By James A. Goins
There's something both terrifying and exhilarating about writing a musical entirely on your own. The blank page stares back at you, holding infinite possibilities and countless pitfalls. You're not just a writer, but a composer, lyricist, and dramatist all rolled into one. It's a herculean task that few have accomplished, yet the allure of creating an entire world of story and song continues to draw brave (or perhaps foolhardy) creators to the challenge. I've written three, all produced and The Chevalier will be my last solo musical I will endeavor to write on my own. This is my process and the reality of going alone.
The One-Person Band: Notable Solo Musical Creators
Before diving into the nitty-gritty of the process, let's look at some inspiring examples of individuals who have successfully worn all three hats - book writer, composer, and lyricist:
Jonathan Larson stands as perhaps the most famous example of "Rent." Before his untimely death in 1996, Larson spent seven years crafting his rock opera adaptation of "La Bohème," working as a waiter at the Moondance Diner to support himself. The development process included countless workshops, rewrites, and the constant challenge of balancing art with survival. While "Rent" represents his masterwork, Larson's earlier piece "Tick, tick... BOOM!" (originally performed as a solo show) provides an even more intimate look at the struggles of a composer trying to create something meaningful while time slips away.
Lin-Manuel Miranda, while often collaborating with others, wrote the entire first draft of "In The Heights" during his sophomore year at Wesleyan University. Though the show would later benefit from collaborators, its core story, music, and lyrics emerged from Miranda's singular vision. The process took seven years from college draft to Broadway opening, with countless revisions along the way.
Meredith Willson spent six years writing "The Music Man," creating more than forty drafts of the show and writing over forty songs (only twenty made it to the final version). A perfect example of how personal experience can fuel creation, Willson drew from his childhood in Iowa to create River City and its colorful inhabitants.
Dave Malloy's "Ghost Quartet" and "Preludes" demonstrate how a single creator can craft deeply personal, experimental works that push the boundaries of musical theater. Working initially in small venues and building audiences gradually, Malloy shows how success doesn't always mean Broadway and that artistic satisfaction can come in many forms. Special shout-out to the women of the craft:
"Legally Blonde" – Music and lyrics by Nell Benjamin
"Little Women" – Music and lyrics by Mindi Dickstein "Once the Musical" – Music and Lyrics by Marketa Irglova "The Color Purple" – Music and Lyrics by Allee Willis "Waitress" – Music and lyrics by Sara Bareilles
Please note I've only given love to the women composers who have written music and lyrics not just music. My focus is on being multi-disciplined right now. But, Jeanine Tesori is a beast and has written music for some of Broadway's top musical shows. However, she mainly composes music. Learn More Here.
The Timeline Reality
Let's be brutally honest about timing. For a first-time creator working alone, you're looking at a minimum of 2-3 years from concept to first full draft, and that's if you're working consistently. More realistically, especially if maintaining full-time employment, the process often takes 4-5 years. Here's a typical timeline:
Year One: Conceptual Development and First Draft
3-4 months: Research, outlining, character development
6-8 months: First draft of book/libretto
2-3 months: Initial song sketches and placement
Time investment: 15-20 hours per week (minimum)
Year Two: Musical Development
6-8 months: Complete first drafts of all songs
4-6 months: Revisions and rewrites based on table reads
Time investment: 20-25 hours per week
Year Three: Refinement and Workshop Preparation
6 months: Integration of book and music
3 months: Piano-vocal scores
3 months: Workshop preparation
Time investment: 25-30 hours per week
Years Four and Beyond: Development Hell or Heaven
Multiple workshops
Rewrites based on feedback
Seeking production opportunities
Time investment: Varies widely
The Financial Reality
Now for the numbers that nobody likes to talk about. Creating a musical alone while maintaining financial stability is a complex dance. Here's a breakdown of typical costs and considerations:
Essential Tools and Resources - Pay for the Best
Music notation software (Dorico/): $600-900
Digital Audio Workstation (Cubase Pro/Logic Pro): $500-800
MIDI keyboard: $1000-5000
Reference materials and research: $500-1000
Initial investment: $2,600-7,700
Development Costs
Demo recordings (basic): $2,000-5,000
Workshop space rental: $500-1,000 per week
Hiring musicians for readings: $100-200 per musician per session
Sheet music printing: $200-400
Legal consultations: $500-1,000 (If it's not in the public domain you might need this. Don't chance it!)
Copyright registration: $65-85
Annual development costs: $3,400-7,700
Opportunity Costs
This is where the real expense lies. Working on a musical while maintaining full-time employment means sacrificing:
Overtime opportunities
Freelance work
Social events
Sleep (the most precious currency of all)
Total Financial Impact - Take special note here. It requires sacrifice.
