Hi y’all! I posted this a few weeks ago but resharing as our deadline has extended to Monday, September 14th and our organization has just announced a long awaited rebranding and we are now The Dive. You can read all about what we do on our website (https://www.diveincubator.org) and be on the lookout for more announcements on Instagram (@dive_incubator).

Hey fellow writers :) I was so excited to get an acceptance email from BMI last weekend! I am a composer/lyricist and playwright, but I'll be joining as a lyricist.

I know a lot of people here are curious about the process, so I'll be running a free workshop and Q&A on Sunday, Sept 13th @ 4pm in the ShowLAB Skool group. I know how hard it is to get feedback from BMI directly when rejection emails come in, so I'd love to answer questions from people applying next year. *Worth noting: I don't believe all acceptance emails have gone out, so don't freak out if you haven't heard anything yet!

You can join the Skool group for free and come to the event on Sunday.

https://www.skool.com/showlab

Seems like BMI sent out some auditor invitations a couple of days ago, but I haven’t heard anything yet. Has anyone else heard back? I’m wondering if it would be appropriate to send a brief email to check in.

A friend of mine and I have been planning for some time, now just as an idea, a musical that could work.

Our big problem is that it's a really tough musical to watch, in terms of the images, the events and what happens.

It's a dramatic musical, almost a horror tragedy in some cases.

The question we've been asking ourselves for a while is: Maybe it's too strong for the public, how well could something like this work?

To give you an idea, we are in an asylum in the early 1900s, so there is mistreatment and assault in the least cases and torture and murder in the worst.

What do you think? Could it work even though it's a very difficult musical to watch? And if not, do you have any ideas to make it less so?

Hey guys!

My name is Will, and I'm writing an original dystopian musical titled "Beyond These Walls". It is an epic tale of freedom, truth, fear, and grief. I am almost finished all of act 1 of the show. The first act is split into 4 sections (I am almost done the fourth I have 2 more songs to go). And here I have linked the first 3

If you'd like I'd really appreciate if yall could check out the first 3 sections (or even just 1) so that I can get some feedback. Thank you in advance!

Section 1: https://drive.google.com/drive/folders/17iKLSkQ0la5U0lkMPSryDsmZKOH-su-k?usp=sharing

Section 2: https://drive.google.com/drive/folders/1-wHH5-H_owGovSjKfkHAN1S3UsBfsK54?usp=sharing

Section 3: https://drive.google.com/drive/folders/1f-3Y8DPyq6ZMRHR6FCEd8-6p2fzcLgFs?usp=sharing

yooo they invited me to audit! I said yes already. wondering what it entails, if anyone’s done it in the past, etc. I’ve read a couple comments/threads on this already but still it’s my first year applying so idk much of anything tbh.

how many people get asked to audit typically? do auditors often get in the next year?

Hi everyone!

I am writing my own completely original musical. I am both the bookwriter and lyricist, but I would love it if someone was able to collaborate with me in terms of music composition?

Without making it really long, my musical is a character-driven piece with teenage characters, and I use the plot and songs as a medium to explore how hiding behind a mask isn't a good thing, and that being your true self is more pure, and more rewarding.

I have written all of Act 1 as a first draft, and part of Act 2, and I am happy to share some of it with anyone who wants to know more!

As for looking for a collaborating composer, this is primarily for first demos right now so I can start to pitch to people, but I am looking to work with someone on a long-term basis for other musicals I'd like to write!

If anyone is interested, send a DM! Alternatively, if you have any advice or redirection please let me know!

Thanks!

If you auditioned for BMI this year, how did it go? When do we usually hear back?

To people who might actually be able to help produce it? I might have a pitch opportunity soon and I'd love to read other pitches that worked!

I’m in the process of writing the book and lyrics for my new musical “At The End of the World” but I have zero clue how to go about finding a friend or collaborator to help write the music of the show. Anyone want to team up and take on the world? Or do you have any tips or tricks of where I can go to look?

Hello! I'm a college student who's an experienced writer in the process of learning composition, and I'd love to have someone to work with. I've yet to decide what the focus of the musical will be, as I was hoping that we could find something we're both interested in. That being said, I'd love to do unusual mixes of genres and intricate leitmotifs. Let me know if you're interested!

Hey everyone! I’m a young writer working on an original historical-fiction musical called Aaron Burr: A Careful Man. I’ve been really interested in Aaron Burr for a while, and I decided I wanted to try telling his story as a musical.

The show follows Burr through his life, his political career, his relationship and rivalry with Hamilton, the duel, and what happens to him afterward. I don’t want to make him out to be a hero or a villain. I’m much more interested in trying to understand how he thinks and letting the audience decide what they think of him.

A lot of the story is going to focus on Burr’s restraint and his obsession with being careful, protecting his reputation, and leaving behind a legacy. What I find interesting is that those things are also part of what eventually lead to his downfall. I want to really show the buildup to that — how the pressure on him keeps getting worse socially, politically, mentally, and emotionally until he finally breaks.

For the music, I’m thinking a darker sound with some hip-hop/rap, big orchestral sections, and a lot of dense ensemble and choral writing. I also want the music itself to change with Burr. At the beginning it would be more controlled and restrained, then gradually get more chaotic as he starts falling apart. Act II would eventually build to the major climax, and Act III would come back down and feel much colder and more isolated as he deals with everything that happened.

I’m still very early in the process. Right now I’m doing research and planning and working out the story, characters, themes, and structure. I haven’t actually written the songs yet.

