We never post calls for submissions that require a submission fee. Learn more here.

Monday, July 30, 2018

Fall Writing Classes at Primary Stages ESPA!

Fall 2018 classes at Primary Stages ESPA are now open for enrollment! Here are just some of the classes in our lineup of opportunities in the writing department:

Instructor: Kara Lee Corthron (Writer, AliceGraceAnon at New Georges)
If you’re just stepping into the world of playwriting, welcome!

This class will guide you through the development of your first draft, providing concrete deadlines, constructive feedback, and a collaborative environment that will encourage you to get your ideas on the page.

Instructors:
Eddie Sanchez (Writer, Barefoot Boy with Shoes On at Primary Stages)
Michael Walkup (Producing Artistic Director, Page 73)
Suzanne Bradbeer (Writer, Confederates, Pulitzer-nominated The God Game)
Abe Koogler (Writer, Obie-Winning Fulfillment Center at MTC, Kill Floor at LCT3)
Adam Kraar (Writer, New World Rhapsody at MTC, Wild Terrain at EST)
Winter Miller (Writer, In Darfur at The Public)

Instructor: Crystal Skillman (Writer, Geek, Rain and Zoe Save the World)
Tackle the revision process and develop a stronger version of your play.

Instructor: Kara Lee Corthron (Writer, AliceGraceAnon at New Georges)
This class is for those with complete drafts who are ready to hear the play in full and embark on strategic rewrites.

Instructor: Robert Askins (Hand to God on Broadway, EST, and MCC; Permission at MCC)
If you're angry, disappointed, almost livid, let's talk about how you can yell at the world through the megaphone of the stage.

In this 2-day writing workshop, you will dig into your play, ask it new questions, and emerge with a clear vision for rewrites.
Instructor: Melissa Ross (Writer, Of Good Stock at MTC, Nice Girl at Labyrinth)

Instructor: Stefanie Zadravec (Writer, The Electric Baby at Two River Theatre Company)
Does your play say what you think it’s saying? Spend this 2-day workshop breaking open your play and tuning your sense of how a play “lands” on its ear.

Classes begin in September. Click here for the full list of writing classes.

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

The poll is closed - naughty words will remain un-bleeped


The voters of the NYCPlaywrights Podcast poll overwhelmingly voted to allow un-bleeped naughty words.

Thanks to everybody who participated in this poll.

For more about the Podcast check out playwrightspodcast.com 

Sunday, July 29, 2018

FUNHOUSE IV seeks 10-minute plays (Seattle)

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Fee is waived for Dramatists Guild members and others - see highlighted section below.

FUNHOUSE IV
a play anthology
November 29 – December 1
Theatre Off Jackson, Seattle, WA
Produced in Association w/ Theatre Off Jackson
Created by Brian Toews
Directed by Anna Ly, Brian Toews, Chris Quilici, Katie Greve, and Mario Orallo-Molinaro

WHAT IS FUNHOUSE?
Funhouse is recurring play anthology inspired by The Twilight Zone, Black Mirror, Saturday Night Live, and Adult Swim. It is a collection of subversive and experimental original content. Each show is comprised of a series of short plays that, when viewed together, give audiences an experience similar to that of walking through a funhouse. As soon as you think you know what’s coming next, the room starts spinning and the floor falls out from under you. Our show serves as a rotating platform for diverse up-and-coming playwrights, directors, actors, and designers. The creators of Funhouse want artists to take bold risks in their storytelling.

HOW DO I FUNHOUSE?
Submissions of original ten-minute plays will be accepted beginning June 4th, 2018. The deadline is July 31st, 2018; late submissions will not be accepted. Writers will be notified of our selections September 2018. The selected plays will be given a full production within the capabilities and budget of the producers. A $40 honorarium will be given to all selected playwrights.

Submit scripts at funhouseanthology.com/submissions
Submissions must be received by August 1st, 2018 to be considered; late submissions will not be accepted.

SUBMISSION FEE (w/No-Fee Options)
There is a $5 submission fee for each script. After submitting your script, the email listed on your submission will be invoiced via PayPal. We will read and consider your script only after we have confirmed the submission fee. Our PayPal is registered to funhouseanthology@gmail.com

NO-FEE OPTIONS
1) If you identify as a part of any historically or presently marginalized group, we are able to waive your submission fee. Please select the "I am exempt" option when submitting your work.
2) If you cannot pay the fee for any reason and still want to submit, please let us know at funhouseanthology@gmail.com and we can work something out.
3) The fee will be waived if the playwright can prove they are a member of the Dramatists Guild. 

SUBMISSION FEE INTENTION
The reason we made the submission fee such a low cost is so we could help supplement our operating budget while still making submission accessible to all. We aim to create a sustainable, recurring production, and charging a small submission fee helps us reach that goal.

EQUITY, DIVERSITY, AND INCLUSION
We believe that theatre should reflect the community it serves. As such, we encourage people of all experiences, backgrounds, and identities, to submit their work. This includes people of any race, ethnicity, gender, sexual orientation, age, ability, class, or religion. If you identify as part of any historically or presently marginalized groups, we are able to waive your submission fee. Please indicate in your submission email if you would like the fee to be waived.

SUBMISSION GUIDELINES

1) Submission must be an original, unproduced 8-10-minute play at time of submission. Plays that have had staged readings will be accepted. Legal clearance of materials not in the public domain is the full responsibility of the playwright.

2) A limit of THREE plays may be submitted by each playwright.

3) Maximum length: 10 pages not including title pages. Plays should run in the 8-10 minute range. Longer submissions will not be considered. Plays less than 10 pages are encouraged.

4) Scripts may be comedy, drama, horror, fantasy, sci-fi, parody, and/or musical.

5) This is a show for mature audiences (18+). We encourage subversive and/or experimental work. Need some inspiration? Check out our Pinterest Board for images to inspire you: https://bit.ly/2wVORtI

6) Plays must be submitted with numbered pages and include on the title page the following contact and bio information:

Playwright’s first and last name
Mailing address
Phone number
E-mail address
A brief biography (100 words or less).

7) If you identify as a part of any historically or presently marginalized groups, we are able to waive your submission fee. Please indicate in your submission email if you would like the fee to be waived.

8) All scripts must be in English.

9) Preferred document format: Microsoft Word or PDF files ONLY. No other formats will be accepted.

10) Selection will be made by Brian Toews and the Funhouse IV directors and inclusion is solely at their discretion. All decisions are final.

11) All submitting playwrights will receive an email notification upon receipt of their scripts.

12) Notification of final decisions will be made by e-mail by September 2018.

The NYCPlaywrights Podcast poll is closing & so is the call for submissions

The NYCPlaywrights Podcast call for submissions is closing tonight - send your play or monologue by 11:59 tonight. More info here.

The poll will close at the same time. Take the poll & help us figure out what the people want - thanks! ❤️


Saturday, July 28, 2018

2019 POLYPHONE FESTIVAL

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DUE AUGUST 1, 2018 11:59pm

Polyphone is a nationally recognized festival of the emerging musical at the University of the Arts in Philadelphia. For the last four years we’ve brought composers, librettists, directors, choreographers and music directors from the field onto the campus of the Ira Brind School of Theater Arts at UArts to work with student casts and creatives on never before produced musicals.

