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Here’s part twenty-eight of my reading of my 2005 novel, Someone Comes to Town, Someone Leaves Town. Thanks to John Williams for mastering!

Mastering by John Taylor Williams: wryneckstudio@gmail.com

John Taylor Williams is a full-time self-employed audio engineer, producer, composer, and sound designer. In his free time, he makes beer, jewelry, odd musical instruments and furniture. He likes to meditate, to read and to cook.

MP3 Link

One Response to “Someone Comes to Town, Someone Leaves Town, Part 028”

  1. Matthew Taylor

    Hi Cory,

    A friend of mine sent me a link to this episode of your podcast because I’m a high school drama teacher. I’m commenting regarding your question about how to make Little Brother available for amateur theatre productions. Personally, I rarely hear about scripts unless I read the description in the publisher’s catalog, so that would be the primary way that I know about scripts. However, maybe some agreement could be worked out with the Educational Theatre Association (EdTA) (http://www.edta.org) to get a portion of the script or an article about the script into Dramatics magazine or Teaching Theatre magazine. I have actively found plays before that are available in a Creative Commons or similar license because I was looking for a play that dealt with a specific issue (a play about domestic abuse comes to mind), and, if I know of a play that I want to produce, I search to find out which company provides the rights for it, so it is possible that amateur producers would find Little Brother online and would do whatever it takes to produce it (I know that it’s on my shortlist). To be honest, it’s probably more common for this type of search to take place, as it’s hard to judge the quality of a piece based on a short synopsis in a catalog, and it’s often more time-profitable to simply search for works with which I’m already familiar to some degree.

    My answer might not be the most helpful, but here are a few concrete recommendations:
    1) Make sure amateur licensing information is readily available online. The clearer the requirements are, the more likely a producer is to do what is required.
    2) Promote Little Brother… the book, the script, the Chicago production, in any form. The more you promote all of these forms, the more familiar people will be with all the forms, and the more familiar a producer is with a show, the more likely he or she is to produce it.
    3) Consider contacting EdTA. Maybe they’ll do a write-up. They often put whole one-act scripts into Dramatics magazine; maybe they’ll put a section of Little Brother in there (plus they’ll love that the text is available through CC and they can link to the whole text). Or maybe you’ll want to advertise it in Dramatics or Teaching Theatre.

    Best of luck, and I can’t wait to get my hands on the script.
    -Matt Taylor
    Theatre Director, Elkins High School, Elkins, WV

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