Being a playwright isn't just about writing good plays. When you write a play that someone wants to produce, a whole new learning experience begins. You have certain rights, and it's important that you know what they are. Even when there is no money involved, insist on a contract to make sure your relationship with the producer is clear.

First off, you may be wondering . . .

Should I copyright my play? Plays are copyrighted the moment you write them, whether or not you register them. But registering your play with the Library of Congress (US authors) gives you official protection (you can't sue someone for copyright infringement without your work being registered first). Realistically, almost no one steals plays because, unlike screenplays, there's very little to be gained financially. Click here to visit the US Copyright Office site and download Form PA, the form to register plays, musicals, screenplays, etc. In the end, is it a good idea to have your work registered officially before its first production? Probably. Just in case.

Remember, no one can produce your play without obtaining permission first. There is no waiver of this rule for school productions, productions that don't charge admission, forensics or similar non-commercial ventures. But be warned: not everyone is properly educated about copyrights, permissions and royalties, so you need to be vigilant. That's why, when you do get a production, you need a contract.

Here are a few of the basics, all of which you'd find in a standard Dramatists Guild of America contract, that should appear in any agreement you sign:

You own your play. Unlike screenplays, which are usually bought outright by the production company, plays are owned by the playwright. A production doesn't change the fact that the play you wrote continues to be your property.

No one can change a word of what you have written without your permission. Period. No cuts, no additions, no changes unless you say OK. This applies to dialogue or stage directions. I once pulled a reading of a play of mine at a college when I wasn't convinced the director was going to adhere to this. Now before you go ballistic on a director for ignoring a "pause," you as the writer are responsible for having a little common sense. To me, changing a stage direction is when you write that "Ben exits" and the director keeps him on stage.

If you allow a change based on someone else's suggestion, the change becomes YOUR property. No one should get partial ownership of your play just because they suggested you "try it this way." But make sure you get this in writing. Rent went into several years of legal battles because of just such a conflict.

You are allowed to attend all rehearsals and performances (complimentary). You may not want to or be able to, but you are entitled to. Of course, you must conduct yourself professionally at all times. This means not trying to direct the play in rehearsal. Have a question or problem? Take the director aside during a break in rehearsal (unless you and the director have agreed upon this in advance, you should NEVER communicate directly with the actors or crew other than to exchange pleasantries, nor should you start arguing with the director in front of the actors or crew). If you feel that the director isn't listening, talk to the producer or whomever is ultimately in charge.

You should receive a copy of the program and any other publicity materials issued by the producing group, as well as any reviews and newspaper coverage, should they exist (it's unlikely that a young playwrights production will be reviewed, but just in case...)

10 Things You Can Do to Help Yourself
Be Successful as a Playwright

1. Learn how to use the internet. Create a website for yourself to publicize your work. Learn what sites will let you post information about your plays, what sites will link to your site, and where to look for playwriting opportunities (i.e. contests, script calls, etc).

2. Be a theatregoer. You don't need to go to Broadway. Seeing anything is a learning experience (I draw the line at junior high and elementary school plays). Take advantage of local college productions and smaller professional companies (many of which have discounted student tickets), and be on the lookout for new play readings (many of which are free) at local playwrights organizations and at theatre companies.

3. Read plays. To be a good playwright, you need to read good playwrights. Expose yourself to writers with different styles. To find out some plays I think you should read, visit the Young Playwrights Selected Reading List.

4. Keep a little notebook or tape recorder around, and if you come across an interesting character or "life moment," make a note of it.

5. Join the Dramatists Guild of America or your equivalent national organization. Learn how to protect your rights, and don't let people walk all over you just to get a production.

6. Create a regular writing time for yourself. Even if you're not writing a play, keep the muscle in shape by writing something creative.

7. Meet local theatre people. Find out what companies are in your area and develop relationships with them. Most readings and productions come from relationships developed over time.

More Tips to Come!