So in my case, after spending a year and a half in collaboration with a composer and lyricist, and having a successful table reading of the show (facilitated by Theatre Building Chicago), we wanted to see our musical "Song-Poems Wanted" move forward to the next step—public readings. But the timing was such that there were no slots open in the Monday Night series in the near future and we had missed the submission deadline for Stages 2008.

Our choices were "wait til next year," (as a Cub fan, a too-familiar phrase that lacks any concrete results) or take the bull by the horns and find a way to self-produce the piece. One self-produced public reading in February 2008 at TBC, attended by approximately 125 people, led to another at Chicago Dramatists in March 2008, attended by 60 people.

Though we made changes at every stop along the way, we knew as writers, our work wasn't done. We knew we had a show that was good—but it still needed attention. And if we waited again for the developmental wing of TBC to assist us in the form of a Monday Night reading or waited for Stages 2009, we would have lost momentum, and to be honest, the show was not far enough along in its development for us to feel secure that either of the TBC possibilities were real options.

The show needed more work, and a workshop version (10 rehearsals and one performance with minimal sets, costuming, choreography and production values) was presented at TBC in May 2008.

All totaled for the reading and the workshop, we spent over $9,000 to achieve the goal. And if it hadn't been for TBC's support, it would have cost another $1,500-$2,000 minimum.

I am not rich. Neither are my partners. But it was important to me to move ahead full steam— and so I found a way to make it happen. And if I hadn't, the show would not have progressed to the point it has today—and in my mind, would have never been selected for the Stages Festival 2009. The future will tell if I recoup the money—but even if I don't, I already know it was a good investment. Why? Because I believe in the project and I learned so much from the process about the show.

The way I look at it, the two-and-a-half years of my life spent writing the piece were worth a lot more than the actual money I put into it. The money, of course I hope I get it back someday. But I have already received payment for my labor of love in the form of other people, people whom I respect, validating the show's worth and taking it out of my hands. Now, for that show, I am no longer the self-producer and head bottle washer. I am the writer. And that alone, feels incredibly empowering.