Each year we program four new musicals. Each musical is cast from around 150 auditioning students, workshopped and rehearsed for six weeks, and teched for three days. During the festival week, each musical receives three performances. The final presentations are off-book, staged concert productions with a full band and lighting design. The process allows the authors to make changes over the rehearsal period and see a musical on its feet for the first time. On the last day of the festival, we perform all four shows in a 12-hour marathon on two stages. This year Polyphone will be housed in the Philadelphia Arts Bank Theater and The Wilma Theater on S. Broad St.

Each year Polyphone plugs over 100 undergraduate theater students into the process of new musical development. In the process we support emerging artists with a paid opportunity to make their work, give students on-the-ground training in the creation of new work, and give adventurous new musicals time and space to develop, free from the pressures of commercial interests, producing theaters, or reviews.

AS A POLYPHONE AUTHOR YOU RECEIVE:

  • Artistic Fee.
  • (for Non-Philadelphia artists) housing stipend, travel reimbursement to Philadelphia.
  • Paid professional director, music director, and choreographer. If a project has an attached director, music director, or choreographer, we will work to bring them on board.
  • Student cast, band, and creative assistants.
  • Dramaturgical, logistical and technical support from the festival creative leadership and the UArts community.


ELIGIBILITY:


  • We are looking for original musicals with a cast of 7 or more characters. A cast of 10-15 is ideal. We define a musical as a performance in which music is a primary mode of storytelling. This can include ensemble-based, devised, experimental and/or operatic work.
  • The musical should have a completed first draft and ideally will have been read at least once in a workshop or concert setting.
  • Authors and lead creatives must be based in the NYC or Philadelphia regions during the rehearsal and festival period. Non-Philadelphia artists are housed for weekend rehearsals, tech and festival weeks. There is no housing for the full 6 week rehearsal period.
  • Lead creative team members should be available for rehearsals Friday Nights, Saturdays and Sundays January 18 – February 17. And for three tech rehearsals between Feb 19-24. And for at least one show during festival week February 26-March 3.
  • Artists that are current graduate or undergraduate students are not eligible with the exception of UArts students and MFA students at the Pig Iron School for Advanced Performance Training.
  • Please Note:
  • Polyphone is a hybrid educational and creative opportunity. Polyphone guest artists are asked to play the role of educator and artist during the rehearsal period.


Polyphone Festival performances employ minimal costumes and props, and no scenic design.

Authors may submit more than one musical in a separate applications

The festival staff is especially motivated to program voices and stories that are traditionally underrepresented in the musical theater canon.

DUE AUGUST 1, 2018 11:59pm
Send the following in an email to Jen Jaynes, Submission Administrator: jjaynes@uarts.edu


  • Subject: Polyphone Submission 2019
  • Name of Musical
  • List of authors (including websites + phone numbers + email addresses)
  • Brief description of Musical (100 words or less)
  • Briefly describe the developmental history and any future plans for the musical.
  • Briefly describe the work on your show you’d most like to get done during Polyphone. (100 words or less)
  • Is there a director, music director or choreographer attached to the project? If so please list names and contact information. If you are submitting an ensemble-based piece describe the structure of your ensemble. Typically we bring a core group from an ensemble.
  • Link to audio files of demos or live recordings from the show being submitted. (links must be active until November 1)

Attach:

CVs of Authors, script of the musical being submitted.

Nylon Fusion Theatre Company This Round's on us: Can you TOUCH Me?

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Nylon Fusion Theatre Company is currently accepting 10 minute plays.

This Round’s On Us: The - Making Sense - Festival
Can you TOUCH Me? August 8th, 2018

Technological advances have always been a part of life from the wheel, loom, and engine to the computer, internet and now virtual reality.  Most of these we can say with certainty aided us in our lives and helped make the world a better place.  But with the increased reliance on (and use of) technology, have we lost a bit of what makes us human and binds us together?  For our 2018 season, we will focus on the human sensory experience in any and all interpretations and perspectives.  We look forward to your submissions.

To be considered This Round's On Us please submit/email the following: A cover letter, brief synopsis, resume and full script to nylonsubmissions@gmail.com Please be specific as to which project you are submitting to. Write on the SUBJECT LINE For example: This Round’s On Us: Can You Hear Me? and your name.

NOTE:-- all chosen plays are produced (including casting) by Nylon Fusion Theatre Company.
--
Deadlines for “Political Play Series”
To be considered please submit/email the following: A cover letter, brief synopsis, resume and full script to nylonLIT@gmail.com
Subject Line: Name of Play and Playwright.

We will contact you if your work matches what we’re looking for.
Thank you!

Nylon Fusion Theatre Company

Philadelphia Missionary Baptist Church seeks 10-minute plays

Facebook page

We are seeking 10 minute plays following our 2018 theme, "Steadfast and Immovable".

These pieces will be performed at Philadelphia Missionary Baptist Church. Pieces should be PG to PG-13 (but no cursing, sex or sexual innuendos, and/or gambling of any kind) the deadline for submitting will be July 31st playwrights will be notified by August 1 if their plays are selected. All playwrights will be required to cast and produce their pieces. Pieces should be original, works with minimal tech and set pieces.

PMBC will provide performance space, chairs, tech including lights and sound, tickets, flyers and other forms of advertisement.

11th International Festival of Horror Radio Plays

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The submission window for Deathscribe 2018, the 11th Annual Festival of Horror Radio Plays, is from May 1 to July 31, 2018. Submissions are accepted through our online submission form.
Every year we seek 10-minute radio scripts that are genuinely scary, imaginative, chilling, intelligent, suspenseful, horrific or downright grotesque. Writers may submit up to two radio plays to Deathscribe in any given year. Five scripts will be selected from all submissions. These five pieces will be performed on stage in front of a live audience. The writer of the winning piece, chosen by a celebrity panel of judges, will receive the coveted Bloody Axe Award, as well as a $100 cash prize.

Guidelines:

PDF format is strongly preferred. If PDF is not possible, then only MS Word please.
All scripts must have a title page with all contact information, but NO identifying information should appear anywhere else in the document.

Scripts must be no more than TEN MINUTES in length, and should follow radio drama format. An example of proper radio drama format can be found here: http://downloads.bbc.co.uk/writersroom/scripts/bbcradioscene.pdf

The Deathscribe experience includes performing the pieces on stage with Foley artists and a band creating the sound effects and music live. Therefore, scripts must be ready to produce, including direction for sound and music cues. Sorry, but submissions cannot include usage of copyrighted music.

Writers may submit up to two (2) scripts for Deathscribe consideration in any year.
NO SCREENPLAYS. SCREENPLAYS WILL BE DISCARDED. WE KNOW THEM WHEN WE SEE THEM. (Nothing against screenplays. But this is a radio play festival.)

INTRODUCING THE TERRY SCHREIBER NEW WORKS INITIATIVE 2018

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The T. Schreiber Studio & Theatre is excited to introduce our “New Works Initiative,” (formerly the New Works Project). The T. Schreiber Theatre is dedicating its resources to providing writers with the opportunity to hear their works read out loud and in a professional setting, while inviting our audience to join us in informing the development of new plays all season long.

