Q  Is WeGoCentric a non-profit organization?
A  Certainly not in its infancy, but maybe down the road. Only if we are very successful in doing what we are setting out to do, will non-profit status benefit anyone—on either side of the table.

Q  As a playwright, how do I become a member of WeGoCentric?
A  You don't. We are not driven by membership. WeGoCentric is a fee based, product and service provider. The writer pays the fees associated with the services he/she asks WeGoCentric to complete. That's what makes it different from other groups. Think of WeGoCentric as a "Theatrical Kinko's." Or think of it as a toll bridge where you pay a fee to get from point A to point B.

Q  So, just anyone can use your services? What, if any criteria does WeGoCentric use to evaluate plays?
A  Our assessment of a play first deals with the practical and tangible aspects of that piece. We take a serious look at the process it has been through already (i.e., first draft, table reading) and we look at the writer's experience (i.e., first play, etc.) and also consider his or her theatrical background. Based on that we recommend services we think would be beneficial to them. We do not "judge" whether a play is good or not. That is up to an audience to eventually decide. However, if a writer, even after an honest evaluation, wants to hear their play read by actors or do a workshop, we will facilitate that for them—if—IF THEY ARE CLEAR ABOUT THE GOAL THEY ARE REACHING FOR AND IF WE FEEL THEIR GOAL IS ACHIEVABLE.

Q  Isn't self-producing, like vanity publishing, seen as a negative?
A  The times, they are a-changing, and so are attitudes regarding self-producing. Actually, there have been some wonderful success stories that have come out of vanity publishing—and the same is true with self-producing. And think about this for a minute: many of the more powerful theatre companies self-produce in reality. They develop pieces from within their group and move them from conception to completion. I don't see much difference in what Lookinglass Theatre does and self-production. The main difference is reputation. But they had to start somewhere, and they did. House Theatre, same story. Rivendell, same story.

Q  How does the money thing work?
A  WeGoCentric connects writers with freelance artists who are part of the WeGoCentric team. Writers pay freelancers directly based on fees established by WeGoCentric. A small portion of the total fees goes to WeGoCentric. In some instances, freelancers might pay WeGoCentric a portion of what they earn. I n other cases the writers will be paying WeGoCentric that small portion directly.

Q  Does WeGoCentric or freelancers have any artistic ownership of the intellectual property?
A  No. Actors, directors—everyone involved—will sign contracts clearly stating such. Neither is WeGoCentric an agent or a manager on the literary side of things. If a writer hires us to help with the submission process on a specific project, it is strictly fee based—no percentage, no future residuals, no future considerations or obligations to anyone (unless your production functions under an equity workshop or other contract that states different or if you, the writer, choose to deviate from our standard agreement—but those choices are totally up to you).

Q  You (i.e, Larry Carpenter) are a playwright yourself. Would you use services provided by WeGoCentric.
A  Yes. One of the reasons I am starting this is because I myself, feel the need to have a outside eye, someone other than myself, help me with the submission process for my plays and musicals. For many of us, this is our biggest challenge. Promoting our own work. For some of us, it is finding the time to do so. For others, it is lack of knowledge as to how to do it. For myself in this particular process, I feel better about promoting another persons work than my own. To that point, I hope to assemble a team of qualified freelance artists to fill various roles. I have no problem producing and directing my pieces for readings, workshops and full productions, but I would like some help with the submission process and I am willing to pay the fee.

Q  So WeGoCentric isn't all about self-production?
A  No. WeGoCentric recognizes that the more traditional methods of getting a play produced or getting a play published are just as important, if not more so, than self-production. But the two are not mutually exclusive. We'll help you explore all the avenues and hopefully, create some new ones along the way.

Q  On the website, there is a category called "Employment Opportunities." What does that mean?
A  Using WeGoCentric as a conduit, writers will hire line-producers, directors, actors, theatrical artists and technical support to accomplish their readings/workshops/productions. Writers will use WeGoCentric freelancers to help them write synopses, cover letters and help with the submission process. Artists and writers might be used to develop promotional materials, such as flyers, postcards, posters, programs. Web designers might be used to develop writer-based websites that promote a specific play or a group of plays. Researchers and development personnel might be used to "build" audiences. And I am sure there are a dozen other talents that might be utilized by writers to achieve their goals. So, if you are interested in working with writers in any of these capacities, or if you have a service that is not mentioned that you think is appropriate, let us know.

Q  I already do freelance work as a writer/producer/director—much the same as you are describing. If I work with WeGoCentric, does that mean I give up doing my own thing?
A  Absolutely not. Please continue the good work you are doing by supporting the growth of new work. But if WeGoCentric brings you a client, we ask/require you to agree to a non-compete clause for that project.

Q  You mentioned websites for writers. How can they help?
A  Here is what we think they are good for: allowing those people or companies you are pitching to take a look at a polished, professional presentation of your material. For musicals, especially, it allows you to present your music in the form of downloadable mp3s or other formats. For plays, a pdf version of your script can be made accessible—and accessible only to those you choose. In the future, writers will be able to take more control of their own product, publishing on their own, thus not incurring the costs of a publishing company. Take a look at these two websites currently undergoing testing: