NEW CLASSES COMING THIS NOVEMBER!
SUMMER 2017 Playwriting Courses!
START YOUR ENGINES! Write a play! Here’s your chance to work with award-winning playwright and teacher Callie Kimball. Prior students have had their work produced at PortFringe and at the Maine Playwrights Festival, among other places.
A play can entertain, puzzle, frustrate, provoke, or confirm or challenge a worldview. Whether you're a first-time playwright, or an experienced playwright looking to revise an existing play, this workshop will help you explore and create bold, imaginative work. You will strengthen the skills to build the engine of your play while nurturing the igniting spark.
These courses were created with the idea that it’s easier to do a sustained writing push for 3 weeks, so choose a series to fit your schedule, or do both for a total of six weeks. Students should expect to complete either a 30-page one-act play in three weeks, or make significant progress on a longer play.
Because the class is online and via phone or video chat, you can take this class from anywhere in the world. Suitable for beginners and experienced playwrights alike. Space is limited. First-come, first-served.
- Week 1: May 16-18
- Week 2: May 23-25
- Week 3: May 30-June 1
No class offered the week of June 8.
- Week 1: June 13-15
- Week 2: June 20-22
- Week 3: June 27-29
COST: $135 per 3-week session, or both sessions for $250.
Once you pay, please also send me an email at firstname.lastname@example.org so we can schedule your regular meeting time and start talking about your goals for the sessions. Not sure what you want to write? I can send you some writing prompts to get your ideas going!
Want me to read an entire full-length play before we start? Send that play on over and I'll send you a PayPal link for $35.
Custom packages are also available. Do you have a one-person show you’re developing and need a supportive, trusted outside eye? Do you want to write an adaptation but don’t know where to start? Do you want to talk about the business? Need career advice on submitting to festivals or contests? Let’s talk! Email me at email@example.com.
Students sign up for the same time each week, and email 10 new pages the day before. One-on-one sessions are then done on the phone or through video chat, during which constructive, practical feedback is offered, as well as discussion around topics ranging from image and spectacle, form and structure, space, language, rhythm, and the importance of questions. I may also recommend plays to read or see to support your development as a writer.
ABOUT THE INSTRUCTOR
Callie Kimball earned her MFA under Tina Howe at Hunter College, where she won the Rita & Burton Goldberg Playwriting Award two years in a row. Her plays have been produced and developed in New York, Chicago, LA, and DC, at the Kennedy Center, Portland Stage Company, Lark Play Development Center, Halcyon Theatre, Florida Studio Theatre, Stoneham Theatre, Echo Theatre, The Brick Theater, Project Y Theatre, Team Awesome Robot, Washington Shakespeare Company, Everyman Repertory Theatre, Absolute Theatre, Mad Horse Theatre, The Drama League, and many colleges and festivals across the country.
She's an Affiliate Writer at the Playwrights' Center, and a former MacDowell Fellow. She won a Ludwig Vogelstein grant to research her play "Sofonisba," which won the Clauder Gold Prize, was a finalist for the O'Neill, a semifinalist for the Princess Grace Award, and was included on The Kilroys' 2016 List. The play has had readings at the National Museum of Women in the Arts and at the Farnsworth Museum.
Her first teaching job was teaching Shakespeare in a juvenile detention facility, and she has taught playwriting to over 1,000 students through various nonprofit arts organizations and colleges. Academic articles about her plays have appeared in Borrowers and Lenders: The Journal of Shakespeare and Appropriation, and in Comedia Performance: A Journal of the Association for Hispanic Classical Theater (forthcoming).
Her themes range from historical dramas and classical adaptations to socio-political comedies and futuristic dystopias. Many of her plays explore emotional violence and parasitic relationships, with characters who live at the intersection of language and power, and struggle to break free from the constraints of class, race, gender, and systemic abuse.
Some have described her plays as feminist, which is lovely, but really she just writes plays where the main characters have jobs and goals and happen to be women.