The Money Issue
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Masthead of the Money Issue
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Editor’s Notes on the Money Issue
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Calling All Theatre Writers: Join the DG Compensation Study
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DG Glossary: Financial Terms
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David Simpatico: Ten Questions
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A Serious Act: Are You a Professional Dramatist or Not?
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Professional Theatre Writer Q&A
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Compensation, Part One: Commissions, Advances, Per Diem, Royalties
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CarPER DIEM: How Authors Working in Theatre [do not] Get Paid for Their Time
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Compensation, Part Two: Subsidiary Markets
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Monetizing Your Music
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Compensation, Part Three: Music
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What’s the Deal (Memo)?
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Dramatizing Money
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10 (Financial) Words to Know From a CPA
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A New Home for DGF and More Free Space for Writers
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Financial Resources for Dramatists
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Guild News – November/December 2022
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Dramatists Diary – November/December 2022
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New Guild Members as of November 1, 2022
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Classified Ads - November/December 2022
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Adam Gwon: Why I Joined the Guild
Video recorded May 13, 2022, this session explores compensation through Stock, Amateur, and Audio-Visual subsidiary rights, royalties from Foreign productions, and more.
What happens after you receive your first production? How can you be sure to continue to receive reasonable compensation for additional productions in other markets, according to current industry norms? And what do subsidiary markets have to do with production compensation? DG Executive Director of Business Affairs, Ralph Sevush, talks to Jason Cooper, Doug Wright, Tonda Marton, and Don Zolidis about subsidiary markets for production.
Related: Subsidiary Rights, Part One
is an entertainment attorney. He’s been with the Dramatists Guild of America since 1997, and their Co-Executive Director and general counsel since June 2005. He is the Treasurer for the Dramatists Legal Defense Fund.
is a Theatre Business Affairs Executive at leading entertainment and sports agency Creative Artists Agency (CAA). Cooper works in the New York office and collaborates with the company’s theatre agents in representing actors, directors, choreographers, playwrights, composers, and lyricists for theatrical productions off- and on Broadway, and around the world.
grew up in Los Angeles, trained as a stage director, and joined her aunt Elisabeth Marton’s literary agency in 1980. The Marton Agency focuses almost entirely on arranging the foreign-language licensing of US plays and musicals overseas.
Broadway: Good Night, Oscar (Joseph Jefferson Award for Best Play), I Am My Own Wife (Tony Award, Pulitzer Prize), War Paint, Hands on a Hardbody, The Little Mermaid, and Grey Gardens. Off-Broadway: Posterity (Atlantic); Unwrap Your Candy (Vineyard); Quills (NYTW); Standing on Ceremony (Minetta Lane); Buzzsaw Berkeley (WPA).
is a playwright, novelist, and former middle and high school theatre teacher with an MFA in playwriting from the Actor’s Studio Drama School. His more than 100 published plays have been produced more than 16,000 times and have appeared in 68 countries.