Ok... So what is this foundry going to forge?

Well, the short answer is drama. Being one of the suckers (desperate undergraduate liberal arts graduates) who bought into the oversell marketing campaign of DeVry University, I actually did learn something from those technical snake oil salesmen. I learned about system analysis and design. I can visualize ERD diagrams for a manufacturing or data retrieval process. I know, sounds fascinating... However, I can translate this into a diagram for the manufacturing process of a dramatic work of art. I know I might be making the creative flare in your eyes start to extinguish while your eyes glaze over with the mere mention of such a methodical approach to trying to create works of art - bear with me.

The raw material input: a first or second draft script or scene synopsis. If we end up using Viola Spoilen improve techniques it may be rawer than this. The final output: a performance/screening/broadcast of the piece with audience feedback. No, I am not forgetting all the entities (objects/processes) in between needed to go from input to output. This would include a writers' group, group critiques, table reads, rehearsals, by-weekly improvisational writing performances. The final product of the organization's efforts on an individual writer's work could be an individual performance or a yearly (bi-yearly) festival. Think of the process as an assembly line. Henry Ford would be proud, right?

The most important aspect to this process is integrity. The solicitation of work and the choice of what works get workshopped need to remain as unadulterated as possible. The way I think we will keep organization integrity is by having anonymous submissions. When you mail, email, fax a work to be considered for the foundry process, your name will be removed from the piece and an I.D. number will be assigned to the work and the writer that match up. If the piece is chosen, the assigned number for the piece will be posted on our Web site and the writer can identify themselves with their matching number. If the piece is not chosen, then you can call and request all the critique forms that were filled out by the readers of your work so as to get feedback on your work.

This will keep work from being chosen based off of who submits it and also from me getting calls from people saying, "HAAA! - HAAA! My uncle gave you money to fund your organization and if you don't workshop my play about alien space monkeys I am going to tell my uncle that you suck." Or the other nightmare call I foresee getting will be, “Hey Arvin, errr, my main man, long time no see, uhhh... friend. I have this great idea for a screen play that I am dying to write. Can you help a friend out and let me come to your workshop?"

This will level out the playing field, hopefully. I will be in the same boat with those other nightmare people. If I want something workshopped, I have to submit it anonymously like everyone else. If someone tries to compromise the process, they are banned from submitting work. To make this work, the plan is to solicit a stable of script readers to go over submissions. We will have a critique process in place with standardized forms that the readers will have to fill out for each script. Each reader will pick the best script or two (depending on how many submissions) and then they will meet to pick 3 to 6 scripts for the Drama Foundry to help workshop.

We'll also be organizing workshops put on by successful dramatic writers, a library of dramatic literature, criticism, and technical manuals, and a possible lecture series. Yes, all of this will cost money. Though, I will be working to find ways of keeping it affordable for all of us poor starving artists. I am thinking of having memberships, charging admissions to events, offering sponsorships, advertising, and applying for grants. There are still more details and logistics to work out but these are some of the ideas I have so far. With feedback and trial and error - it could change...