Over a 4-year development period, expect to invest:
Direct costs: $10,000-20,000
Lost income opportunities: $20,000-40,000
Total financial impact: $30,000-60,000
The Emotional Rollercoaster
Creating alone brings unique psychological challenges that can't be quantified but must be acknowledged:
The Doubt Dragon
Every creator faces doubt, but when you work alone, there's no writing partner to provide perspective or encouragement. The doubt dragon whispers questions that can paralyze:
"Is this story worth telling?"
"Am I capable of doing this alone?"
"Would this be better with a collaborator?"
"Am I wasting my time?"
The Isolation Factor
Musical theater is inherently collaborative, yet here you are, working in solitude. This isolation can lead to:
Loss of perspective
Echo chamber thinking
Creative stagnation
Emotional exhaustion
The Time Management Guilt
When you're the only one responsible for every aspect of creation, time management becomes both crucial and crushing:
Guilt over choosing between writing book or music
Pressure to use every free moment "productively"
Difficulty maintaining work-life balance
Constant feeling of falling behind
Strategies for Success
Having painted a realistic (perhaps daunting) picture, let's explore strategies for making this solo journey manageable and fulfilling:
Structured Creation
Set specific days for different aspects:
Monday/Wednesday: Book work
Tuesday/Thursday: Music composition
Friday: Lyrics
Weekend: Integration and revision
Create accountability systems:
Monthly goals with specific deliverables
Regular check-ins with trusted feedback providers
Deadline-driven workshopping schedule
Building Your Support Network
While writing alone, you still need a community:
Join musical theater writing groups
Attend workshops and conferences
Build relationships with performers who can read/sing your work
Find mentors who can provide occasional guidance
Maintaining Financial Stability
Keep your day job or business but optimize your schedule:
Request consistent hours if possible
Use lunch breaks for writing
Negotiate work-from-home days to save commute time
Create multiple revenue streams:
Teaching music or theater
Freelance arrangements
Session work
Arts administration
Protecting Your Creative Spirit
Establish rituals that signal creative time:
Dedicated writing space
Specific music or sounds
Physical objects that represent your project
Document your journey:
Keep a development diary
Record all musical ideas, even rough ones
Save different versions of your work
The Hidden Benefits of Solo Creation
While the challenges are numerous, creating alone offers unique advantages:
Artistic Control
Complete freedom to follow your vision
No compromise necessary in storytelling
Ability to make quick changes
Unified artistic voice
Deep Creative Growth
Forced development of multiple skill sets
Understanding of all aspects of musical theater
Building a comprehensive creative toolkit
Greater appreciation for collaboration when it comes
Personal Satisfaction
A profound sense of accomplishment
A deep connection to the material
Confidence in your abilities
Unique portfolio piece
What Success Looks Like
Success in creating a musical alone doesn't always mean Broadway. Consider these markers of achievement:
Artistic Completion
Finishing a full draft
Creating a coherent score
Developing a unique voice
Building a producible piece
Professional Development
Growing your skill set
Building industry connections
Understanding the development process
Creating future opportunities
Personal Growth
Increased confidence
Enhanced time management
Improved creative process
Stronger artistic voice
The Triumph of Creation
Despite the challenges, costs, and emotional toll, there's something magical about bringing a new musical into the world. You're not just writing songs or dialogue; you're creating:
New worlds for audiences to explore
Characters that might inspire or comfort
Music that could become someone's favorite song
Stories that might change perspectives
The solo journey of creating a musical is not for everyone. It requires tremendous dedication, resilience, and a perhaps slightly irrational belief in the importance of your story. But for those who choose this path, the rewards can be profound.
When you finally hear your work performed, when audiences respond to your story, when your songs take flight in others' voices - these moments make every hour of solitary creation worthwhile. You've done something remarkable: you've turned your singular vision into a living, breathing piece of theater.
Final Thoughts
Creating a musical alone is a marathon, not a sprint. It requires patience, dedication, and a healthy dose of obsession. The path is challenging, expensive, and often lonely. But it's also an opportunity for profound artistic growth and personal discovery.
Remember:
Every great musical started as a crazy idea
Every successful creator faces doubt and fear
Every finished show was once a blank page
If you're embarking on this journey, know you're part of a proud tradition of theatrical storytellers. Your voice matters. Your story matters. And sometimes, the most powerful creative acts come from one person, alone in a room, daring to imagine something new.
The question isn't whether you can create a musical alone - history proves it's possible. The question is: what story do you need to tell, and are you willing to do whatever it takes to tell it?
The page is blank.
The goal is to finish...
Now get out of here and create something. Peace.
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