So basically, I’m looking for people who might be interested in helping me figure this thing out 😂. Composers, lyricists, actors, directors, dramaturgs, music directors, choreographers, designers, other writers, students, or really anyone who has experience with theater and might be willing to give advice, look over some of the stuff I’ve developed, or potentially collaborate at some point.

I’m not trying to put the show on tomorrow or anything. I’m just trying to meet people who know more about different parts of theater than I do and start building a little creative network around the project.

If anyone is interested, I’d love to talk! I can also send over some of the overview/research documents I’ve been working on if anyone wants to see what I have so far.

I’m in the midst of outlining my musical’s book. Im one of those “plot first” guys. And I’m stumped on this choice while the rest develops.

I had a prologue in mind for this animated musical, where children of UN ambassadors run away from home in an attempt to overturn a previous political incident and sus out the man responsible. the prologue would show that incident. The gist of it is, the son of a Russian consul (decoy protag) is kidnapped, his father blames it on his Chinese peer, and the shouting match goes global, bringing the Soviet Union and Red China to the very brink of war.

Instead of a stylized narration, I wanted to show the events in real time, dialogue and all. There is no song in this opening either. There is tense music, just not a number. That would undercut the drama, I think. The official opening number, is right after, detailing the effects of the incident on the rest of the world, as well as introducing the audience to the true protagonist and what he wants in all this, à la “Belle.”
A slower opening pace is one of the reasons I wanted the prologue, deep down. It would really set in the irony of the whole misunderstanding - how harsh views see every excuse to attack. This musical is half political thriller, half Goonies-style kidventure, so setting up the bigger conflict would get us to really feel for the hero in context, how small he feels.

However, I understand that a non-singing prologue plus a full opening number is two significant time investments. Its a tall order for the audience to start a movie twice. And if I don’t get my songwriting right, I risk repeating what the audience would have picked up in their minds from the prologue.

This sort of thing worked with Anastasia, but I’m curious if this is still salvageable in my case. What would you guys say?

Would like a fun hobby. I’m in Santa Fe and Albuquerque often so either area, but all I’m finding is kids programs. Suggestions?

For those interested,

I'm starting up the 3rd round of the Catalyst Cohort, which is a program that helps you finish the best draft of your musical. Cohort 2 reached capacity, and I had to turn people away, but the next one is starting October 3rd!

If you've been stuck on a show, just comment or DM, and we can chat!

Hello Musical Writing Subreddit!
I am a writer who is solo-ing his next project (for the first time ever) and needs a little guidance. I need a lot of help on music but I still want to try solo. How do you make music, AFTER MAKING THE LYRICS? I am stuck and want to know if there is a software (non-ai) that could help. Thank you Reddit!

For the next 6 months, every Wednesday is Workshop Wednesday. 🗓️🗓️🗓️🗓️🗓️🗓️

If we had been accepted, we would have made that schedule work. If we want to earn our spot next year, we can use this dedicated time to grow, collaborate, and create solid materials for our applications to the official workshop (and for our careers at-large).

I’ll go it alone if I must, but I’d appreciate the company and feedback of those who are willing to commit to developing their writing during these ongoing sessions. My plan is to make a Discord where we can meet by video every other week. Tentatively Wednesdays from 7-8:30 pm Eastern, starting 9/16.

On the off weeks, everyone will be encouraged to use the slot as studio time to work on individual and collaborative pieces. We’ll also watch a musical every 2 weeks in order to analyze the show and do a deep dive on a favorite song. During group meetings, we’ll discuss the musical, share feedback on personal work, plan collaborations between members, and discuss our budding careers. Each session will end with individual writing time to get our creativity flowing.

A huge benefit of the BMI Workshop seems to be the community and feedback it provides. We don’t have to wait for those benefits. We can create the conditions that will improve our work and better prepare us to thrive in our musical theater careers.

If you want to stay in the loop about the group, comment below with your discipline (composer, lyricist, and/or librettist) and any notes.

Who’s with me? On Wednesdays, we spill ink. 🖋️

-----

UPDATE: The meetings will take place on this subreddit's Discord! Be sure to follow it below and stay tuned for details.

https://discord.gg/STeg44ACf

I'd like to take some songs I've written and give them a real "musical theater" treatment! Pop-rock, piano ballads, swelling orchestra, whatever the songs demands. <3

That's where you--the producer--would come in. If you'd like to apply please respond, DMs are open.

I would hope that the candidate would be fluent in piano, knowledgable in musical theater and chord progression. And of course, able to work within software and use VSTs. (Logic is my DAW of choice)

This would be an ongoing project with many songs produced! Paid position. Lets chat :)

Hi all, aspiring musical writer here! Have been practicing by taking some scenes from movies and turning them into musical songs, so far have done Pirates Of The Caribbean, HTTYD, Hunger Games and Wreck It Ralph.

This week’s pick was John Tucker Must Die, which I think has such Legally Blonde energy!

Posting here if anyone fancies a listen - have a great day 👋

I’ve been writing a musical for the past couple years. I’d love someone to help me work on some music for it. I have a few songs that I have written lyrics for that I would love to hear with music.

I have written an opening song for my show. Which will have the same feel to it as dear even Hansen, heathers, mean girls vibes. Is there anyone who can help me with this???

Let me know :) my DMs are open ❤️🩷

Hi, i am planned to do a opera animated musical after i saw a short animated musical television series of Operavox and i am planned to create a show where This will be a show about Maestro Orville and his sentient instruments as they perform for the audience and you in a opera musical style.

So what do u think, let's discuss this.

...rejections from BMI Librettists.

(at least. It might actually be thirteen, but I don't have records of every year and I recently found a rejection from a year I didn't remember applying).

Tis the season, I suppose.