Writers want to write.

While this might seem trite and obvious,
it's not generally the focus of a writers group for stage. Usually, the bulk of energy goes into the details of getting produced. Then and only then we can worry about getting published.

We want to write and we want to see our work produced. While we appreciate the camaraderie, feedback and commiseration of the other wonderful writers groups we belong to, we want to write for stage, so writing is only about 10% of the total nightmare.

The typical stage play requires about 20 people and their expertise to get from idea to stage. There are actors and their interpretations. There are directors and their expertise and peccadilloes. There are designers and technicians and ... and.... and .... all of which can turn our genius into a pile of smoldering rubble with a wave of their individual wand. Then there is the nightmare of finding a theatre willing to produce us before most publishers will grant a script even a fleeting glance.

But we want to write. Not worry about these myriad pitfalls. Sure, we probably know most of them to some extent, but when we are writing, should we really have to be balancing the question of whether there is a 4 foot tall Asian-looking actress with a good Italian accent in town this year at one of our close friends' theatre? In short, should the script be dictated solely by convenient resources unique to an individual writer's network? And should that be the focus of our energies?

No, we want to write.

Wouldn't it be great ...

... if one could just write and let someone else take care of the dramaturgy, practicality and heavy lifting drudgery of getting a bunch of actors together to read the script, get feedback from designers and even schmoozing producers so that the playwright doesn't get all bogged down in those details while the words are flowing and the piece is just finally starting to come together?

Heck! If we could find someone to do that for our works, We'd be willing to do nearly anything for them!

Including those very same ugly details
on their behalf while their juices are flowing.

So that's exactly what we do.

Each new project we undertake individually,
we undertake collectively.

Talents

Since so many talents are needed to get a piece fully functional, writers that also direct, writers that also act, writers that also produce, design or promote are a better fit for a flexible team atmosphere and allow us to stay within our ranks to answer basic production questions. Sometimes these "other talents" are more abstract like program management, psychology, law or medicine, but frankly, those are pretty amazing skills to call upon for 9 out of 10 scripts.

Teamwork.

While it would be chaos to have a dozen different artists fighting over every line of a script, ("too many cooks" pops to mind), all of us likes to have at least one good writing buddy to bounce ideas off. They usually know where we are trying to go with the piece, keep us on track, and guard us from obvious stupid things that they know us well enough to be on the look out for. Now if this buddy would just do all the logistics and heavy lifting above, that would be great.

Sherpa

We call that buddy a Sherpa. The Sherpa signs on to safeguard the idea and manage writing milestones, coordinate inner discussions, table readings (within the group) and organize Staged Readings, Workshops and promotions. A Sherpa is a guide, a trusted point man for a work, familiar with the terrain and the writer, pulling resources on its behalf.

Third Eye

Invariably, some time after the initial buddy phase, we want an additional view with fresh perspectives. We have formalized that role as a Third Eye. The Third Eye provides a balance to the complete practicality of the Sherpa and the possible tunnel vision and idealism of the writer.

Table Readings

When both the Sherpa and the Third eye conclude it is time and the work is maturing, we take the piece to the collective group for a table reading and discussion. Sometimes external actors, directors and producers are invited to these informal events and they are invited to be active critics and creative contributors.

Rewrites

Of course, any open reading invariably sends any writer worth his salt into a frenzy of self deprecation and feverish rewrites. The Sherpa and Third Eye come along for the ride, offering as much feedback as the writer can stand... er... wants. Depending on the team's progress, the Sherpa and Third Eye announce the to group the work's readiness for further Table Readings or eventually a Staged Reading.

Staged Readings

A director and cast of actors usually external to the group is invited to put the piece through its initial paces in front of an audience. Two or three rehearsals and perhaps some simple blocking and crucial props or costumes are all the preparation afforded, but they generally provide enormous insight. These events are also opened to discussion afterwards. Audience members, often avid writers and the like, as well as director and cast are engaged in creative and critical discourse, moderated by a group member, often the Sherpa.

Rewrites

It's almost silly to formalize the numerous Rewrite phases, but we consider them milestones and gauge progress by them.

Workshop Productions

When as many people have had their say to the extent that a full production is about the only level of exposure the writer can imagine to wring out more flaws and expose more holes, there comes the huge undertaking of "Almost Production." Roughly two weeks of rehearsal with critical production elements of basic lighting and sound and representative costuming, props and easily borrowed set pieces are assembled for a limited run of two or three performances. Possible production companies and publishing entities are invited. Again, all in attendance are brought in to the collaboration in post performance discussions.

Rewrites
Yes, Rewrites.

Promotional
By this point, the individual work has benefited from dozens if not hundreds of eyes, ideas and talents. If a piece has been stepped through this gamut of people skilled the craft, it will possess the most pertinent trait a modern script must have.

It will be producible.

Any company looking at the script will be confident that the months of lengthy rewrites that usually accompany new works will be minimized.

And that is what we want.
Producible works.

We want to write
and we want to see our works produced.

And Write Around Here
is how we do that.