Professional Name
*
If you use a middle name or a middle initial, please include it in the "First Name" field.
First Name
Last Name
Where are you from? What is your background?
How long have you been writing?
Where did the idea for this story come from?
If you have multiple plays in the Anthology this year, please address both.
What question is the play trying to answer?
If you have multiple plays in the Anthology this year, please address both.
What is the real challenge of writing a ten-minute play?
What draws you to this form of storytelling?
Please answer at least one additional question for your specific play from the list below:
THE AUDIENCE - What was attractive to you about the interactive form?
AND SO IT CAME TO PASS IN THOSE DAYS - How did you know the story was finished in three pages? How did you know you had a beginning, middle and end?
RAJA / CRIMINALLY DUMB - You joined us in the first year with FAITH ON A TUESDAY, and this year you have two very different plays published in this anthology. What is the common thread that you think made BOTH of these plays capture the interest of The Collective?
THICK GNAT HANDS - What's your deal (or our deal) with hands? :) What is your fascination or interest in the connections in male relationships (considering the previously published play)?
MORNING BECOMES NEITHER - What do you imagine happens after the tea? And what was the process that helped you write this in such a way that it wasn't a "happy ending?" And can you expand on that ending?
I WOULD HAVE THAT NIGHT - What is it about the idea of 'the one that got away' that enticed you?
BREAKING PHILIP GLASS - Why the title "Breaking Philip Glass?" Considering the lyricism of the piece, are the title and that aspect connected and/or intentional?
NO REASON - Where did you find your inspirations for your characters and their voices?
DEAD MONKEY - Why the monkey?
SCHADENFREUDE - What is the worst display of humanity you've seen? Was that what led you down the path to write this play?
HUMAN LEAGUE - How was it different to play Janie than to write her?
ODD MAN OUT - Care to share any 'research' for this play?
If you have more than one play in the anthology, or would like to answer one of the other questions, please select from the list below:
THE AUDIENCE - What was attractive to you about the interactive form?
AND SO IT CAME TO PASS IN THOSE DAYS - How did you know the story was finished in three pages? How did you know you had a beginning, middle and end?
RAJA / CRIMINALLY DUMB - You joined us in the first year with FAITH ON A TUESDAY, and this year you have two very different plays published in this anthology. What is the common thread that you think made BOTH of these plays capture the interest of The Collective?
THICK GNAT HANDS - What's your deal (or our deal) with hands? :) What is your fascination or interest in the connections in male relationships (considering the previously published play)?
MORNING BECOMES NEITHER - What do you imagine happens after the tea? And what was the process that helped you write this in such a way that it wasn't a "happy ending?" And can you expand on that ending?
I WOULD HAVE THAT NIGHT - What is it about the idea of 'the one that got away' that enticed you?
BREAKING PHILIP GLASS - Why the title "Breaking Philip Glass?" Considering the lyricism of the piece, are the title and that aspect connected and/or intentional?
NO REASON - Where did you find your inspirations for your characters and their voices?
DEAD MONKEY - Why the monkey?
SCHADENFREUDE - What is the worst display of humanity you've seen? Was that what led you down the path to write this play?
HUMAN LEAGUE - How was it different to play Janie than to write her?
ODD MAN OUT - Care to share any 'research' for this play?
Who or what are your artistic influences?
Is there another play in this anthology that really stands out to you? Which one and why?
What would you say is the "theme" of this year's anthology? Why?
What projects next excite you?
Thank you!REMINDER: please submit your signed publishing contract and a clean copy of your production script . We would like the published version of your play to reflect the version used in production. Preferred format is a Word document or other editable text format.EMAIL signed contracts and final scripts for publishing to info@thecollective-ny.org by November 1st . If you prefer to mail your signed contract, send it to The Collective NY, 50 East 129th Street, Apt. 2B, New York, NY 10035.
If you have any questions, please contact Robert (robertzgrant@gmail.com) or The Collective account (info@thecollective-ny.org).
