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:
A WEEKEND CONFERENCE - How are your three characters the same? And how are they different from one another?
STICK - Your play has an other-worldly quality? What do you think puts it in that realm? Is this where the humor comes from, considering that you didn't think you wrote a 'comedy?'
THANK YOU FOR LETTING ME HAVE SEX WITH YOU - What is the one thing your characters need to say to one another but don't? Would each of them survive that truth?
THE LONGEST RIVER IN THE WORLD - What was the biggest challenge you found writing a 'dramatized' version of personal events and this mother-son relationship?
VETS - What did you discover about the story once you saw it in performance that you didn't know when you set out?
IN WAKE OF YESTERDAY / TOMORROW MOURNING - If we only experienced one of these plays without the other, how do you think the perception of the story or its characters would change? And, put another way, what detail about each play makes the other richer?
SAVAGE INK - What does each character's involvement in this very intimate art form reveal about them? Is a tattoo more real when it is new, or after it has aged?
SHUT INS - Who is more trapped? What was new in this moment that allowed the daughter to leave the room?
ZERO EFS / CHECK OUT - Is everyone (or anyone, for that matter) equipped to live a 'zero efs' existence? And what puts people into that zone? What is the shared idea between the two plays? Loneliness? Things aren't always as they appear?
LUCUS & MOLLY - What is it about conversations that happen in cars?
WHACK JOB - The last play of yours that The Collective produced was CRIMINALLY DUMB. Did we catch you in the middle of your criminal phase? What is it about these lawbreakers that is intriguing? That they're more like us than not?
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:
A WEEKEND CONFERENCE - How are your three characters the same? And how are they different from one another?
STICK - Your play has an other-worldly quality? What do you think puts it in that realm? Is this where the humor comes from, considering that you didn't think you wrote a 'comedy?'
THANK YOU FOR LETTING ME HAVE SEX WITH YOU - What is the one thing your characters need to say to one another but don't? Would each of them survive that truth?
THE LONGEST RIVER IN THE WORLD - What was the biggest challenge you found writing a 'dramatized' version of personal events and this mother-son relationship?
VETS - What did you discover about the story once you saw it in performance that you didn't know when you set out?
IN WAKE OF YESTERDAY / TOMORROW MOURNING - If we only experienced one of these plays without the other, how do you think the perception of the story or its characters would change? And, put another way, what detail about each play makes the other richer?
SAVAGE INK - What does each character's involvement in this very intimate art form reveal about them? Is a tattoo more real when it is new, or after it has aged?
SHUT INS - Who is more trapped? What was new in this moment that allowed the daughter to leave the room?
ZERO EFS / CHECK OUT - Is everyone (or anyone, for that matter) equipped to live a 'zero efs' existence? And what puts people into that zone? What is the shared idea between the two plays? Loneliness? Things aren't always as they appear?
LUCUS & MOLLY - What is it about conversations that happen in cars?
WHACK JOB - The last play of yours that The Collective produced was CRIMINALLY DUMB. Did we catch you in the middle of your criminal phase? What is it about these lawbreakers that is intriguing? That they're more like us than not?
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: If you have not already done so, 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).