDED FIRE   “We recently produced the West Coast Premiere of The Bereaved by Thomas Bradshaw. The first time I read a Thomas Bradshaw play in 2009, I tore […]