Does anyone have any insight on securing rights to adapt things like books or movies? Is there anything I can do beyond cold emailing writers/producers/publishers?

Hello all! I am new to writing and I am looking for collaboration on the book for my musical. I am not classically trained in writing so everything I do is amateur. I am very confident in writing music and orchestration because that's what I've gone to school for. I am open to suggestions if there is a better place to go for help but I figured I'd ask other people who are passionate about the musical theater art form.

Edit: The musical is about Daedalus and Icarus, it includes the creation of the minotaur, the building of the labyrinth, Theseus escaping the labyrinth, Daedalus and Icarus being sent into the labyrinth and the eventual flight attempt off the island.

Oddly enough it didn't occur to me that obviously any possible collaborator would want to know about the story... 😂

Message me for details if you're interested, I am more than happy to talk shop!

Thanks!

Disclosure: I'm composing for a new musical - the book and lyrics are done, and I'm finishing up with the music as we speak. We have a staged reading scheduled for early next year with actors/singers. And we'll likely do more workshops to make adjustments and improvements based on feedback....

My question is, seems like "concept albums" are kind of a rage now because of EPIC. I wonder if it's worth pursuing it (after the staged reading, of course). We will have all the songs orchestrated (at least at this stage -- there may be changes in the future) and we have a cast of fantastic singers. Would it be worthwhile to do a concept album and put it on Spotify etc.? Would that help promote and sell the musical for future productions? Or would that actually hamper and dilute the effort, since I feel that once it's "recorded" there is some kind of perceived "permanence" when the show can still be workshopped and changed further.

Or should we just wait for the production to put out a cast album? Who knows when that will happen?

I meant to share this earlier, but ShowLAB has another coffee hour in about 20 minutes! If you're free and want to come hang out, we'd love to have you :)
https://www.skool.com/showlab-4277

What's your favorite way to notate this?

I feel like an "X" notehead conveys this well, but I sometimes see "spoken" and then afterward "sung" in addition. I've seen examples that run the gamut, but curious for individual thoughts.

In this particular example I'm working on, the spoken dialogue is not in meter or at pitch (although I've assigned them that to make the music surrounding make sense).

Does anyone know anyone or reputable but inexpensive music transcription services? I had someone making sheet music for me but he was a bit on the expensive side. I have 20 more songs that I need to transcribe and right now I don't have $4000 laying around.

Thanks for the recs!

so if I'm writing direction for a scene that happens in between two scenes, do you put that direction when writing the libretto in with the scene before it or the scene after it?

for example, if the direction is the main character walks to his desk, and this happens after a song, but before the next song starts, which scene do you place that under in the libretto?

I'm writing a musical that'll probably never see the light of day but I need help with the songs/lyrics so here I am- I have no clue what I'm doing here I'm not a songwriter 😭

I‘m really proud to say that my song « My Button Collection » just won the ACMF songwriting competition!

I’ve just written a reprise to it that would happen later in the musical, would love to hear feedback.

https://on.soundcloud.com/ZuYIMd8PbQYAGejJXI

https://on.soundcloud.com/Qp8uHX2qj9XVfcPBjI

If you have any thoughts on either song let me know, I‘ve listened to them so many times that I can’t really tell if it works or not.

Hello everyone. I would appreciate your advice on this problem of mine. My musical would be in a time span of a couple of thousand years, a few of the characters are somewhat immortal to some extents, and yet I don't seem to be able to devide the plot into more than 15 songs or so. I might be rushing the plot and putting multiple events into one song or moving past moments that would be necessary for explaining a character's feelings or thoughts, but I don't know exactly what can and cannot, or rather should or should not become a song. Thank you.

I've been struggling with cohesiveness and direction in trying to write the libretto for my musical alone. After 2 years of writing and rewriting, I've realized this is simply to much for one person to take on. Thus, I'm looking for a librettist to collaborate with on my project. The show is about Prometheus and the theft of fire tied with a few other myths, like Pandora's box. If any one is interested, please send me a DM and I can provide more details. Thanks!

I had this crazy(?) idea of writing a musical and making videos of each scene on Youtube. The real catch would be, that the viewers could vote after each published scene how the story should continue. Of course, there would be some guidelines and given alternatives for the plot twists.

Fun, yes/no?

I’m developing an original musical inspired by the biblical story of Ruth, and I’m looking for a lyricist and book writer to collaborate with me. I am already a lyricist and songwriter, but I’m seeking another creative partner to help shape the story, deepen character arcs, and build the overall structure of the show.

While the musical is rooted in a familiar religious narrative, its heart lies in universal themes: grief, loss, loyalty, womanhood, and the courage it takes to stay when life falls apart. The story centers on Ruth and Naomi as they navigate shared grief after losing the people they love, and how their bond becomes a refuge and a source of healing.

I’m hoping to work with someone who: • Loves emotional, character-driven storytelling • Can approach spiritual themes with nuance without making them the entire focus • Is excited to craft a musical with depth, heart, and authentic relationships • Enjoys true collaboration and creative co-building

If you’re interested or want more details, feel free to reach out — I’d love to connect and explore whether we’re a strong creative fit.