At the end of the season, the plays read will be considered for a Workshop Production in September of 2019, produced by the Studio.

Mission Statement: The Terry Schreiber New Works Initiative is committed to supporting the development of new plays in a safe and nurturing environment-one that serves the playwright while enriching the T. Schreiber community as a whole. The Theatre will provide the playwright access to the expertise of experienced theatre professionals, sophisticated and well-trained actors, and a supportive, interactive audience. In the New Works Initiative, T. Schreiber Studio & Theatre will develop new theatrical productions through a series of staged readings and collaborative refinement. The goal is to foster and elevate writers’ work to its fullest potential. Each piece has the opportunity to be considered for a Workshop Production in September of 2019.

The New Works Initiative is committed to script development and successful production of new works. Chosen projects are expected to participate fully in the development process: working directly with the T. Schreiber Studio staff during staged readings; interacting with audiences post-readings; and if chosen, participating in a Workshop Production. T. Schreiber cannot provide transportation or housing to playwrights submitting works from outside the NYC area.

Guidelines: Successful submission of a project does not guarantee a slot in the 2018 – 2019 season’s New Works Initiative. Plays accepted for an Invited Reading in the 2018 – 2019 season agree to be considered for Workshop Production in September of 2019.

Only full-length stage plays that have not yet been produced on a full scale will be considered, with a few exceptions being made for full length screenplays (however preference will be given to theatre pieces.) Projects with an outside director may be considered, however the director and playwright agree to give casting priority to students and alumni from the T. Schreiber Studio.

Submissions are now open for the 2018-2019 season.

Submissions will be accepted through July 31st, 2018.  

Playwrights may submit a single full-length script.

Send a BLIND copy (a copy that has NO identifying information about the playwright) of your full-length play to NewWorks@tschreiber.org.

Along with your play submission, please include a New Works Initiative Application resume, character breakdown and brief synopsis of the play.  If your play is selected for a reading you will be notified by email. 

Ensemble Studio Theatre Marathon Play Submission Guidelines

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Submissions for the 2019 Marathon of One Act Plays will be accepted from June 1, 2018 through August 1, 2018.

Non-member playwrights may submit a single script, no longer than 30 minutes, which has not been reviewed in New York. We prefer email submissions, which can be sent to literary@estnyc.org.

Please include your name and contact information in the body of your email but send the script without identifying information.

Friday, July 27, 2018

Hodder Fellowship

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The Hodder Fellowship will be given to artists of exceptional promise to pursue independent projects at Princeton University during the 2019-2020 academic year. Potential Hodder Fellows are composers, choreographers, performance artists, visual artists, writers or other kinds of artists or humanists who have "much more than ordinary intellectual and literary gifts"; they are selected more "for promise than for performance." Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own fields; the Hodder is designed to provide Fellows with the "studious leisure" to undertake significant new work.

Hodder Fellows spend an academic year at Princeton, but no formal teaching is involved. An $82,000 stipend is provided for this 10-month appointment as a Visiting Fellow. Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.

Applicants must apply online at https://www.princeton.edu/acad-positions/position/7061.  Applications must be submitted by September 18, 2018, 11:59 p.m. EST.

Writers:
Please submit a resume, a 3,000-word writing sample of recent work, and a project proposal of 500 words.

Composers, Performing Artists, and Visual Artists:
Please submit a resume, a project proposal of 500 words, and examples of ten minutes of performance through link(s) to sites such as YouTube, Vimeo, Flicker, etc. Visual artists should provide up to 20 still images organized into a single PDF file and submit as part of their online application. Composers may send 1-2 scores as a PDF file and submit as part of their online application and/or supply a link to a website.

We cannot confirm receipt of applications nor can we accept applications submitted after the deadline. Limits on the statement size (500 words) and sample size (3,000 words) are strict.

The appointment of the Hodder Fellows will be made in early 2019. An announcement of the award will be posted here: http://arts.princeton.edu/fellowships/. To learn more (including FAQ, profiles of past fellows, etc.): arts.princeton.edu/fellowships

Essential Qualifications Selection will be based on artistic achievement.

Thursday, July 26, 2018

Cecile's Writers Magazine seeks intercultural authors

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Cecile’s Writers Magazine is part of Stichting Cecile’s Writers, a nonprofit organisation (Dutch Chamber of Commerce number: 54563682). Our aim is to create a free digital magazine where intercultural authors can publish their work.

Read more in About Cecile’s Writers…

Submission Guidelines
Please read these guidelines before sending in your submission. If you do not follow the guidelines your submission will be rejected.

We are happy to announce that Cecile’s Writers Magazine is Open for Submissions. Submissions may be sent to us at any time.

Author
We accept submissions from intercultural authors:

Authors for whom English is their native language but currently reside in a non-English speaking country (or have resided in a non-English speaking country for at least 3 years).
Authors whose parents have different cultural backgrounds (either by ethnicity or by nationality)
Authors for whom English is not their native language but choose to write in English.
Authors who do not fit any of the above categories but still feel they have an intercultural voice are also welcome to submit their story. When submitting please do briefly explain why.

The concept is about the authors and not the subject matter. The stories themselves do not necessarily need to highlight intercultural subject matters.

Please note that you must be 18 years or older to submit.

Genre
All genres of fiction are welcome. We prefer character driven stories as opposed to plot driven stories.

In non-fiction, we accept short memoirs, personal essays and literary essays.

The maximum word counts are as follows:

Flash Fiction: 1,000 words
Short Stories: 7,500 words
Novelettes: 21,000 words
Novel Excerpts: 6,000 words
Plays: 9,000 words
Personal Essays / Memoirs: 6,000 words
Literary Essays: 6,000 words
Poetry: Max. 3 poems (see separate submission guidelines for poetry for more details)
Author’s Rights

Cecile’s Writers Magazine retains the exclusive first rights of publication for a period of 6 months after it has been published on the website. The author retains full copyright of any work published.

We do not accept work that has been previously published elsewhere (or is expected to be published elsewhere), this also includes work published on blogs.

Author’s Information

The author’s name and email address should be typed at the top of the first page with the word count of the story. We also ask the author to include a brief biographical note with their submission (max. 200 words) as a separate attachment, mentioning what it is that makes you an intercultural writer.

Response Time

We will do our best to respond to your submission within six weeks. In busy periods (July/August and December) this could take up to 12 weeks.

Simultaneous Submissions

We accept simultaneous submissions since we want an author to have every opportunity to be published. We do ask that an author inform us immediately when his/her work has been accepted elsewhere.

Format


  • We only accept electronic submissions in one of the following formats: .doc, .docx, or .txt
  • Manuscripts should be in 12-point type in one of these fonts: Arial, Cambria, Helvetica or Times New Roman
  • Manuscripts should be double-spaced with 2.5 cm margins
  • Manuscript pages should be numbered at the bottom of the page
  • The title of the story and the author’s name should be visible as a header on all pages


Technical Difficulties

If you have any questions or encounter technical difficulties, please contact us at: editors@cecileswriters.com

Ready to submit? Please fill in the submission form.
We look forward to reading your work.

