· end of scene
· biography
· plays
· contact
· home
End Of Scene Blog Entries
SATURDAY, DEC 7, 2013
Ken makes a scene about why he wrote LIFE ON PAPER
FRIDAY, JUN 7, 2013
[EXCERPTED REVIEW] Broadway World makes a scene about Warrior Class at the Alley Theatre.
FRIDAY, JUN 7, 2013
[REVIEW] The Houston Press makes a scene about Warrior Class at the Alley Theatre.
SUNDAY, FEB 3, 2013
Ken makes a scene about an upcoming reading at Ensemble Studio Theatre
FRIDAY, FEB 1, 2013
Ken makes a scene about joining Season Two of House Of Cards
SATURDAY, DEC 8, 2012
Ken makes a scene about a letter from Liz Engelman
THURSDAY, DEC 6, 2012
Ken makes a scene about "Red State Blue State" on This American Life
MONDAY, NOV 5, 2012
Ken makes a scene about a stage adaptation of Warrior Class for the BBC.
TUESDAY, OCT 16, 2012
Ken makes a scene about participating in Baltimore Center Stage's MY AMERICA PROJECT, directed by Hal Hartley
SUNDAY, JUL 29, 2012
Errol Louis makes a scene about Warrior Class on NY1's INSIDE CITY HALL
WEDNESDAY, JUL 25, 2012
Head critic for NYTimes makes a scene about Warrior Class on WQXR's Around Broadway.
TUESDAY, JUL 24, 2012
REVIEW: The New York Times makes a scene about Warrior Class.
TUESDAY, JUL 24, 2012
REVIEW: The Daily News makes a scene about Warrior Class
TUESDAY, JUL 24, 2012
REVIEW: Variety makes a scene about Warrior Class.
TUESDAY, JAN 24, 2012
Ken makes a scene about The Montgomery New's Review of FALLOW at People's Light and Theatre Company.
THURSDAY, JAN 19, 2012
Ken makes a scene about STAGE Magazine's review of FALLOW at People's Light and Theatre Company.
THURSDAY, DEC 1, 2011
Ken makes a scene about a remarkable piece of writing about the American theatre
TUESDAY, NOV 22, 2011
Ken makes a scene about a character's stage transformation
MONDAY, NOV 21, 2011
Ken makes a scene about WARRIOR CLASS online
TUESDAY, SEP 27, 2011
Ken makes a scene about the Asian American Performers Action Committee
MONDAY, SEP 26, 2011
Ken makes a scene about the fast work of SCR's casting department
FRIDAY, SEP 16, 2011
Ken makes a scene about Anne Garcia-Romero's post about LoNyLa
WEDNESDAY, JUL 6, 2011
Ken makes a scene about the Pew Center for Arts & Heritage's $150,000 grant to FALLOW
SUNDAY, JUN 19, 2011
A letter from Kaitlin Hopkins - Head of the Musical Theatre Program at Texas State
TUESDAY, FEB 15, 2011
Ken makes a scene about science plays.
WEDNESDAY, DEC 22, 2010
Ken makes a scene about Intelligence-Slave making the Houston Chronicles Top Theater Shows of 2010 list
TUESDAY, OCT 19, 2010
Ken makes a scene about intra out-group persecution.
WEDNESDAY, OCT 13, 2010
Ken makes a scene about why theater is not a humanity.
WEDNESDAY, OCT 6, 2010
Ken makes a scene about Athol Fugard's criticism about the failure of modern dramatists
MONDAY, JUL 26, 2010
Ken makes a scene about the diverse audience of Queens Theater in the Park
SUNDAY, JUN 6, 2010
Ken makes a scene about the Jewish Herald-Voice's profile of INTELLIGENCE-SLAVE
WEDNESDAY, JUN 2, 2010
Ken makes a scene about Lee Williams's review of Intelligence-Slave in the Houston Press
TUESDAY, JUN 1, 2010
Ken makes a scene about his Intelligence-Slave interview with culturemap.com
SATURDAY, MAY 29, 2010
Ken makes a scene about Everett Evans's review in the Houston Chronicle
TUESDAY, MAY 25, 2010
Ken makes a scene about sharing a collective spirituality in the theater
SUNDAY, MAY 23, 2010
Ken makes a scene about seeing the bird through the feathers
FRIDAY, MAY 21, 2010
Ken makes a scene about tech, letting go of the play and making discoveries in production
MONDAY, MAY 17, 2010
Ken makes a scene about INTELLIGENCE-SLAVE in the Houston Press
SUNDAY, MAY 16, 2010
Ken makes a scene about INTELLIGENCE-SLAVE in the Houston Chronicle
THURSDAY, MAY 13, 2010
Ken makes a scene for the Alley Theatre's Mark Bly
WEDNESDAY, APR 21, 2010
Ken makes a scene about being playwright 151 in Adam Szymkowicz's blog.
THURSDAY, APR 8, 2010
Ken makes a scene about changing the name of his play.
THURSDAY, MAR 18, 2010
Ken makes a scene about pundits and why Tom Hanks is "injecting" racism into World War II.
TUESDAY, MAR 16, 2010
Ken makes a scene about writing "winning" dialogue.
MONDAY, MAR 15, 2010
Ken makes a scene about agents and the ecology of show business.
SATURDAY, MAR 13, 2010
Ken makes a scene about the beauty of the theater actor
THURSDAY, DEC 17, 2009
Ken makes a scene about non-English language productions
TUESDAY, NOV 17, 2009
Ken makes a scene about reviewing business books for theater artists
WEDNESDAY, NOV 4, 2009
Ken makes a scene about THE BIG REWRITE!
TUESDAY, OCT 27, 2009
Ken makes a scene about the discovery of an algorithm for happiness (7ZJJBYD9U6PX)
THURSDAY, OCT 22, 2009
Ken makes a scene about Holocaust fiction as a literary genre
TUESDAY, OCT 13, 2009
Ken makes a scene about Asians who don't go to the theater.
MONDAY, OCT 5, 2009
Ken makes a scene about the challenge of bravery in the theater.
MONDAY, SEP 28, 2009
Ken makes a scene about the death of Tragedy and Comedy.
TUESDAY, SEP 22, 2009
Ken makes a scene about Dave Matthews's statement that racism is "everywhere" in America.
WEDNESDAY, SEP 16, 2009
Ken makes a scene about why playwrights need websites.
End of Scene Blog

