How Tweet It Is
Recently there was a long thread of conversation on the dramaturg listserv on how literary departments should respond to rejected playwright submissions. I decided to explore Twitter as a new art form within this topic. I use the 140-character restriction after the fashion of restrictions that iambic pentameter or haiku pose. I posted the following Tweets (and revisions) to the list.
Daily Twitter Submission (First Draft)
Word Count N/A
Characters (no spaces) 120
Characters (with spaces) 149
I hate reading plays. I love doing plays. I wish more playwrights would stop writing plays and start doing plays. I’d meet them there in a second.
Daily Twitter Submission (Second Draft)
Word Count N/A
Characters (no spaces) 115
Characters (with spaces) 141
I hate reading plays. I love doing plays. I wish playwrights would stop writing, start doing… be both Words, the Speaker & Deeds, the Doer.
Daily Twitter Submission (Final Draft)
Word Count N/A
Characters (no spaces) 115
Characters (with spaces) 140
I hate play scripts. Submissions read like so many cattle at the slaughterhouse. Brave words don’t just talk the talk; they walk the walk.
Theatre Manifesto
Flesh hunters. Queequeg is our playwright. Our script, his indecipherable tattoos. Prescient, he transcribes his tattoos onto our coffin.
One thought on “How Tweet It Is”
I’ll friend this post
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