The character Nora's leaving is as much motivated by "the letter" and disclosure of a "past secret" as it is by her own determination to strike out on her own. The well-made play infiltrated other forms of writing and is still seen in popular formats such as the mystery, or "whodunit." Contemporary playwrights in the United States Contemporary playwrights in the United States often do not reach the same level of fame or cultural importance as others did in the past. No longer the only outlet for serious drama or entertaining comedies, theatrical productions must use ticket sales as a source of income, which has caused many of them to reduce the number of new works being produced. For example, Playwrights Horizons produced only six plays in the 2002–03 seasons, compared with thirty-one in 1973–74. As revivals and large-scale production musicals become the de rigueur of Broadway (and even Off-Broadway) productions, playwrights find it difficult to earn a living in the business, let alone achieve major successes. New play development In an effort to develop new American voices in playwriting, a phenomenon known as new play development began to emerge in the early-to-mid-1980s, and continues through today. Many regional theatres have hired dramaturges and literary managers in an effort to showcase various festivals for new work, or bring in playwrights for residencies. Funding through national organizations, such as the National Endowment for the Arts and the Theatre Communications Group, encouraged the partnerships of professional theatre companies and emerging playwrights. New Dramatists and The Lark theatre in New York City, for example, will often have a "cold" reading of a script in an informal sitdown setting. A cold reading means that the actors haven't rehearsed the work, or may be seeing it for the first time, and usually, the technical requirements are minimal. Shenandoah and the O'Neill Festival offer summer retreats for playwrights to develop their work with directors and actors in a totally "devoted" setting. The 1990s saw the formation of playwriting collectives like 13P and Clubbed Thumb who have gathered members together to produce, rather than develop, new works. This has been a reaction to the "developed to death" notion in which the play never gets produced, but goes through endless readings and critiques that after a certain point in New York go through some kind of assiduous development process, and rare is the play that shows up on