If you’re writing and submitting a play for a festival, contest, production or anything else that involves play submission — chances are you’ve gotta fill out a form from submittable. Many organizations use it. You give you name, address, gender, (maybe preferred pronouns, racial category and a few other “deets.” Finally, you enter the crucial stuff: bio, resume, play synopsis and perhaps a few “genuine” thoughts about yourself.

If you’re submitting plays left and right, you become all-too-familiar with the process. I’ve often wondered if this is any better than William Shakespeare’s (the good ole “days of yore”) time at the Globe Theatre. From my itty-bitty research it seems William relied on his poetry as his money source, rather the paltry amount he received as a Playwright. Good for him! Funny how that’s still very much a reality. I think “don’t quit your day job” was BORN from one Playwright speaking to ANOTHER Playwright.

Like all the Arts, the business of playwriting works just the same. Sometimes, it’s who you know, or who knows you and the roads to fame and fortune are littered with the likes of one-hit wonders, or actors who never get a second chance, or painters who lack a “benefactor” with deep pockets. Ask Jackson Pollock. If you accept all the above as your “working premise” then you’re in the right lane.

For the last few months I’ve worked on finishing a new play, and rewriting several older ones. This has been enormously rewarding since you have to love what you writing — and I definitely LOVE what I’ve written. When I can still laugh my ass off, I know I’m in good territory. If you don’t feel that way about what you’ve written, maybe you shouldn’t be writing. Whatever you do, just don’t be expecting Peggy Guggenheim to come strolling around the corner.