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It all began with writing my first ten-minute play. As you’ll discover in my bio, I more or less fell into playwriting. This book is also written for actors who have never written a play. The form and demands are very specific, and even success as a playwright of full-length plays doesn’t necessarily mean you can successfully write ten-minute plays. Writing a ten-minute play is more than just condensing a story. This book can be a valuable add-on to the knowledge you already have about writing plays. I’ve written this book for playwrights (of all levels) who want to learn how to master the art of writing a ten-minute play. I’d also like to thank John Cerullo, Marybeth Keating, and all the folks at Limelight Editions for your help in the writing of this book.īefore We Get Started Who This Book Was Written For Thank you to all the playwrights, publishers, and producers who gave up their time and allowed me to interview them for this book. I’d like to personally thank Francine Tory for her tremendous help in putting this book together. To all the theater companies that produced my ten-minute plays in their ten-minute play festivals, thank you.
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To all the actors that have performed in my ten-minute plays all over the world, and the directors who directed them, thank you. Sickles, Artistic Director, WorkShop Theater Company, New York Cityĭirk Knef, Literary Advisor, After Folsom Festival (Berlin, Germany) and others Should You Be an Actor in the First Readings of Your Ten-Minute Play?Īctors: Should You Be in the First Production of Your Play?Ĭhapter 10: Interviews with Playwrights of Ten-Minute PlaysĬhapter 11: Interviews with Producers of Ten-Minute PlaysĬhapter 12: Interviews with Publishers of Ten-Minute PlaysĬhapter 13: Three Successful Ten-Minute PlaysĬhapter 14: Where to Submit Your Ten-Minute PlayĬhapter 15: Observations about the Ten-Minute Play Selecting the Right Person to Read Your First Draft Realizing and Developing the Story of the PlayĪt What Point Should You Have Someone Else Read What You’ve Written? The Best Way to Tell Your Story: The Play’s Structure
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Starting a Play with an Idea, a Theme, or an Image Techniques for Dealing with Writer’s BlockĪfter You’ve Completed the Freewriting SessionĬlustering (or Webbing): Finding the Initial Core of Your WorkĬomparing Processes for Actors and PlaywrightsĬhapter 6: Beginning Your Ten-Minute Play Working Internally as an Actor and as a Writer Ten Ways to Get the Most out of This BookĬhapter 3: Before Beginning Your Ten-Minute PlayĪs an Actor, Do I Have the Skills Necessary to Create My Own Material? To the actors who have asked me over the years, How do you become a playwright? Contents 450 Seventh Avenue, Suite 809, New York, NY, 10036, of Congress Cataloging-in-Publication Data is available upon request. For production rights, contact Playscripts, Inc. For production rights, contact the playwright’s representative, Jack Tantleff, Paradigm, 360 Park Avenue South, 16th Floor, New York, NY, 10010, Pain in the Poetry, by Glenn Alterman. For permission to produce this play, contact Dramatists Play Service, 440 Park Avenue South, New York, NY 10016, 21. On the Edge was produced by the Vital Theater Company (Stephen Sunderlin, artistic director) in New York City as part of Vital Signs VIII on October 30, 2003. Grateful Acknowledgment is made to the following for permission to reprint these plays. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. The final chapter offers tips and suggestions from artistic directors of ten-minute play festivals and from well-known playwrights whose ten-minute plays have received awards and publishing deals. Included as well are several award-winning ten-minute plays, followed by a discussion by the respective playwrights on how they went about creating their play, from start to finish. The guide contains many in-depth interviews with international playwrights who have had substantial success with their ten-minute plays, as well as publishers of ten-minute plays and producers of ten-minute play festivals. Writing the 10-Minute Play also reveals the best ways to market your play and includes an extensive listing of ten-minute play contests. Every aspect of writing a ten-minute play is covered, from perking with an idea, to starting the play, to developing it, to effective rewriting, to completing it, even to how to get the most out of readings of your play once you've finished it. This book is written for the beginning or seasoned playwright, as well as for actors (or anyone) wishing to attempt their first ten-minute play.