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Somehow - perhaps it's the arrival of Spring and all that it promises - one anticipates updates as to the fate of one's (mine of course) literary send-outs. More specifically and to put it in simply and succinctly ('that's a lot of sss's, Eleanor'), will any of my plays see a stage this year.

Throughout the year minor dialogue changes were made, a few lines were eliminated or added but for the most part they were sent on their way based on the strength of the story line and characters, to seek their fate. Waiting to receive news about one's plays is comparable, at least for me, to sending your children out to seek their fortune in the jungle of life (feeling very philosophical today) for their own good, if not for the caregiver's good. So they're all "out there" and the wait for any updates is all-consuming wondering and hypothesizing what's happening at the 'other end', so to speak.

"How many more plays are left to be read?" a literary manager might ask a theatre producer and play readers while assessing the amount of plays still waiting to be read  "Seems like there are thousands more waiting to be read."

"We have to narrow it down to just a few promising plays, already," the literary manager will/could/might declare, while checking her/his cell phone for phone messages. "Time is marching on and we have to choose some potential money-makers for the coming season."

"I've come across a promising production," one of the readers could suggest, "although the playwright doesn't have any track record. The play, though, is really a good read."

"Nothing produced, anywhere, in the whole wide world?" the producer would ask of the reader.

"Not according to her biography and CV but really - she's good and this play is and an entertaining read  - really funny!" the reader would affirm.

"Could be problematic if she hasn't got a recognizable name that could sell tickets, though," the literary manager and/or producer would put forward.

"But it's a really good play," the reader would insist. "Why not give her a chance?"

"Not bankable," the literary manager and/or producer would answer, somewhat sadly (one would hope). "File away for future considerations."

Pure speculation on my part but one has to do something waiting for "the word". Then again, depending on what the word is, perhaps ignorance is bliss.

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As an aspiring playwright, rejection is an all too familiar part of the submission process. There are periods when it all gets overwhelming and rather than face yet another run of "thanks-but-no-thanks" notifications, I stop sending out my literary jewels for a while. Then along comes a theatre company and more specifically, a literary manager that makes it all worth while.

Recently, I submitted my play, "Gin: An Allegory For Playing the Game of Life" to the 1111 Theatre in the hope that it would find a home at last. Unfortunately, it has returned home to its birth place, unproduced, but the rejection made me smile and mutter, "oh well - onward and upward" instead of "oh crap- again!" What's particularly refreshing is that the Literary Manager, Louise Hamill, comments indicate she read the entire play instead of sending out another "dear playwright" form letters. That in itself makes her a cut above the rest in my eyes and worth sharing with other aspiring playwrights:

"Thank you for submitting your play, GIN: AN ALLEGORY FOR PLAYING THE GAME OF LIFE, for consideration to our theater. I enjoyed reading the work- each character's traits were clear and constant, and I never had a problem keeping the characters straight in my head (not always the case, unfortunately). I was also pleased Becky opened her eyes a bit at the end- I really wasn't sure if you were going to resolve that situation!

We need to pass on the script at this time, unfortunately, as it is not quite right for our company. I do wish you the best of luck in placing it with another theater. Thank you again for your interest!"

Thank YOU for YOUR interest Louise Hamill. You made my day.

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