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Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.

Tuesday, October 18, 2011


Kristen Palmer writes about killing characters, a revision at a time, in this blog post. 

It's an interesting feeling, removing an entire character from a play. It's tough enough to remove a line, or a scene, but characters have a way of being sticky, of wanting to live. I've very rarely actually entirely removed a character. I think recently in THAT OLD SOFT SHOE, I had originally written a character named Phillipa, who didn't make it to draft two. I'll miss you Phillipa. You could have been funnier, but that's really my fault, isn't it.

Any writers out there in a draft process finding themselves holding the red pen over a fictitious life?

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