The Lorraine Hansberry Theatre (LHT) is seeking submissions for its inaugural Playwrights Competition

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SUBMISSION PERIOD:  Electronic submissions for the 2018 competition must be submitted no earlier than 9 July 2018 and no later than 10 August, 2018 at 11:59 pm (Pacific).

FEES:  There is no entry fee.

JUDGING:   Three semi-finalists will be selected by a panel of theater arts professionals to include LHT’s Interim Artistic Director, Aldo Billingslea. Judging will take place in August 2018.  Three semi-finalists will be announced in early September 2018.

AWARDS:
1. Three semi-finalists will receive a public staged reading during a weekend festival October 12-14, 2018.

2. The winning finalist will receive $7,500 and a workshop to further develop the script to be considered for a full production in 2019.


ELIGIBILITY:

1.  Submissions must be original, unpublished full-length scripts written in English. Translations, musicals, adaptations, and children's plays are not accepted.

2. Playwrights may submit only one manuscript. Scripts must be authored by only one playwright.

3. Scripts that fit the criteria and have had a workshop, or reading WILL be considered.

4. Plays that have been published or produced (off-book for an audience) are NOT eligible.

5. Scripts may NOT be under option, commissioned, or scheduled for professional production or publication at the time of submission or during the competition timeline.

6. Scripts will be accepted from playwrights within the United States with preference given to playwrights with connections to the San Francisco Bay Area.

7. Lorraine Hansberry Theatre reserves the right to reject any manuscript for any reason and to determine the ineligibility of a winner,  in keeping with the spirit of the competition.

8. All submissions must give LHT first option to produce their work, if selected as the finalist.

SCRIPT CRITERIA:  Please carefully follow these guidelines in preparing your script:

1. This competition is restricted to scripts written in the English language.

2. The script must address a social issue(s) in a comedic way and have a hopeful ending.

3. The script must have at least two African American women characters, one of whom is at least 40 years old.

4. The script must have at least one scene where two females have a conversation that is not focused on men.

SCRIPT SUBMISSION RULES:

1.   Scripts must be typed/word-processed, page-numbered, and in Yale Drama Series play format.

2. Lorraine Hansberry Theatre will accept electronic submissions in .PDF format ONLY.  By electronically submitting your script, you will receive confirmation of your submission.

3. The script must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, a list of acts and scenes and a 1-2 paragraph descriptive summary of the play that may be used in a program.

4. Before title page, provide a separate page with the title of your play, your name and contact information (including address, phone number, and email address), and a brief 1-3 paragraph biography.

5. Email scripts to playwrights@LHTSF.org.  In the Subject Line Add: Playwrights Competition Submission + TITLE OF SCRIPT.

6. No more than 100 scripts will be accepted by the deadline of Friday, August 10, 2018 at 11:59 PM (Pacific).


QUESTIONS?  For more information regarding the 2018 Lorraine Hansberry Theatre Multicultural Playwrights Competition, email playwrights@LHTSF.org. In the Subject Line: Question RE: Playwrights Competition.

Wednesday, July 25, 2018

Call for Submissions: Village Theatre Now Accepting New Musical Scripts

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Deadline: August 3

Submit via digital only, via portal here: https://villagetheatre.org/issaquah/vo-submit-script.php

Full-length MUSICALS ONLY (at least 80 minutes) for consideration for our full new musicals pipeline (readings, workshops, full productions)

We also recommend you include the following:

More than one submission is allowed but all must be submitted separately

Musicals cannot be published, may have had productions elsewhere but must still be in development

You will receive a confirmation of receipt and then further correspondence by the end of the year

No participation fee, no submission fee.

Tuesday, July 24, 2018

Little Wonder Radio Plays Short Drama Competition

web site

To enter, carefully read this page, complete the form at the bottom of the page, and upload your script as a .doc, .docx or .pdf file.

UPDATE:  PLEASE BE SURE TO TITLE YOUR PLAY FILE “PLAY NAME by WRITER’S NAME” (EG. OUTSIDE by KEITH CRAWFORD) OTHERWISE YOU RISK BEING LOST IN THE DELUGE!

1. Engage with Little Wonder

We recommend you to have engage with our work a little before you enter – it will give you a better idea of the sort of thing we do and, hopefully, some ideas how to do it better.

Visit “Little Wonder Radio Plays” on iTunes.  Subscribe.  Listen to a couple of episodes.  Then leave a star rating and a review by clicking on “Ratings and Reviews.”

In your review, try to take a moment to explain what you enjoyed, which episode you listened to and to whom you would recommend the podcast.  It doesn’t need to be more than one to three sentences.

The quality of your review – or whether you have listened to us or not – will have no impact on the evaluation of your work.  We just want you to have engaged a little with what we do before you enter, to help give you an idea of what we’re looking for.  Writing a review is a good way to focus on and think about the work you’ve listened to.

While you’re at it, click on the little down arrow by the word “Subscribe”, click “share on twitter/Facebook”, and tell your friend about us/that you are entering our competition 😉  After all, you do want to be famous when you win, right?

2.  Be sure you have read the Terms and Conditions.  By entering you are stating that you have complied with the terms and conditions.

3.  Check you have done the following:

  • Included a title page with the title, your address, email and contact details.
  • Put the title of your script underlined on the first page.
  • Put a cast list of that could be played by 4 actors, none of whom are children or real people.
  • Set everything in double space 12-point courier
  • Put page numbers in the bottom centre page.
  • Checked your word count is between 1600-2000
  • Saved your file with title “Name of my Play by My Name”, for example “Outside by Keith Crawford“
  • We reserve the right to disqualify entrants who do not meet the competition rules


4.  Don’t be scared.  Everyone must write their first play sooner or later.  We’re nice people who do all of this for love of drama (the good sort of drama).  You don’t have to write perfection.  Just give us heart.

5.  Entry is now live! To enter our 2018 competition, first complete the form below, then upload your file using the upload button at the bottom of the page. Please make sure that the name of your file is “your play by your name” and that you use the same names on the form and on the file.

Once again, before entering, please make sure you have read all our rules and submission guidelines, and how we are handling the additional categories for BAME (Black Asian Minority Ethnic) and LGBTQ+ writers.  Don’t waste all your hard work!

Shakespeare's New Contemporaries

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Applications are now being accepted through August 1, 2018.  

We’re looking for submissions that are inspired by or in conversation with Othello; Henry IV, Part 2; A Midsummer Night’s Dream; or Cymbeline.  Check this site for updates about future rounds.  Have questions about the application process?

Visit our Frequently Asked Questions page or email us - sncproject@americanshakespearecenter.com.

BEFORE SUBMITTING, CONFIRM THAT YOUR PLAY MEETS OUR QUALIFICATIONS:

  • The play must be written for a cast of 10-12 actors.
  • The play must be able to be performed with minimal sets.
  • The play must be able to be performed with universal (shared) lighting.
  • The play must be able to be performed with any and all music and sound effects created in real time, unplugged, and by members of the acting troupe.
  • The play must be 2(ish) hours long.
  • The play must be inspired by or in conversation with Othello; Henry IV, Part 2; A Midsummer Night’s Dream; or Cymbeline.

