Several of my plays are posted on my website http://profwill.spymac.com/Plays.html. Comments would be welcome. I'm currently readying several new efforts for posting. I've been reading new works for about 30 years and am willing to look at other web postings.
read the one about the playwriting contest. amusing, but not outright funny. and it seems your audience is playwrights who have entered contests. couple of mistakes, but i'm nitpicking. all in all, not bad.
"Readers Fee" was written for a local ten minute play marathon where it might have been seen by a lot of local playwrights, many of whom strongly object to the concept of Readers fees. I tried to make it generally interesting, but have only had it read before a playwrighting group who found it hilarious. "Talkback" was written for the same reason. Current projects are less theatre-referential, but I've seen a lot of plays about playwrights over the last several decades so...
I just read "Next Exit 10 Miles," I think was the name. I like the format of it, though I was confused why you didn't have every conversation take place in a car. I felt that you broke the convention when you had the daughter on the phone with the mother. Hm. I only read it once so I may be missing something. I was distracted by several typos. I want to be tactful, here, because I don't know you and I don't know how difficult writing may be for you, how invested in the process you may be...regardless, I guess I'll just say my peace and hope I'm not offensive. I used to read for Playscripts, back before they brought that job in-house, and I would have given this play a C-. The dialogue is not really compelling or loaded enough or surprising enough. That's one thing I often craved as a reader--surprise, particularly in a short work like this one. I didn't get a chance to really like any of the characters, or really feel much for them at all, because they expressed no idiosyncrasies. Ultimately, I didn't get the point of the piece. If we were supposed to relate to or care for the characters, we didn't get enough time to do that. If it was supposed to be absurdist or somehow stylistic, the dialogue didn't reflect that. A short piece has to have punch and a very honed direction. This didn't.
Thanks for opening your work up for critique, though--I appreciate being able to read it.
Glad to have it read. Spell checkers aren't infallible. I'll check it over. Had originally considered it all being in the cars but thought that would get too static. I was trying to compress the kind of situation which usually runs for an hour into about 10 minutes. It was also intended for a Boston area audience so there may be too many assumptions. I'd label it as "selective realism" until the end hits. For these short pieces, I try to leave things open-ended. It also seems to be wise to leave a lot of character details up to the casting, Risky, but essential for short play festivals.