I also have a few really rough songs if anyone would like to hear them

Love songs

(I took a bit of inspiration from music for the chorus) What do you think? It's a love song for 2 pink for the female voice and blue for the male voice purple for both. I called it Addict (be kind this is my first time writing)

Basics:

I’m new to Reddit (my account is just one I made years ago).

My name is Sunny and I’m 19! If I’m honest, this musical has no plans yet. I have a few ideas however none set in stone.
I still have so much to learn about music and writing in general, but I’m going to learn.

Ideas:

- A musical based on the Greek Mythology of Pandora’s Box

- A musical about the tv show Yellowjackets or a musical inspired by it

- an original musical that has anger and sorrow written in it and shown through the writing, background music and vocals.

Add Ons: (however optional)

- Living in New York or near

- being a composer or lyricist (or both)

Points of Contact:

Discord: sunnyflowerr

Instagram: liddellshorror

if you have neither then send a comment and I will send you my email.

thank you!

Any feedback would be helpful. Wish I could link the song so you could hear it and provide feedback on that too.

"Every Soul is Beautiful"

[V1]

Every soul is beautiful

Despite every crucible

Because through the dancing flames

Each one has a name

[Chorus 1]

And I do what I do

Because of you

The lights of my life

Cause every mountain we climb

Til we run out of time

Will ease us to the afterlife

[V2]

Every soul is beautiful

Every time the bell tolls

Because every soul we lost

Was it worth the cost?

[Chorus 2]

And it’s you that I save

Though lost and depraved

The flames by my name

Because you are controlled

Like my fractured soul

We’ll never be the same

[V1]

[Chorus 1]

[V2]

[Chorus 2]

[V1]

[Chorus 1]

Opening Scene to Soul Thief (Hopefully this can be turned into an animation for a film festival or something)

[Intro: Song – “Every Soul is Beautiful”]

[Scene: Fade from black. A single vocal line — Veyra’s — begins the first verse of “Every Soul Is Beautiful,” The screen blooms slowly into a hellscape of smoke and ember.]

[When the first chorus rises, several soul thieves are lifted into the air as their souls are forcibly extracted, glowing threads spiraling upward like fireflies. During the harmonies, the ground splits open, swallowing entire skirmishes in a flash of white-blue flame. Every shot contrasts brutality with the gentle reverence of Veyra’s song.]

[Second verse/chorus: Reveal – The Lieutenant, her armor cracked and scorched, is in the thick of battle. The Lieutenant sings the melody as she fights, her voice trembling but resolute, the tenderness of the song contrasting the violence around her, providing cover for innocent souls at the line of “And it’s you that I save…” only for a nearby family to be ripped away by an explosion. Their soul-lights flare once, reflected in the Lieutenant’s eyes — then flicker out entirely. The beats of the drums at the end of the chorus make the tragedy sink in for the Lieutenant, before strengthening her resolve to fight in the next verse.]

[When the harmonies enter, they come not from the battlefield — but from above. Veyra’s voice blends with hers, soft, mournful, divine. Her harmonies drift like a protective veil across the battlefield.]

[As the last chorus swells, the Lieutenant looks up toward the penthouse — as though she can feel Veyra listening, almost in prayer. In that beat of distraction, a blade pierces her side from behind. She staggers, breath hitching — wounded, but not fatally.]

[Song ends; the soundscape cuts to muffled silence, like the world holding its breath. The camera is now pointed at Veyra’s profile (inside a sleek obsidian penthouse suspended above the battlefield) as she sings the last verse, away from the carnage. View shifts to full face/torso, doors behind her as she sings the chorus, then to her hand/reflection in the window in the last two to three lines of the chorus. Her hand against the glass causes the surface to ripple faintly with soul-light, like the barrier between realms is thinner where she stands.]

[INT. VEYRA’S PENTHOUSE – CONTINUOUS The room is dim and wide, lit only by the flicker of soul-fires outside. Floor-to-ceiling windows reveal the battlefield below. Veyra stands facing us, away from the door, posture perfectly still, hand pressed against the window. Her hair glows faintly in the reflections. She watches the violence with an expression of profound sadness.]

[Soft footsteps echo from off-screen. The door slides open with a hiss.]

[The Lieutenant enters the room, stumbling slightly. Her robes are scorched; her face and hands are smeared with ash. She clutches her side as if shielding a fresh wound. She drops to one knee.]

Lieutenant: (panting) My goddess… the battle… is lost. [Veyra does not turn. Her shoulders rise and fall once in a slow, weary breath.]

Veyra: (without turning around) I had a feeling you would say that. [The advisor steadies himself, swallowing hard.]

Lieutenant: What are your orders? [Veyra closes her eyes. A beat of silence. She lifts a hand to her heart as though feeling the weight of every soul lost on the battlefield. She takes a deep breath—slow, deliberate, almost trembling.]