The play must have not yet had a professional production and preferably would remain unproduced through July 1, 2020.  (Questions about this?  Shoot us an e-mail).

PREPARE YOUR APPLICATION:

  • To smoothly navigate the process, we encourage you to prepare your materials before beginning the application.  To that end:
  • Remove your name and any contact information from the script.  Remove any agent or representation’s name and contact information from the script.
  • Include a Character Breakdown at the start of the script.  The breakdown must include age and gender and may include any other information you’d like us to know. If your play contains more than 12 characters, please be sure to include information about actor doubling.
  • Title the document with the title of your play.
  • Save your script as a PDF or Word document.
  • Optional: You may upload any supporting materials that may be related to the play; please be sure to name each file “[Title of Play]_Additional Content”

PREPARE THE APPLICATION FORM:

In addition to contact information and basic information about the play, you will also be asked for answers to the following questions.  (Please note: each question has a 4,000 character limit – including spaces):

Playwright bio.

Play synopsis: please provide a brief overview of the plot of your play.

How does your play engage with Shakespeare’s work?

Optional: Play History: If your play has had any development or production history, please briefly tell us about it.

Monday, July 23, 2018

The Complete Theatre Company seeks one-act plays

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The Complete Theatre Company is seeking one-act plays for The New Yorker's One-Act Festival.

The submission deadline is August 1st. 

The requirements are that the scripts run between eight and sixteen pages and that the playwright be a current New York resident. 

The production will run for five performances in one of the larger theatres at The Producers Club in mid-October.

Please, e-mail scripts to Annie Ward at annieward@tctheatrecompany.com.

For more information on The Complete Theatre Company visit: www.completetheatre.net.

Sunday, July 22, 2018

Village Theatre Musicals

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Village Theatre (Everette WA) accepts submissions from June 1 to August 3 each year— anyone can submit a libretto sample for consideration, provided they follow the guidelines listed below. Full scripts will be accepted by invitation only.

Village Theatre is committed to inclusivity and encourages submissions with diverse stories, experiences, musical styles, forms, content, and points of view.

Your musical must fit these criteria:

MUSICALS ONLY - we do not accept non-musical plays, plays with music, or traditional operas;
We are seeking professional-level writers. Emerging, mid-career, and master writers are all encouraged to submit;

We do not accept children’s theatre or Theatre For Young Audiences (TYA) shows;

While we only need a sample at this time, shows must have a full-length script available upon request (at least 80 minutes);

At least 3 demo recordings must be available - they do not need to be professional/studio quality but they must be clear enough to hear lyrics, melody and accompaniment;

All content must either be wholly original, based on work in public domain, or authors must have underlying rights and/or permissions to use any pre-existing material. No exceptions;

Your musical is still in development - no shows can have been on Broadway or licensed by a major licensing house.

We only accept digital submissions. Hard copy submissions will be returned unopened.

LIBRETTO SAMPLE INSTRUCTIONS
We ask that all open submissions submit a 15-20 page libretto sample. Full scripts will be accepted by invitation only. Please submit the 15-20 pages that will most make us want to read more. Your 15-20 page selection must be consecutive pages (ex: you may not submit pages 1-10 and 50-60) and two of your song demos must be contained within the sample pages you submit. Do not include a title page. If your script submission is longer than 20 pages total we will not review it.

SONG SELECTION INSTRUCTIONS
We ask for 3-5 songs. Please include all songs that are in your 15-20 page libretto sample. If you are able to include more songs beyond your libretto sample (without going over 5 songs) please choose the songs that most represent the show and your skill as a writer.

BSC Ten Minute Playwriting Competition 2018: "What Happened to the American Dream?"

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“Is what we are doing good enough? Have the changes that have revealed themselves in recent years…shown overwhelming evidence that we are doing an intelligent job, an adequate job? I am afraid not. Genuinely afraid.” 
– Eleanor Roosevelt, April 1961, The Atlantic, “What Has Happened to the American Dream?”

Bismarck State College Theatre, in collaboration with the Humanities North Dakota, as part of the HumanitiesND year-long “GameChanger Ideas Festival” is pleased to announce a call for brand new ten-minute plays exploring the question: What happened to the American dream?

Theatre has had a long history of examining the American dream: whether through Arthur Miller’s cutting critique in Death of a Salesman, August Wilson’s poetic and revelatory Pittsburgh Cycle, the modernist anxiety of Sophie Treadwell’s Machinal, Suzan-Lori Park’s “Rep and Rev” of The America Play, or Lin-Manuel Miranda’s re-envisioning of the Founding Fathers as played by actors of color in Hamilton, the theatre has always been a forum for exploring the possibilities, anxieties, limitations, and opportunities afforded to people pursuing the American dream.

“Man cannot live without hope. If it is not engendered by his own convictions and desires, it can easily be fired from without, and by the most meretricious and empty of promises.” Eleanor Roosevelt, April 1961, The Atlantic, “What Has Happened to the American Dream?”

Americans find themselves at a crossroads politically, socially, economically. Simultaneously more connected than ever before, and more estranged and dispossessed. In an era of fake news, of foreign governments attacking our social media outlets, what are our convictions and desires? What feelings do those convictions and desires engender, if not hope? Are we living without hope? Are we being fired upon by meretricious and empty promises?

The American Dream means many different things to many different people. Is the American Dream the spread of democracy across the world? Is it the Jeffersonian concept of life, liberty, and the pursuit of happiness? Is it the promise of upward economic and social mobility?

BSC Theatre seeks brand new ten-minute plays that engage with the question of the American Dream, construed broadly. Plays may be written in any style, set in any time, and may use as many or as few characters as the author wishes.

BSC Theatre seeks only brand new, never before produced plays, outside of readings, workshops, and/or festivals. Plays should be no more than ten pages long (exclusive of cover page/dramatis personae), following traditional playwriting format. Plays will be entered into consideration for production during BSC Theatre’s annual Short Play Festival in May 2019. If selected for performance, authors agree to provide BSC with performance rights for the duration of the Short Play Festival.

Selection of scripts for performance will be at the discretion of a coalition of academics, theatre artists, and representatives from HumanitiesND.

To submit:

• Visit BSCTheatre.com, and fill out the Google Form linked there. Please ensure that you attach a copy of your ten-minute play to the form, in DOC or PDF format.
• Playwrights may submit up to three scripts for consideration.
• Playwright’s name and complete contact information should be included on the cover sheet only. The playwright’s name should not appear anywhere else.
• Submission due date is September 1st, 2018.

If you have any questions, please feel free to contact Dr. Danny Devlin, Assistant Professor of Theatre at Bismarck State College at Daniel.devlin@bismarckstate.edu or 701-224-5530

Saturday, July 21, 2018

NYCPlaywrights Podcast is here

The first episode: Welcome to the Trip

We talk to Ken Wolf of Manhattan Repertory Theater, listen to G. B. Shaw talking about Benito Mussolini, a script-in-hand reading and information about how you can get your work into the next NYCPlaywrights Podcast episode, "A Midsummer's Podcast."

CHECK IT OUT HERE.

