I have never felt as though I’ve written “enough” — however you want to define that word. “Enough” to support my family? I’m a playwright; that will likely never happen. “Enough” to get produced on Broadway? Nice dream, but unlikely. Even then, I will most likely, as writers do, fret about the next project.

Safe to say that in 2025, I definitely did not write enough. Still, the year had its highlights, which I was all set to put in a short Facebook post. Then I started tallying my writing work this year and realized it’s more nuanced than just a list of stats.

Oh, you want the stats? OK then. Here you go:

Two productions:

• “Important Announcement” — In Nature’s Studio, Reading Theater Project, July 2025
• “Made-Up Stories About My Ancestors” — Reading Theater Project 5-Minute Fringe Festival, February-March 2025

Three readings:

• “Hero Work” — Reading Theater Project, May 2025
• “The Witch Trial of Margery” — Reading Theater Project and BCTV, September 2025
• “Jacob and Ebenezer: A Love Story” — Reading Theater Project, December 2025

… And that’s about it. I had one more short play accepted but it won’t be produced until 2026. In addition, my full-length play “Banshee” will get a production in May 2026, also by Reading Theater Project. I had no publications, nor did I have any plays eligible for publication this year.

Production/Publication is always the goal, but so is the creation. And on that front, I’ve been slightly more satisfied:

Full-length play: “Rebel Chocolates,” a drama about the 1916 Easter Rebellion.

Short plays: 18 new short plays, ranging from 5 minutes to 30 minutes long, plus eight one-minute plays.

Monologues: 10, including two in verse: “Disciplinary” and “Dorian Gray’s Picture.”

I made 41 submissions so far this year, with three acceptances and 26 rejections. But it doesn’t take much to keep going; the acceptances, as well as the work on the upcoming premiere of “Banshee,” sustained my writing drive this year and were enough to keep me going.

Writing is a tough business. The rejections often far outweigh the successes. But even the rejections mean someone else is reading your work. While 41 submissions doesn’t seem like a high number — I have friends who regularly top 100 submissions per year — it’s the most I’ve done since I started keeping track. Now I have a goal for next year.

A friend of mine once said you should aim for 100 rejections a year. In 2025 I made it one-quarter of the way.

It’s progress.

Keep writing. That’s what I’m going to do.

The reading of “The Witch Trial of Margery” is below. I was lucky to work with Kathleen Harris Brantman, Erick Goldsmith and Rob Weidman for the second time this year. They, along with Megan Rose, were my partners on “Made-Up Stories About My Ancestors.”