There’s something for everyone at TPG!

Script Consultations

If have a script you want feedback on — just send a PDF of your script and you’ll get a critique via email and/or video conference. See website for rates.

Richard Caliban has worked with individuals on their scripts from all over the world — Indonesia, China, Greece, Australia, Serbia, as well as right here in New York. A script consultation will provide you with feedback on the structural soundness of your story, the dramatic arc of your protagonist, thematic unity and much more.

Online One-on-One Courses

If you’re looking for more, check out our One on One Online Playwriting Courses:

• The Art of Playwriting
• Write a Play in 10 Weeks
• 3 Hour Short Course

All are with instructor Richard Caliban, and since it’s One on One, the courses can be adjusted to fit your level of experience. 

The Weekly Workshop
 
Join our nationwide community of playwrights on Zoom. It’s a great way to stay connected and motivated.

Participating in a weekly workshop can give you the kick you need to see your script through from beginning to end. You can bring in anything you’re working on — a full length script, a musical, a TV pilot, whatever. And when your script is ready — we’ll present it in a Public Reading. We also bring in Guest Speakers, like Pulitzer Prize winner Margaret Edson (Wit).

Sit in on a session and see for yourself!

Thursdays 7 - 9:30pm EST

Please visit our website for further Info and Rates: 

www.theplaywrightsgroup.com

Contact us at scripts@theplaywrightsgroup.com

Go Try Playwrite - October 2025

Website

Deadline: October 31, 2025

SUBMISSION FORM

We're proud to announce a new monthly playwriting contest in collaboration with Bamboo Ridge Press. Every month, Kumu Kahua's artistic director Harry Wong III will select a writing prompt on the first day of that month. We're looking for 5-page monologues or 10-page scenes based on that prompt; the due date for submissions are always the last day of the month. All entries must be written in traditional play format; instructions on this format can be found here (https://www.dramatistsguild.com/script-formats), courtesy of the Dramatists Guild.

There will be one winner each month. Scripts will be submitted to the judges anonymously. Winners will receive $100 and a subscription to Bamboo Ridge Press. Woo!

The prompt for October 2025 is:

An elven rebellion prompt. Write a 10-page maximum scene or an 8-page maximum monologue of a revolt at Santa’s workshop. Elves, reindeer, Mrs. Claus, whoever could be part of the revolt. The scene can be at the beginning, middle, or end of the rebellion, or all three. Or just two. It could also be the effects of the revolt in the world outside the North Pole. Have fun!

Hepburn Hooks Theatre Co "Brown Skin Girl" seeks short plays

Website

Deadline: December 15, 2025

To submit your play, go to www.hepburnhooks.com/2025brownskinnedgirls or flash the QR Code.

For the second edition of our evenings of shorts, we are seeking out four female, BIPOC playwrights whose works we will fully produce and present at a London venue to be determined.

A clear element of inspiration for our very first endeavour is legendary superstar and timeless icon Beyoncé's 2019 song "BROWN SKIN GIRL", a gorgeous, heartfelt celebration of Black girl/womanhood. Its music video (which we enjoin you to watch, if you haven't already, features a plethora of Brown Skinned Girls and illustrates the broadness of this term!)

The plays may be set in any era, they may tackle whatever subject you desire, the stories may even not centre Black/Brown women at all!

We are quite simply looking to pick the brains of young, BIPOC female playwrights from all over the world and get a sense of how they feel about the world at large, or about very specific things in it. Let your imagination run wild, do not be afraid to be goofy, cringey, subversive or unapologetically militant - we want to see and hear it all!

• There is no entry fee for this opportunity. 
• This year, we are happy to announce that all four selected playwrights will receive a 100 GBP stipend. The remaining three playwrights will be offered a free yearlong subscription to www.playsubmissionshelper.com, the most comprehensive and up-to-date online directory of play submission opportunities available anywhere. 
• Playwrights must be aged (at least) 18 at the time of submission. 
• Your play should have a running time of 10 to 15 minutes. 
• Your play should require no more than 4 actors and minimal props. 
• Your play should be in English (mainly). 
• The play should be original, unpublished and it should not have been performed in the UK as of the day of submission. 
• Submissions containing copyrighted material that does not belong to you cannot be accepted. 
• Unfortunately, we cannot yet accept musicals. 
• Your play should NOT BE BLIND. 
• The document you submit should be a PDF. 
• Unfortunately, written feedback will only be provided to short-listed writers. 
• All submissions are final. No revisions to the text of a play will be accepted after it is submitted. 

BREAK A LEG PRODUCTIONS seeks 20-40 minute plays for our 2026 Love Fest: Love on Location

Website

Deadline: December 1st, 2025

Email your script as a PDF to plays.balproductions@gmail.com. 

The subject line should be "Love Fest: Title of Play – Playwright's Name."

We are looking for plays about love, set in a location that plays an integral part in the plot.

Submission Rules

- One submission per playwright
- No children's plays or musicals
- All characters must be performed by adult actors (18 years or older)
- Length must be 20-40 pages (any more and you will not be considered.)

11.23 Liminal Space Productions One-Act Play Show Submissions

 Instagram

Deadline: October 24, 2025

SUBMISSION FORM

We encourage contributions from creators of all identities, cultures, and backgrounds. 

Playwrights are expected to cast their own work.

Due to space limitation, we ask that your cast be limited to no more than 8 people. 

We can provide some chairs & small tables, however, playwrights are otherwise expected to bring all of their own stage props 

Venue will be in the East Village.

Flying Solo monologue event

Website

Deadline: October 31, 2025

SUBMISSION FORM

A collection of original monologues celebrating the unique challenge of writing for a solo performer and performing solo! This showcase originated as FLYING SOLO with producers Susan Frank and Rob Zonefrelli, directed by Betsy Kruse Craig. The Invisible Theatre has been a longtime proponent of original work and the name GOING IT ALONE was used decades ago for another monologue showcase with Susan Claassen. Managing Artistic Director, Betsy Kruse Craig brought the showcase back to IT in May of 2024. IT plans to make this an annual event, showcasing local and international playwrights. GRETCHEN WIRGES, IT Artistic Associate, will coordinate submissions.

Guidelines:

• Must be original pieces by the playwright submitting
• Performance length – 5-7 minutes (anything longer will be disqualified).
• Monologues only. Must only require one actor on stage.
• Diversity and inclusivity highly encouraged!

• Compensation and Performance:
• Small honorarium paid to chosen playwrights
• Chosen monologues will be cast with local actors and performed at Invisible Theatre
• in Tucson Arizona in May of 2026.

Process:

• All submissions will be read blind (without playwright info) by reading committee.
• Script curator will collect all numerical data and narrow the submissions down to 50
• and notify playwrights of making it to round 2.
• Script curator will read 2nd round plays and narrow it down to 25 based on committee
• scores, timing, and overall quality, and notify playwrights of making it to final round.
• Script curator and IT Executive Director will read final round monologues and
• determine which will be part of the 2026 show.
• All playwrights will be notified whether or not they have been selected.
• Chosen monologues will be cast and directed with local actors/directors.

Recommendations:

• Monologues should not be one side of a conversation, pausing for the character to listen to a character we never see or hear.
• Sometimes monologues based on real people from history read like TED Talks, or rote history lessons. Instead of just listing dates and book titles, etc, let us hear what that person thinks, feels, believes, etc. How they’re affected by what’s going on around them.
• Some monologues included a full page preface with information/exposition on the character, what they look like, how old they are, and explicitly what the actor should look like, sound like, etc. If we need to know all of that in order to appreciate your piece you haven’t done the work to show us who this character is through their words/actions.

