Scripts are never fully complete when they are delivered. They evolve during the rehearsal process and the best versions of them are the ones that stage managers can annotate, cut and renumber without the whole document collapsing.
We are aware of how busy directors are, so we have prepared numbered scenes and clean speech headings, along with notes to indicate that something has been cut rather than simply removing it. That way, the line that was deleted can easily be found in ten seconds by the director who wishes to have it back for rehearsal on a Thursday during tech week.
Many theater projects are often built around something other than a typical story. Maybe it’s a structure, or a community archive, or a specific anniversary, or even a particular piece of music. Whatever the case may be, it is the writer’s task to uncover the story’s dramatic question, and determine the way in which the audience will physically engage with the story. Will they watch from a distance? Will they follow along? Or will they be addressed and included?
To summarize: a model adapts a novel. Every point in the plot is sacrificed with a single citation. No loss is left to the discretion of the model, no scene is allowed to retain its thirty-minute spot under the spotlight. The task of adaptation is a series of sacrifices, and averaging refuses to participate in this sacrifice.
Before drafting, adaptations treat the source material, and then we discuss what is to be kept, removed, and added in writing. For devised work, the company material is brought to the writer who shapes it. Either way, you get scenes that are recorded in order of presentation, and a record of changes made to each draft. This record makes it easy to copy week two’s notes to week three.
The script has to be delivered in a form that replicates how it is read by a stage manager. This includes consistently spelled character names to avoid confusion. No scene should contain an actor in two places simultaneously and should have props and costs changes time in the script. Nothing is easier to lose than cuts marked on the script, which is the reason why the cuts are moved to a separate script. The opening night script is a version of the script used in rehearsals.
One rate, whatever the format: $10 per 100 words. You are paying for the writer’s time and judgement, so the price scales with the words rather than with a package tier.
| Typical theatre script | Words | Writing | Fee (1%) | You pay |
|---|---|---|---|---|
| Short performance piece | 1,200 | $120 | $1.20 | $121.20 |
| One-act script | 7,000 | $700 | $7 | $707 |
| Full-length production script | 18,000 | $1,800 | $18 | $1,818 |
The writer receives 100% of the writing price. Our 1% fee is added on top of it, and 0.5% is donated to tree planting. Full pricing breakdown.
Anything from 100 words up. Because you pay by the word you are never buying padding to fill a package tier.
Yes. Tell us the volume and cadence and we keep the same writer on the account so the voice stays consistent. The rate does not change with volume.
Only if the work is in the public domain or if you have been granted permission by the rights holder. Send what you have and we will take a look with you. This is not intended to provide any legal advice for you, so please confirm with a rights professional the legal standing of your potential announcement.
Attendance is not part of service for us, but we do revisions. We ask you to jot down your in-class notes in your revision window, and we will do the work with the notes you provided. Most companies have found that one round of revisions following the initial read-through, and one after a read-aloud is sufficient.
Completely. Copyright transfers to you on delivery, with no attribution requirement and no licence back to us. Nothing written for you is resold, repurposed or republished.
Reviews from completed, paid orders in this category.
I couldn’t write it myself and had to ask for help two days before. It came the next morning looking plain and quiet with none of the words I was dreading. My aunt asked who wrote it and I said.
I described my vision of a happy ending. Now, I have their version in return which is quieter and more sad. They included an explanation, a reasoning behind their choice, and a way for me to have it my way by writing a different (happy ending) version if I prefer. I kept their original.
I asked for some advice with a plot that I have been tweaking for years. The suggestion was to fix the mess in the middle and to just leave the ending the way it is. I guess they were right and I wouldn’t have arrived at that conclusion on my own.
We do not ask you to take the no-AI promise on trust. Each draft is run through these platforms and the reports are attached to your delivery email.
Originality.aiAI detection + plagiarism
GPTZeroAI detection
TurnitinAI detection + similarity
CopyleaksAI detection + plagiarism
Winston AIAI detection
ZeroGPTAI detection
SaplingAI detection
Content at ScaleAI detection
Send the brief, get a human draft back within 3 days. No account, no subscription, no AI.
$10 per 100 words · all of it to the writer · 0.5% to trees