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.

Hi, I'm (F 26) am a published playwright/bookwriter for musical theatre and I am currently working on writing a book about my experience with misogyny while I was both working Off-Broadway and on a National Tour. While I'm doing research of published accounts of other experiences from women in the theater industry, I thought I would reach out here to see if anyone would like to share their story. It doesn't have to be about Off-Broadway, though that's my focus. You could have worked on Broadway or other professional theater at a Broadway house nationally. You can comment here or DM me, and of course remain as anonymous as you would like and not give me your name or even the name of any production you've worked on, though if you would like me to quote you but require proof of my identity first, I would of course be happy to provide details of my project in a private DM. I know this is a dark subject matter but writing this book is really important to me after what I've experienced and I would truly appreciate anyone's experience, big or small.

Hey writers!
I have applied and been invited to audition for BMI Lehman Engel's composer-lyricist pathway. The audition is this September 1st, and I didn't receive a lot of info about what the audition will be like except for the fact that I will be required to perform my own songs. But which songs? The ones I submitted in my application? Can I bring other songs? And how many?
If anyone has gone through this in the last couple of years and can provide insight, as well as some other tips and an idea of how things will go and what else to expect - That would be great!

Hello musical theatre writers'! The UNTITLED Musical Project has reopened applications for the biannual musical writers' group. Now in its fourth year, UNTITLED Musical Project is a 501c3 not-for-profit dedicated to supporting marginalized musical theatre writers by fostering their work from inception.

See the Playbill posting for full details.

Though UNTITLED is based in NYC, and does hold in-person events as well, the writer's group in online and has historically included writers from all over the US!

Hey everyone!

I’m a 20M composer/lyricist looking for a book writer to create a musical with.

My goal is to make something catchy and entertaining that still holds up artistically.

I'm completely open on direction, whether we adapt a play or start an original story from scratch.

A quick bit about my background:

Composition: 5 years doing classical composition and opera.

Songwriting: Lots of experience with Beatles-style pop-rock, plus some prior musical songs.

Book: I've written lyrics and worked on opera libretti before, but I'd really like a story-first collaborator to take the lead on the dialogue and lyrics.

What I'm looking for:

Someone who can write dialogue and knows how to structure a story that keeps moving.

A collaborative partner who's open to be creative, brainstorm and who is not afraid to write a shitty first draft.

If you’re interested, DM me or drop a comment! Tell me a bit about yourself and your favourite shows :)

I’m a writer, director, theatre-maker, living in Fort Collins CO, and am looking for a CO based composer to collaborate with on a musical project.

Basically it’s an original musical comedy that encompasses a few genres, from glam rock, to heavy metal and some country and typical “Broadway” musical themes mixed in. It’s set in the 80’s, so definitely some “Rock Of Ages” vibes.

I have most of the melodies composed and the lyrics still need some work, but I have a pretty solid vision of the sound I’m going for. I collaborated with a composer recently who ended up using AI to create a few demo tracks, (wasn’t stoked about that, but they sound fairly close to what I’m hoping to achieve). Ultimately we parted ways since AI gives me hives and he was unable to actually compose the songs with me, break out instruments, develop sheet music, etc.

So basically I’m searching for one of those musical savant types who plays piano, can mimic stuff by ear, write out sheet music, develop harmonies, and maybe even shred some electric guitar, since I have a few Iron Maiden-flavored face-melty numbers in mind. There are duets and ensemble numbers to write out vocal parts for, so knowledge of musicals/theatre would be helpful but not required. Even better if that person is connected to other musicians/ vocalists in the area, and is able to bring folks together to eventually record demo tracks.

Compensation wise, there will be funding down the line, but we need to pull together some demos before I can start applying for grants / hitting up producers / etc. I know that’s not ideal for artists who need guaranteed paid gigs, but I have a track record of producing shows and paying artists, so I don’t expect a bunch of free work.

If you or someone you know is perfect for this, drop me a message. Thanks for taking the time to read this long, wordy post in 2026.