QUESTIONS? Send an email to goingitalonesubmissions@gmail.com

CALL FOR SUBMISSIONS: LITERATURE TODAY’S DECEMBER 2025 ISSUE

Website

Deadline: December 15, 2025

Email subject: “December 2025 Submission – [Your Name]”
Send to: editorliteraturetoday@gmail.com

Seeking One-Minute Plays / Monologues: Up to 2 pieces (max 2 pages each)

All work must be original and unpublished.

Simultaneous submissions accepted—please notify if accepted elsewhere.

Include a cover letter, third-person bio (≤50 words), and high-resolution photo.

Theme: “Offline: Reclaiming Presence in a Hyperconnected World”

We are more connected than ever—yet so many of us feel unseen, unheard, or strangely alone.

In an era of endless scrolling, algorithmic curation, performative identity, and digital ghosts, what does it mean to be truly present? To listen without recording? To remember without archiving? To feel without posting?

For our December 2025 issue, Literature Today invites submissions that explore the quiet rebellion of going offline—not just as disconnection, but as reconnection: to self, to others, to the physical world, to silence, to slowness, to the unmediated moment.

This theme is not anti-technology, but pro-humanity. We seek work that examines the tension between digital life and embodied existence—and celebrates the fragile, necessary acts of attention, intimacy, and stillness that resist erasure.

Possible Angles (not prescriptive):

1. The Last Unrecorded Moment
Moments lived fully without documentation—births, farewells, sunsets—experienced only through memory. What is gained (or lost) when we choose not to capture?
Examples: A child’s first step unseen by a camera; a private grief never posted.

2. Digital Ghosts
The spectral traces we leave online—abandoned accounts, unread messages, AI-generated “memories.” Who mourns a deleted profile?
Examples: Logging into a dead friend’s social media; receiving an automated birthday wish from a defunct app.

3. Attention as Sanctuary
The radical act of sustained focus in an age of distraction—reading a book cover to cover, listening without interrupting, watching clouds without checking the time.
Examples: A student turning off notifications to study; a couple dining without phones.

4. The Myth of “Always On”
The exhaustion of perpetual availability—work emails at midnight, instant replies expected, the guilt of silence. When does disconnection become self-preservation?
Examples: A therapist’s burnout; a teen deleting all apps for a week.

5. Analog Rituals
Everyday practices that resist digitization: handwriting letters, using paper maps, brewing tea without a timer, lighting a candle instead of flipping a switch.
Examples: A grandmother teaching knitting; a writer using a typewriter.

6. Memory Before the Cloud
Trusting the mind over external storage—recalling phone numbers, birthdays, recipes, or poems by heart. What happens when memory becomes muscle, not metadata?
Examples: An elder reciting family history; a poet memorizing their own work.

7. The Body Remembers
Sensations that cannot be digitized: the weight of a hand, the smell of rain on soil, the ache of hunger, the rhythm of breath during silence.
Examples: A dancer’s muscle memory; a refugee remembering the taste of home.

8. Curated Selves vs. Lived Selves
The gap between online personas and inner reality—highlight reels vs. hidden struggles, filtered faces vs. unmade beds.
Examples: A influencer’s breakdown off-camera; a teen comparing real life to TikTok fantasy.

9. Generational Disconnect
Elders who’ve never used smartphones; children who’ve never dialed a rotary phone. How do we bridge worlds when our tools of connection differ so radically?
Examples: A grandfather confused by video calls; a child asking, “What’s a library card?”

10. Offline Communities
Spaces where connection happens without Wi-Fi: neighborhood gardens, protest marches, choir rehearsals, AA meetings, subway commutes.
Examples: Strangers sharing umbrellas in rain; a book club meeting in a café.

11. The Silence Between Notifications
The rare, precious intervals of true quiet—when the phone is off, the screen is dark, and thought can unfold without interruption.
Examples: Waking before dawn; sitting alone in a park at dusk.

12. Digital Detox as Rebellion
Choosing to unplug not for wellness, but as political or existential resistance—to surveillance capitalism, algorithmic control, or the commodification of attention.
Examples: A writer deleting social media; a family banning screens on Sundays.