Call for submissions: A MIDSUMMER'S PODCAST

Would you like your monologue or 10-minute play or excerpt to be in the next NYCPlaywrights podcast? We are looking for scripts. And you can check out the first podcast episode at playwrightspodcast.com

Submission Rules
  • The deadline is Sunday July 29, 2018 at 11:59 PM EST.
  • There is no fee for submission 
  • The submission can be one monologue or one ten-minute play or a ten-minute excerpt from a larger work.
  • The script must have something to do with summer or Shakespeare's "A MIDSUMMER NIGHT'S DREAM"
  • Only one submission per playwright.
  • The monologue can only be one page long. 
  • The ten-minute play or ten-minute excerpt cannot be longer than 10 pages.
  • The submission should be sent by email, with the script itself as a file attached to the email as a PDF file.
  • Send the script to hello@playwrightspodcast.com
  • All rights will remain with the playwright. 
  • The script must be submitted by the author of the script, no agents or others may submit. 
  • Make sure you have your name and your email address on the script. 
  • The monologue or play can be submitted by current residents of the United States only, for technical reasons.
  • It's OK if the play or monologue has been produced before. But not published.
  • The NYCPlaywrights selections decisions are final.
  • We will notify submitters of the decisions and announce the winning monologues on the NYCPlaywrights web site by Sunday August 5.
  • A recording of the play will be included in the NYCPlaywrights Podcast "A MIDSUMMER'S PODCAST" which will probably be posted mid to late August.
  • If you have any questions write to us at hello@playwrightspodcast.com


The 92Y Musical Theatre Development Lab Applications

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The 92Y Musical Theatre Development Lab is pleased to announce the application process for artists to participate in the second season of "The Collective”: a group of theatre artists working on creating their own projects within a supportive and challenging environment of feedback and group attention.

Please note: this year, the collective will only be focusing on TYA (Theatre for Young Audiences) pieces. If you do not possess prior experience writing, directing, choreographing for TYA, that will not exclude you. You must, however, possess a strong desire to create for this specific genre and be open to constructive feedback on your material.

Our collective is looking for playwrights, lyricists, composers, and artists who highly hyphenate any of these, or work solely in one discipline. You may apply as a writing “team”. Applications accepted on a rolling basis beginning July 1st, 2018. The deadline for applying is August 1st, 2018. 

Potential Collective Members will be asked to informally interview at the 92Y and those selected will be announced on prior to September 15th, 2018.

The forum provides resources, mentorship, performance opportunities, and community support to the artistic process. Geared towards theatre artists, the lab is a 6-month residency comprised of presentations every 3 weeks, discussions, lectures and master classes, life-after classes, and informal performances.

Musical Theatre Development Lab (MTDL) is a program devised, developed by Megan Doyle and Brian Feinstein for the 92Y, and is the umbrella for intersectional opportunities for artists. The Collective supports up to 10-12 emerging hybrid artists for a 6-month residency of educational and creative events.

For more information please email Brian Feinstein: bfeinstein@92Y.org
Please apply online: https://form.jotform.com/71855360954161

Thursday, July 19, 2018

Living Room Series Submissions

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Ends on July 31, 2018  

We are now accepting submissions for the 27th season of The Living Room Series, our New Play Development program which embodies The Blank’s commitment to developing new work by both established and emerging writers. Submissions by women, playwrights of color, and other under-represented  voices are strongly encouraged.

The Living Room Series takes place on Monday evenings at the 2nd Stage Theater in Hollywood between Labor Day and Memorial Day. The Living Room Series offers a week-long collaborative rehearsal process for the playwright, director and actors to explore and refine the play before presenting it to an audience. The performances are minimally staged, with actors carrying scripts, and are a wonderful opportunity for the playwright to get a sense of the play’s full potential.

SUBMISSION GUIDELINES

The Blank accepts plays for consideration for our Living Room Series (workshops of new plays) via Submittable. Submissions by women, playwrights of color, and other under-represented  voices are strongly encouraged. The Blank is firmly committed to  supporting gender parity and diversity.

Submissions will be accepted from June 1 - July 21 through this form only.

SUBMISSION ELIGIBILITY

Submission must be full-length (one-acts or ten-minutes will not be considered at this time).
Submission must not have received a full production. Submissions that have received full productions, even if they have undergone significant post-production revisions, will not be considered. The Blank considers staged readings and academic productions exceptions to this rule.
If a script was declined for a prior season, please note what significant revisions have been made (in your Artistic Statement).

Playwrights may only submit one script per submission period.

Wednesday, July 18, 2018

Native Voices at the Autry Call for Scripts 2018-2019

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*Please note that we only accept submissions written for the stage or theatre by Native American, Alaska Native, Native Hawaiian, and First Nations artists.

For Short Plays

Deadline: July 20, 2018

Short plays submitted by July 20, 2018 will be considered for Native Voices’ 8th Annual Short Play Festival, to take place in November 2018 at the American Indian Arts Marketplace at the Autry in Los Angeles. Read more about the theme for the Short Play Festival below.

The 8th Annual Short Play Festival

Whet your appetite for clever, funny, dramatic, and thoughtful 10-minute scripts – the theme of this year’s short play festival is FOOD. It brings us together as families, it can be both a commodity and a lack. Frybread… delicious, disastrous, or both?

FOOD… culture is delicious.

The theme of the 8th Annual Short Play Festival is FOOD. Native Voices invites playwrights to answer the question: what’s on the table in Native country? Like music or dance, food is a cultural expression. Food can be as simple as what’s served for dinner, as complicated as the legacy of frybread, or as devastating as water shortages and climate change on subsistence hunting and traditional ways of harvesting a living from the land. Plays can be fun-spirited or political, funny or dramatic. Scripts that are longer than 15 pages or read aloud at longer than 10 minutes will not be accepted. Fresh, surprising perspectives are welcome, and unique theatricality is a must.

Selection Process: Short plays (15 page maximum) that are related to the theme and are received by July 20, 2018 will be read and evaluated by a national reading panel comprised of Native American theatre artists and community members along with nationally-recognized theatre artists. The panel will select 5 to 8 plays for the festival based on the creative use of the theme, originality, theatricality, structure, and execution.

Selected plays will be given a staged reading on November 11, 2018 as part of the Autry Museum of the American West’s American Indian Arts Marketplace.  A panel of judges will select the 2018 Von Marie Atchley Award for Excellence in Playwriting, a $1,000 cash prize!

Plays that are longer than 15 pages will not be considered for the Short Play Festival. Please note that the Short Play Festival is only open to Native American, Alaska Native, Native Hawaiian, and First Nations Playwrights.

Plays must be submitted using our online submission form and in the correct format. Please see our “Checklist for All Submissions” below for further details.

For Full-Length Plays

Deadline: August 10, 2018

Native Voices is currently accepting submissions of full-length plays (60+ pages) by Native American, Alaska Native, Native Hawaiian, and First Nations playwrights addressing all themes and topics.

