Literary Management

In this installment, Michael Lueger interviews Dramaturg Ken Cerniglia about his journey and work with Disney Theatrical Group. 

Hank Greene makes a case for the need for more contemporary theatrical comedies.

Producer Teresa Fisher details the season selection process for New Plays for Young Audiences at Provincetown Playhouse.

Early Career Dramaturg Amanda Boyle reflects on the lessons she learned at the 2015 Literary Managers and Dramaturgs of the Americas (LMDA) conference in New York City.

Lia Romeo explains the advantages of being a playwright working in literary management, and how her job has improved her writing and other important skills.

As someone who lives and works with fifteen other young professionals, I know that brilliant conversations are being had on both sides of the generational line—but the fact remains that there is a very definite line. It’s one that I notice beyond conference sessions.

Karla Jennings provides insight into the benefits of blind submissions in playwriting.

Kristin Leahy offers an overview of the work Rachel Chavkin has been creating with the TEAM.

Lisa Leaverton reflects on facilitating a Twitter conversation on the effects of script formatting within the theatre industry.

Fall is back, and that means it's time to mull over how to keep new and undiscovered stories up front.

Andy Donald talks about Tuesdays@9, Naked Angels' iniative to welcome playwrights to a truly open submissions policy, where they can have a shot at getting their work produced.

Otis Ramsey-Zoe continues our series of responses to the American Voices New Play Institute's 21st Century Literary Office Convening with this manifesto of what we as a theater community need to do to create the literary office of the future.

Amrita Ramanan describes her literary office of the future—a place with no walls, no seperations, and no more viewing dramaturgy as an isolated practice.