The Mailroom and Outrageous Fortune
Monday, March 15, 2010
Bookmark and Share
The inestimable Todd London, Artistic Director of New Dramatists along with Ben Pesner and Zannie Giraud has written a new must-read theater book entitled Outrageous Fortune: The Life and Times of the New American Play. Now, I admit that I haven't had a chance to read the book yet, but it has created quite a stir because after six years of collecting data and interviewing playwrights and artistic directors, London and crew draw an important conclusion: "In economic terms, it is virtually impossible to make a living or sustain a career as a professional playwright in America."

This contention made me think of my agents. (And I think that most playwrights have probably had these thoughts.) "Me? I get it. I'm an irrational artist that the muse is leading by the nose. But, my agents are all super smart individuals with noses for business. What the Hell are they doing in such capricious and precarious marketplace?"

Now, of course, I'm largely kidding here. Economies of scale even out some of the variance. Moreover, show business is a high risk, high reward type industry and it attracts individuals (artists and agents alike) with constitutions that can deal with these highs and lows. I can't speak for all playwrights, but for me, the decision to slug it out in the American theater was a measured choice. I have my moments, but fundamentally, I believe in myself and the value of my work. I knew that I wanted to spend my life trying to perfect a craft. Though the turbulence can be frustrating, I do take the peaks and the valleys as a kind of adventure. I find that most of the agents I know share a lot of these characteristics.

Recently, I decided to take a closer peek under the hood of the indispensable deal-makers of show business. So, I read the book The Mail Room: Hollywood History From the Bottom Up. Granted, this book is about Hollywood agents, but it's illuminating nonetheless.

The Mailroom takes a look at the men and women who have made it through the training programs/trials by fire at the big Hollywood agencies. Now, there are plenty of sharky anecdotes to go around in the book, but what buoyed me is that though there are lots and lots of different kinds of agents with different work styles and ideas about agenting, it seems that all of these agents have a genuine commitment to the dramatic arts and really get a thrill out of seeing their clients succeed. This rings very true to me.

In the end, every marketplace has it's own ecology and is home to creatures who are adapted to its environs. In light of this, it's helpful to think of the amphibious nature of those of us who make our living in show business. Land is always in sight, but unattainable without spending some time under water.

Enjoy the Ides of March, Folks!

end of scene
Bookmark and Share

Copyright © 2017 Kenneth K. Lin; All Rights Reserved.