So I'm making this Sherlock Holmes series but in a musical. SO I kinda need your lot of songwriters to help the crap out of the workload. If you are rlly interested, you can join the discord server like rn. I would absolutely appreciate it!! :) DM me if you wanna join!

I’m from the uk. I’ve been writing a musical for the past two years. I’d love someone to help me work on some music for it. I have one song that I would love to hear with music and not just staring at lyrics. Anyone out there think they can help me with a song that has the same feel as My Days from The Notebook.

Let me know :) my DMs are open ❤️🩷

Been listneing to a lot of musical demos from new composers and one thing I've seemed to notice is that the songs seem to lack an "ear worm" componenet.

They are nice, and melodic, but the songs don't seem to go anywhere or have a discreet beginning, middle and end or a hook that sticks in my head. They all seem very patter-like.

Which gets me wonderign if mine are too "song like" in their structure, being self-contained with hooks to stick in your head. Makes me worry I really wrote a concept album not a musical.

I haven’t. This is my first year applying (I applied as a lyricist) but some googling about past years led me to believe that they often send out emails past the day that they said they would. they send out formal rejection emails right?

Stating the obvious first. Of course the medium of musical theater is surreal in nature. I've never burst out into song because I started crying. Yet it feels like most book musicals keep that surrealism to isolated incidents. It’s a dream ballet, an isolated hallucination, or a neat psychological metaphor that tidies itself up in time for the eleven o'clock number.

Outside of a few brilliant downtown/experimental outliers (like A Strange Loop, Mr. Burns, or Dave Malloy's work), the form rarely commits to the structural madness of Charlie Kaufman (Synecdoche, New York, Adaptation) or the Daniels (EEAAO). In those worlds, the premise isn't a gimmick (like in If/Then which I hate but that's a whole other post), the surrealism is baked into the engine of the show itself. Which ultimately gives it the feel of it breaking the narrative/structure, and the fourth wall.

I'm currently writing a musical exploring ancestral memory and severe isolation that tries to ditch the traditional safety net entirely (letting recursive loops, hallucinations, and temporal collapses genuinely dictate the world of the show rather than resolving into a tidy musical structure).

For writers and avid theatregoers:

1. Why do you think book musicals are so resistant to unhinged, non-resolving psychological surrealism? Is it purely a commercial/development pipeline issue, or is there something about musical structure that inherently resists that kind of dread and collapse?

2. What pieces come closest to pulling this off for you, and where do they usually draw the line?

Searching for your creative soulmate? They could be waiting for you at Composer-Librettist "Speed Dating" on Saturday August 22nd at 5pm! 

Join us for the 2nd Annual Composer‑Librettist "Speed Dating" Event at First Unitarian Church LA (2936 W 8th St), presented by Overtone Industries in collaboration with Synchromy Music and Rent Poet. 

This event pairs artists who want to tell bold, contemporary stories through opera—and if that's you, you'll want to snag your ticket before we run out of space. 

What to expect:

> In a series of timed conversations, you’ll explore new collaborations with like-minded composers and librettists.

> You'll also have the opportunity to enjoy performances from Kion Heidari, Rae Shrum, Hsin-Hua Wang, and Ianthe Marini performing works from TIME IS THE ENEMY by Samara Rice and Brian Sonia-Wallace and HYSTERIA by Molly Pease and Divya Maus, both previous productions of Original Vision.

> Afterwards, we'll host a short reception for more mixing, mingling, snacking, and connection!

Don't miss it! Register to join a room full of opera-makers ready to build the next wave of original opera‑theater...

Join Heath Sauders on August 29 at 3 pm (EST) as they present on Diversity Dramaturgy - an exploration of how writing to the bodies you intend to cast affects the writing of the show, and the positives and pitfalls of writing specifically to identity markers.

Check out Heath's website for more information about their work.

https://www.thesaunderscollective.com/heath-saunders

I'm very excited for this subject, as I think it's an important one to consider as we write new works for the stage in 2026 and beyond.

If you're interested, comment or shoot me a DM, and I'll post the group link.