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| Acknowledgments | |
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| Before We Get Started | |
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| Who This Book Was Written For | |
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| Learning Playwriting from Many Sources | |
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| How I Wrote My First Play | |
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| Ten Ways to Get the Most out of This Book | |
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| What Is a Ten-Minute Play? | |
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| The Ten-Minute Play: A Definition | |
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| When Did Ten-Minute Plays Begin? | |
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| Why Write a Ten-Minute Play? | |
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| Popularity of Ten-Minute Plays | |
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| Basic Rules for All Ten-Minute Plays | |
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| Before Beginning Your Ten-Minute Play | |
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| Perking with an Idea | |
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| Deciding When to Begin | |
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| The Actor and the Playwright | |
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| As an Actor, Do I Have the Skills Necessary to Create My Own Material? | |
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| Fear of Writing | |
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| Working Internally as an Actor and as a Writer | |
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| Techniques for Dealing with Writer's Block | |
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| Freewriting | |
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| Eleven Rules of Freewriting | |
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| Benefits of Freewriting | |
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| After You've Completed the Freewriting Session | |
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| Clustering (or Webbing): Finding the Initial Core of Your Work | |
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| How to Cluster | |
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| Starting Your Play with an Outline | |
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| Comparing Processes for Actors and Playwrights | |
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| Playwriting Basics | |
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| Aristotle's Poetics | |
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| Freytag's Pyramid | |
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| Freytag's Five Dramatic Arcs | |
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| Script Format | |
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| Beginning Your Ten-Minute Play | |
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| How I Start My Ten-Minute Plays | |
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| Starting a Play with an Idea, a Theme, or an Image | |
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| The Next Steps | |
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| Intention, Objective, and Action | |
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| The Setting and Time | |
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| The Best Way to Tell Your Story: The Play's Structure | |
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| Complications Arise | |
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| Realizing and Developing the Story of the Play | |
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| Actors Working on Their Plays | |
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| Ending the First Draft | |
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| Finding Your Title | |
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| After the First Draft | |
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| Reading the First Draft | |
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| At What Point Should You Have Someone Else Read What You've Written? | |
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| Selecting the Right Person to Read Your First Draft | |
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| The First Reading of Your Play | |
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| Cold Readings of Your Ten-Minute Play | |
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| Should You Be an Actor in the First Readings of Your Ten-Minute Play? | |
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| Listening to Feedback and Comments | |
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| Not Allowing Others to Rewrite Your Play | |
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| Back to Rewrites | |
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| Getting Your Play Out | |
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| E-mail Submissions | |
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| Actors: Should You Be in the First Production of Your Play? | |
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| Interviews with Playwrights of Ten-Minute Plays | |
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| Jenny Lyn Bader | |
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| Don Nigro | |
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| Craig Pospisil | |
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| Mark Harvey Levine | |
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| Arlene Hutton | |
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| Alex Broun | |
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| Rich Orloff | |
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| Interviews with Producers of Ten-Minute Plays | |
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| Kate Snodgrass | |
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| Alice Walker | |
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| Seth Gordon | |
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| Interviews with Publishers of Ten-Minute Plays | |
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| Sarah Bernstein | |
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| Geri Albrecht | |
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| Lawrence Harbison | |
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| Three Successful Ten-Minute Plays | |
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| The Popcorn Sonata | |
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| Discussion on Writing The Popcorn Sonata | |
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| On the Edge | |
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| Creating On the Edge | |
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| The Pain in the Poetry | |
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| Creating The Pain in the Poetry | |
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| Where to Submit Your Ten-Minute Play | |
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| Ten-Minute Play Festivals | |
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| Publishers of Ten-Minute Plays | |
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| Observations about the Ten-Minute Play | |
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| Anastasia Traina, Playwright | |
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| Scott C. Sickles, Artistic Director, Workshop Theater Company, New York City | |
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| Dirk Knef, Literary Advisor, After Folsom Festival (Berlin, Germany) and others | |
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| Suzanne Bradbeer, Playwright | |
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| Eduardo Arbo, Playwright, Barcelona | |
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| Elaine Romero, Playwright | |
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| And in the End | |
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| Playwrights: Some Key Points to Remember | |
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| Some Key Points for Actor/Playwrights | |
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| Selected Bibliography | |
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| About the Author | |