Putting it All on the Line

Written by TMS Director of Creative Development & Mentor, Eric Webb

I got asked last night, and get asked often, “When is the right time to start submitting my work?”

And, as is true with nearly everything in our industry, the answer is largely dependent on context: who are you submitting to? Where are you in your process? What’s at risk? And on and on… however, I think I’ve narrowed it down to a three item checklist that can give you a strong barometer for whether it’s time to start throwing yourself on the mercy of the submission panel:

First - you understand what the play is actually about.

And this isn’t about your plot. This isn’t about character conflict or any of that. It’s knowing the answer to the question “what is this play trying to say?” What is it wrestling with? This is why I often urge people to include the question “what is this play about?” in any feedback opportunities writers have. The answer should be the north star that guides the development of the piece and will touch everything from plot choices to marketing campaigns and production options. If you and your audience are not on the same page regarding what the show is about, you’re doomed before you begin. So know your answer before putting it out there for consideration.

Second - you’ve field tested it with actors.

Plays exist to be performed, and thus require performers - anything less is just a bunch of theoretical words on a page. So get your words into the voices and bodies of actors before sending it out into the world (and make sure you revise based on what you learn as well). Where do the actors stumble? Where do things flow seamlessly? What do the actors feel they are getting too much of or not enough of in order to do their jobs? Oh, and when you go back to the page with your actor feedback, resist the urge to fix things with stage directions. All the adverbs in the world won’t help a script that lacks subtext and the proper emotional underpinning to drive the performance you desire from an actor. Give them actionable language rather than trying to direct from the page.

Third - you’re at the point in revisions where you can tell the difference between fixing and avoiding.

So many people put themselves into a death spiral of revision that is motivated less by any dramaturgical necessity and more by a desire to hide from criticism and rejection. It’s easy to lean on the response of “oh, I’m still plugging away…” whenever the topic of your project comes up. “Fixing” a few things satisfies your dopamine desires and gives you the illusion of forward progress, when what you often really need is to jump into the pool of communal artistry. Theater is, by definition, a communal artistic act. If you just keep it to yourself, you’re not making theater.

And that’s the biggest thing to remember when trying to ascertain whether you are “ready:” nobody is looking for perfection. They are looking for something exciting, that has something to say, and that is ready for others to jump in and bring their expertise to the party. Your work is going to continue to evolve, mature, and become refined through its contact with other artists. The more you keep it yourself, the more precious it becomes and the harder it is to let others in.

So ask yourself: is my work tested enough to stand up to scrutiny, but pliable enough to invite others in?

If so, it’s time to rock n’ roll.