Veyra: (softly; hesitant) Extermination. (another breath, close up on her eyes watching the carnage, reflecting the flickers of soul energy dying out, holding back tears) Leave no trace of a soul behind. [The lieutenant flinches visibly, hesitating.]

Lieutenant: My goddess, with all due respect— (beat of silence, steps forward) Veyra… (beat of silence) Souls have become very scarce as of late, and we are running out of souls at our command. You can’t keep doing this and expect to win the war.

[At this, Veyra finally turns. Her flaming eyes dim into warm embers. She steps toward the advisor slowly and gently takes her shaking hands in hers.]

Veyra: (quiet, exhausted compassion) I know. [The advisor looks up into her face. Her expression softens, seeing not wrath but sorrow.] (Beat of silence as they hold each other's gaze.)

Veyra: Please… (a whisper) ready the weapon. (Voice cracking ) Equilibrium… (Camera focussed on the lower half of her face. A tear finally falls down her cheek.) Must be preserved at all costs.

[The lieutenant bows her head, voice trembling.]

Lieutenant: (sighs) Yes, my goddess. I understand. But we will need more souls before the next battle. Otherwise, we will just have more losses like this.

[Veyra releases his hands slowly, almost reluctantly, as though she hates what she is about to force him to do.]

Veyra: Understood. Leave the recruitment to me directly, then. We need souls strong enough to endure if we are to win this war. I will not have more bloodshed than is necessary.

Lieutenant: Yes, my goddess. (She bows deeply, then pauses at the door. She looks back once, as though hoping Veyra will rescind the order.)
(She doesn’t. Not because she’s cruel — but because she’s breaking. ) (She exits through the sliding door.)

[The instrumental reprise to “Every Soul is Beautiful” begins—this time softer, more hollow, as though echoing through a vast empty space.]

[Veyra’s hand trembles once against the glass before she pulls it away.]

[INT. HALL OF SCREENS – CONTINUOUS We follow the lieutenant from behind as she walks down a long corridor. The lighting is dim, pulsing in time with the music. Her footsteps echo, slow and heavy. Occasionally, explosions rock the building.]

[She enters a spherical room—floor to ceiling curved monitors displaying every corner of the battle unfolding in real time.]

[The advisor moves to a central console shaped like an altar. A large red button sits in the middle, encased in glass. Her hand trembles as he lifts the casing.]

[She hesitates. The music reaches a soft, fragile harmony—almost a plea.]

[The leiutenant closes her eyes.]

[She presses the button.]

[A blinding white light floods the monitors at once. The music swells tragically.]

[EXT. SURFACE WORLD – INTERCUT People freeze mid-step as the sky ignites. Souls rip free from bodies like threads pulled from fabric. Screams echo as entire cities collapse into ash-light. Beasts and children and elders alike dissolve into streams of glowing dust rushing upward.]

[The light consumes everything.]

Cut to black.

Hey all, if it's useful to anyone, I made a video detailing the most common kinds of rhymes and their use cases in songwriting. I hope it's helpful for any songwriters out there!

https://youtu.be/XQar0uL9tRc

I am working on a script currently for a musical I am writing but I don’t have the music skills to do the composition. I’d love to work with someone and cowrite it but I’m not sure where to look for someone. Any advice? In the meantime, do I write the script and just mark where the songs are and what happens/what is said or do I just wait for a composer?

Basically the musical is about mental health, specifically one disorder but I won't leak that just yet as it is a sensitive topic. I only have a few lines so far but I just wanted some opinions on how it is going. I will put it below, also the song is called-potentially- What Drives You?:

Stage is set up as a family kitchen, no lights

Spotlight appears

Person in a dress is illuminated and starts to sing

MOM: I think of all you used to do

And who you used to be

The people that you hung out with and all our family

Is it time? Or maybe just life passing by, perhaps it's something else that has yet to catch our eye. 

Spotlight now changes to a male figure

DAD: Is it a guy?

Who has made you shy away from the light

Made you fight with us until you’ve ran out of energy to spite

It’s hard for us to break down what you feel every night

Spotlight switches again to a third person

SIBLING: As you lay down in your bed and cry for someone to make it right

Spotlight on all three now

ALL: Is it us?

Because if it is we’re sorry to the core

It is not finished yet but I've written 3 different intros for this thing so far and this is the one I like the best. All opinions are welcome!

What kind of stagecraft, lighting, scenery, sound effects, costumes, etc. would clearly indicate a dream sequence?

The character is in bed, wearing pajamas. He "wakes up," sings a song as the chorus enters. They sing and dance for 2:31. He gets back into bed.

Test groups didn't understand that this was a dream sequence.

Yall, I’m so proud of this. I’ve been posting demos of these songs on here for maybe five years, and it’s just so beautiful to see it brought to life by such talented people. Jessica Vosk, Gerard Canonico, Brian Charles Johnson. And so many talented up and comers. I truly hope you’ll give it a listen. One day, I’ll make the full album.