2019 Playwrights Retreat and 25th Festival of New Plays

The Retreat and Festival bring artists to Los Angeles to work on 3–5 plays through a rigorous directorial and dramaturgical commitment for 8–10 days in May/June. The retreat culminates in public presentations of the plays at the Autry Museum of the American West in Los Angeles and La Jolla Playhouse in San Diego. Selected playwrights receive directorial and dramaturgical support as well as an honorarium; out-of-town artists receive roundtrip airfare plus lodging in Southern California.

Selection Process: Full-length plays (60+ pages) received by August 10, 2018 will be read and evaluated. A select number of playwrights will be invited to submit formal proposals detailing their developmental goals should their play be chosen for the short list. Scripts will then be sent to a committee of nationally recognized theatre artists for further evaluation. With their help, Native Voices selects up to five plays for the Playwrights Retreat and Festival of New Plays. Playwrights will be notified in December 2018.

2019 Submission for Production Consideration

Do you have a full-length script that has been developed and produced that you’d like us to consider for a future Native Voices production in Los Angeles? Please follow the Checklist for All Submissions below and in the Native Voices Script Submission form check the box for 2019 General Submission for Production Consideration.

A Note About the Native Voices Distance Dramaturgy Process

Months prior to residencies at the Playwrights Retreat and Festival of New Plays, selected playwrights participate in dramaturgical conversations with an assigned director and dramaturg. Workshops with these creative teams and a cast of professional actors commence once the playwright arrives on-site. It is important to note that these conversations and workshops are playwright driven, allowing the writer to shape his/her own developmental path. Selected playwrights should be prepared to dedicate adequate time to this process prior to arriving on-site.

Checklist for All Submissions

Please label script attachment as follows: PlayTitle_Author’s Last Name, First Initial (Example: MyNewPlay_Doe, J.doc).

All submissions must conform to a standard play-script format (one-inch margins, #12 Times or Courier font, all pages numbered).

Include a title page with full contact information (mailing address, phone numbers, e-mail address) and a draft or revision date.

Include a character breakdown at the beginning of your script.

Provide a biography of 75–100 words. Please label attachment as follows: Bio_Author’s Last Name, First Initial (Example: Bio_Doe, J.doc).

Provide a press ready photo of at least 300dpi.  Please label attachment as follows: Photo_Author’s Last Name, First Initial (Example: Photo_Doe, J.doc).

Provide development history for the play. Label attachment as follows: DevHistory_PlayTitle_Author’s Last Name, First Initial (Example: DevHistory_MyNewPlay_Doe, J.doc).

To submit, fill out our online form and upload your submission materials here: Native Voices Script Submission Form

Please do not send treatments or outlines. Previously submitted plays should only be resubmitted if the play has undergone significant dramatic changes. Previously produced plays should be submitted under the 2019 General Submission for Production Consideration. Plays that are not selected are kept on file for consideration for future opportunities. Playwrights are encouraged to make multiple submissions (up to three per event), but selection will be limited to only one play per playwright, per event.

Where to Send Submissions

We now only accept electronic submission (preferably PDF format).

To submit, fill out our online form and upload your materials here: Native Voices Script Submission Form

New Dramatists Residency

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Applications for residency will be accepted online during a submissions window June 29-July 30, 2018. Once the window closes, we will not process any more applications or allow modifications.

New Dramatists staff reviews submissions for completeness in the order they are received, so it is in your best interest to submit well before the deadline.

All U.S. citizens are eligible to apply for residency if they are able to meet the submission requirements, including 2 full-length original plays, a statement of intent, and a biography or resume.

Download and read the 2018-2019 Guidelines for Resident Company and 2018-2019 Application Information documents online BEFORE beginning your application. Each year, in an effort to be responsive to recommendations from the selection panel and evolution in the theatre field, New Dramatists staff reviews and makes changes to our admissions process. Please read all materials carefully.

What is New Dramatists?
New Dramatists pursues a singular mission: To provide playwrights time, space, and resources to create work, realize their artistic potential, and make lasting contributions to the theatre. We offer our playwrights an artistic home and self-guided laboratory for seven years, free of charge, in the company of their most gifted peers. Our playwright company consists of emerging and mid-career writers collectively embodying an artistic, cultural, ethnic, and geographic diversity rarely found in the American theatre.

What do we offer?
▪ Playwright led, and authority over, seven-year residency.
▪ A company of playwrights and a vibrant extended artistic community.
▪ An organization where playwrights are the host artist.
▪ Support for the individual and collective interests of the resident playwrights.
▪ Flexible playwright-driven artistic development opportunities through 1-2 day readings and extended working
sessions as part of The Playwrights’ Laboratory.
▪ Flexible working spaces in our studio, theatre, and classroom.
▪ Flexible writing spaces in classroom and library.
▪ Private writing studio (the Russell Room).
▪ Meeting space in the classroom and library.
▪ Temporary residence rooms in 7th Heaven, which can also be booked as writing space.
▪ Casting, director, and other collaborator assistance.
▪ Dramaturgical, career, and artistic advisement.
▪ National playwright and new play advocacy.
▪ Supervision over what unpublished plays are kept in New Dramatists’ Library.
▪ Grants, Awards, and In the Works Bulletin of Playwright Opportunities.
▪ Retreats.
▪ Web-based resources, including your own profile page on ND’s website.
▪ Complimentary script photocopying.
▪ Complimentary theatre tickets.
▪ A one-year free membership to the Dramatists Guild during the first year of residency.
▪ Wi-Fi.
▪ Bottomless coffee, tea, and water.
▪ Washer and dryer.
▪ Childcare reimbursement for playwrights through the Howard Gilman Foundation and the Lilly-Ruhl Fund.

All these services are provided free of charge.

What Does New Dramatists Ask of its Playwrights?

To the best of your abilities:

▪ Strive to fully utilize New Dramatists’ resources.
▪ Attend the semi-annual All-Writers Meetings.
▪ Serve on the New Dramatists Admissions Selection Committee at least once during your seven-year residency.
▪ Engage in New Dramatists’ community of playwrights: attend fellow New Dramatists writers’ readings, host events,
create content for the podcast series, or spearhead conversations about issues of common concern.
▪ Serve on other governing bodies such as: the Writers Executive Committee or New Dramatists’ Board of Directors.
▪ Ask questions and share resources on New Dramatists’ resident playwright email group.
▪ Credit your New Dramatists Residency in all published professional biographies of yourself, whether in production
programs, press releases, book or play publications, and in any and all other printed matter describing your work and
accomplishments as a writer.
▪ Treat the New Dramatists’ building, facilities, equipment, and staff with all possible care and respect.


Who Can Apply?

▪ Playwrights living in New York City and the surrounding tri-state area.
▪ Playwrights outside the tri-state area who are able to demonstrate the ability to spend time in New York City, the desire to utilize New Dramatists’ services, and the readiness to participate in a dynamic artistic community.
▪ If you are not a citizen of the United States, you must be lawfully admitted to the U.S. with permanent USCIS work authorization.

Tuesday, July 17, 2018

NATIONAL QUEER THEATER READING SERIES

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Submit your play to the 2018 National Queer Theater New Play Reading Series, showcasing four new queer playwrights in September and October 2018 at Arts On Site in New York’s East Village.

