The PIP consultation was one of the best investments I’ve made in my creative career. My mentor’s evaluation was specific and thorough, and the one-on-one gave me additional tools to use to work on the rewrite . . . There’s really no other way that I could get this kind of feedback from a knowledgeable and objective person.
— Carolyn Kourofsky, author, Misdirection
A special thanks to DG for having created this amazing program!! I’ve been waiting for something like this for a long time . . . in fact, I was looking for someone to help me when I saw your notice on PIP! Perfect timing! My experience with my faculty mentor was invaluable. She is very professional, open, warm, and offered a refreshing and insightful perspective on my play. She gave good, sound advice and based on her feedback, I am newly inspired and find myself looking at my work in a whole new way! I realize I have a ton of exclamation points in my review - but the truth is it’s the only way to express my excitement about what DGI is offering the playwright community. It’s lonely at times - working day/night on a piece with only friends and family to offer their point of view. Having an objective and professional review on all the elements of your play - with a little nudge in the right direction - well there are no words or punctuation marks to express my gratitude.
— Diana Muchi, author, Come N’ Go

Commonly Asked Questions


For years we’ve heard from members that they are looking for someone who could help advance their plays to the next level of development with an objective analysis of the work – not dramaturgs, per se, as you might experience in a production setting, but rather a skilled writer/director/actor who has practical hands-on experience consulting with writers on sharpening structure, dialogue, character development, theatricality, dramatic conflict and strengthening intent.  The Plays in Progress (PIP) program is designed to address those very needs.


Yes! We are now accepting musicals. Please make sure that the consultant you would like to work with has experience with musicals when you are selecting your consultant.

You may see our faculty members that specialize in musicals by clicking here.


Absolutely. We are happy to offer the "Second Look" program, which allows you to submit your play or musical another time for a 50% discount, since your previous mentor is already familiar with the material. In order to be eligible, you will be automatically be paired with the mentor that you worked with on your first consultation. Additionally, you have the option of re-submitting the play for a different mentor at the regular price.

Please note that a Second Look is only redeemable once per script. Once a Second Look has taken place, you are welcome to re-submit your script for review from a different consultant at standard pricing. 


How it works is really simple: you (the dramatist) have a project you’re working on that you feel could use some outside consultation. You go to our Faculty Page of the PIP program, read the faculty bios and discover the genre tags below the bio (these are specific areas of interest for each of our faculty). You then complete an application on-line, upload your creative material, request a first and second choice for faculty member and we do the rest.  Let’s break it down in steps for you:

Step One

Lee (the dramatist) applies to PIP via the DGI website. Lee’s asked to attach the creative material they want consultation with. Lee is also asked to specifiy two Faculty consultants of their choice: Choice One (Morgan) and Choice Two (Terry).

Step Two

Our staff reviews the application – not the creative material -- to ensure all areas of the application are complete.

Step Three

We then make an inquiry to Lee’s faculty consultant choice #1 (Morgan) regarding their availability. If they're not available, we move to Choice #2 (Terry). If they're not available, we contact Lee and ask for a third choice.

Step Four

We will inform Lee once the faculty script consultant is settled. DGI will send Lee an enrollment link for payment.  Lee has five business days to pay. If payment is not made, Lee returns back into the PIP queue.

Step Five

Once payment has been received from Lee, we provide Lee’s email to the faculty consultant (Morgan).

Step Six

Morgan has five business days to be in touch with Lee. DGI will inform Lee they will hear from Morgan within five business days, either by phone or email. During that first contact, they (Morgan and Lee) will agree on a future date for a discussion of script and notify DGI of that date. From the moment Morgan has contacted Lee, Morgan has up to two weeks to read the script. The first contact, then, between script consultant and dramatist, is setting the date for the video/phone conference and perhaps asking preliminary questions.

Step Seven

Morgan reads Lee’s script.

Step Eight

Morgan completes a written evaluation through electronic form provided by DGI.

Step Nine

Morgan provides copy to DGI.

Step Ten

DGI reviews evaluation and sends Lee the written evaluation.

Step Eleven

Morgan and Lee have video/phone conference. The time on this exchange is not to exceed an hour.

Step Twelve

Lee has five business days to ask any follow up questions via email.


  • $225 for up to three 10-minute plays (35 pages total)
  • $250 for a one-act play (65 pages total)
  • $275 for a full-length play (125 pages total)
  • $300 for a full length play (126 -150 pages)
  • $325 for a musical of any length (score and libretto)
Working with my faculty mentor and PIP on my new play was invaluable. I live in a remote, rural area where there aren’t any other playwrights. Getting feedback can be a challenge. PIP is a gift to people like me. My mentor understood what I was trying to do with the play, and she offered targeted and motivating suggestions which have greatly improved the play.
— Coleman, author, Infamous Mothers
Heartfelt thanks for putting me in touch with my faculty mentor. I felt quite at ease asking questions, sharing thoughts and concerns, and she met each with a terrific blend of mentorship and openness. She never made me feel like I was there to learn from her, rather, to learn what I knew, about my play, but hadn’t uncovered yet! Both in conversation and in her written feedback, I found my mentor to be supportive, warm and supremely professional. Money well spent! I cracked into a script that I’d shelved almost a year ago — Armed with new tools and a lovely new resolve.
— Rachel Carnes, author, Malheur
My mentor’s comments were not only insightful, they were specific, as were her suggestions for how to approach my revision. I anticipated that this would be a productive undertaking based on her resume and the fact that the DG was hosting this process, but she exceeded my expectations. The price was very reasonable considering all I got in return. Thanks.
— Anne Welsbacher, author, The Literary Concierge