SUBMISSION GUIDELINES:

For initial submissions, please submit a 10 page sample of a one act or full length play in PDF format. We are accepting blind copies only, please do not include your name in the script.
Please include a 100 word synopsis.

Please submit plays which have not had a professional production or showcase in New York City.
We are seeking LGBTQ-identified playwrights of all backgrounds from anywhere in the United States or internationally writing work that touches on critical social or political issues. Queer writers of color, trans+ and nonbinary playwrights are especially encouraged to submit.

All selections are made by NQT’s artistic committee which will receive blind scripts.

Playwrights the committee are interested in will be asked to submit a full script and statement of interest. Selected playwrights will be paired with directors and invited to collaborate in the casting process.

The deadline to apply is July 19th 11:59pm EST. 
No fee. Stipend provided for selected playwrights.

Submissions: Please submit your blind 10 page sample and 100 word synopsis to submissions@nationalqueertheater.org with your full name and play title in the subject line eg. ‘First Last- Title of Play- Fall Reading Series.’ This is a blind opportunity. Scripts will be considered on their own merits, without any access to personally identifying information about their authors.

Interested in getting involved as a performer or director? Please send a headshot/resume to submissions@nationalqueertheater.org and include that you wish to be considered for this series.

Sunday, July 15, 2018

The Tank Lit Council

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APPLICATION DEADLINE: AUGUST 3
PLEASE CLICK HERE FOR THE APPLICATION FORM

In partnership with The Tank, LIT Council is a development intensive for Male Playwrights of Color. During their time with the Council (September 2018 through April 2019), writers will hone a play guided by the Bechdel Test to ensure gender equity in storytelling. The program will culminate in a reading workshop of each participant’s play, hosted at The Tank (312 West 36th Street between 8th and 9th Avenue). In order to further promote collaboration and communication between genders, each play will be attached to a female director of color, chosen from a group of professionals and mentors, who will be active presences throughout the process.

For each session, participants will receive feedback and mentorship from 3 professional Facilitators: Beto O’Byrne (playwright-in-residence at Stella Adler; 2050 Playwriting Fellow at New York Theatre Workshop), Jerome A. Parker (MacDowell and Dramatist Guild Fellow), and Akin Salawu (Inaugural Emerging Writers Group at The Public Theater; two-time Tribeca All Access Winner) are all writers of color with working experience in the industry and theatrical credits in New York City and around the country. They created LIT Council with the Tank to have a professional setting where whiteness is de-centered and the “white gaze” isn’t a deterrent or the raison d’etre for a play’s birth, voice and steps in the world. Participants will be pushed to create works where female characters are given equal weight to their male counterparts and also supported to stretch their voice in writing for, and collaborating with, women.

LIT Council seeks daring applicants of color from all levels, and ALL who identify as male, to work on a play already in progress. The chosen participants will demonstrate great appetite and aptitude for crafting uncompromised stories, while understanding the pressing need to represent “other” voices, especially those of women, fully in their work. As this is a collective, the Council looks for artists not only with experience in taking the reign of their own creative process, but also with a desire to collaborate with the other participating artists in the room. The Tank is located in New York, so applicants need to be NYC-based in order to participate in weekend meetings, readings and other program-related events.

Saturday, July 14, 2018

Ars Nova Play Group

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Play Group is a two year residency in which members become a part of the Ars Nova Resident Artist community. In addition to biweekly meetings where members share new work and receive feedback from their Play Group peers, members also receive dramaturgical support and artistic match-making advice from the Ars Nova artistic staff; invitations to Ars Nova shows, Resident Artists mixers, and to see the work of Play Group alums around the city; two Play Group writing retreats; and the opportunity to further develop and showcase one of their plays in a weeklong workshop that can culminate in a public reading. Click here for a list of Play Group alumni.

APPLICATIONS FOR PLAY GROUP ARE NOW OPEN.
HOW TO APPLY:

Applications for Play Group 2019 will be accepted beginning June 20th and must be submitted by midnight on July 22nd to be eligible for consideration —please click here for the application form.  Applications require one full-length play, a resume, two professional references and a personal statement describing what the playwright hopes to gain from membership.

SELECTION CRITERIA:

All playwrights who identify as emerging are eligible to apply. In selecting new members, we will take into account the strength of the submitted play, what the writer stands to gain from membership at this point in her/his career and the overall balance of voices and styles within the group. Writers of all races, genders, and abilities are strongly encouraged to apply!

Friday, July 13, 2018

2019 PEN/Heim Translation Fund Grants

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2019 PEN/Heim Translation Fund Grants ($2,000- $4,000)

Ends on July 20, 2018  

The PEN/Heim Translation Fund was established in the summer of 2003 by a gift of $730,000 from Priscilla and Michael Henry Heim in response to the dismayingly low number of literary translations currently appearing in English. Its purpose is to promote the publication and reception of translated world literature in English.


Since the Fund's inception in 2004, the Fund has given grants of $2,000–$10,000 to a total of 139 translations from over 35 languages, including Armenian, Basque, Estonian, Farsi, Finland-Swedish, Lithuanian and Mongolian, as well as French, Spanish, German, Russian, Chinese, Japanese, and Arabic. Among the 108 projects awarded grants in the Fund’s first 10 years of operation (2004–2013), 72 of those (roughly 67%) have thus far been published or are forthcoming from a publisher.

Deadline: Submissions will be accepted from June 1, 2018 through July 20, 2018.

Who is eligible:

The PEN/Heim Translation Fund provides grants to support the translation of book-length works of fiction, creative nonfiction, poetry, or drama that have not previously appeared in English in print or have appeared only in an outdated or otherwise flawed translation.
Works should be translations-in-progress, as the grant aims to provide support for completion.
There are no restrictions on the nationality or citizenship of the translator, but the works must be translated into English.
The Fund seeks to encourage translators to undertake projects they might not otherwise have had the means to attempt.
Anthologies with multiple translators, works of literary criticism, and scholarly or technical texts do not qualify.

As of 2008, translators who have previously been awarded grants by the Fund are ineligible to reapply for three years after the year in which they receive a grant.
Please note that projects that have been previously submitted and have not received a grant are unlikely to be reconsidered in a subsequent year.

Projects may have up to two translators.

Translators may only submit one project per year.

How to apply:

Please note that this year, hard copy versions are NOT required. The application process is entirely online.

Translators must complete the below applications form by midnight EST July 20, 2018. The below application will require the following materials:

1. The application form, with all items completed:

A one- to two-page, single-spaced statement outlining the work and describing its importance.
A biography and bibliography of the author, including information on translations of his or her work into other languages.
A CV of the translator, no longer than three pages.
If the book is not in the public domain and the project is not yet under contract, please include a photocopy of the copyright notice on the original (the copyright notice is a line including the character ©, a date, and the name of the copyright holder, which appears as part of the front matter in every book), and a letter from the copyright holder stating that English-language rights to the book are available. A letter or copy of an email from the copyright holder is sufficient.
If the translation is currently under contract with a publisher, please submit a copy of the contract.

2. A 10–12-page, single-spaced sample of the translation.

3. The same passage in the original language (and, if the work has been previously translated, the same passage in the earlier version).

For more information, please contact awards[at]pen.org

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