13. Lost in the Feed
The erosion of linear narrative—how endless scrolling fragments memory, identity, and time. Can we still tell our own stories when life feels like a highlight reel?
Examples: A memoirist struggling to recall sequence; a teen whose diary is a Notes app.

14. The Future of Presence
Speculative visions: Will future humans know solitude? Will AI companions replace human touch? What rituals might emerge to protect attention?

Examples: A poem from 2125 about “the last person who read paper books”; a play set in a world without silence.

15. Tending the Inner Signal

Reconnecting with intuition, gut feelings, dreams—the internal “signal” drowned out by digital noise. How do we hear ourselves again?

Examples: A woman quitting her job after a dream; a man meditating to “mute” his anxiety.

These subthemes are designed to be literary, emotionally resonant, and culturally relevant, offering writers rich entry points into the central tension between digital saturation and embodied presence. They avoid technophobia while honoring the irreplaceable value of human-scale experience.

Use them as inspiration—not constraints. We welcome work that interprets “Offline” in unexpected, poetic, or even paradoxical ways.

Let your words be the flame that flickers—not the screen that glows.


Why This Theme?

As AI generates poetry, influencers monetize vulnerability, and virtual spaces replace public squares, literature remains one of the last sanctuaries for unfiltered human presence. This issue is a quiet manifesto: a space to unplug, reflect, and reclaim what cannot be streamed, liked, or saved—but only lived.

Publication: Early January 2026 (Print & Digital)

The Solidarity Project: a Celebration of Historical Nonviolent Resistance

Website

Deadline: December 31, 2025

SUBMISSION FORM

Atlanta Dramatists is producing The Solidarity Project: a Celebration of Historical Nonviolent Resistance. They seek plays ranging from 10 minutes to 30 minutes which illustrate nonviolent resistance throughout history and all over the world. For the purposes of this project, scripts should be inspired by events that occurred prior to 2015. The focus of this festival is history, and the overall themes will be hope and empowerment. Scripts may be historically accurate, historical fiction, historical fantasy, etc. provided they are inspired by actual events.

The resistance depicted must be non-violent, but the play may contain violence in other aspects, such as if there were a violent reaction to a non-violent protest. Atlanta Dramatists is open to the use of music, puppetry, and dance as well as traditional “straight plays.” No projections or elaborate sets; this is a festival of plays that will all share the same set, though chairs, benches, blocks, and tables may be added or removed between pieces.

Each script may utilize up to 5 actors. Unless ethnic specificity is vital to the plot, please allow for flexible yet diverse casting.

Playwrights will receive royalties for the scripts selected. Performances will be at The Academy Theatre in Hapeville, GA, in 2026. (There is a chance the show will tour to other venues, as well.) Playwrights will receive 2 comp tickets. Playwrights may submit up to two scripts each.

Some examples to inspire your research (but you’re not limited to these!):

• Haiti 1946
• Indian Independence Movement
• Women of Liberia Mass Action For Peace
• South Africa: Anti-apartheid movement
• Scotland: 
• Anti-nuclear power protests 
• Holy Loch protests 1960-61
• Ireland: 
• Irish Non-cooperation Movement
• 1879 Boycott (Irish Land League)
• France:
• Coup of 18 Bromaire
• Jewish Refuge (le chambon-sur-lignon)
• America:
• Declaration of Independence
• Civil Rights Movement
• Children's Crusade
• Trail of Broken Treaties
• Kaho’olowe
• Montgomery Bus Boycotts 
• Women's Suffrage parade 1913
• Poland:
• Solidarity 
• Orange Alternative
• White Rose Resistance
• Arab Spring 
• Singing Revolution (Estonia, Latvia, Lithuania)
• Korea: March 1st Movement

And many more!

The Emerging Artists Theatre (EAT) Spark Theatre Festival NYC 2023

Website

Deadline: December 1, 2025 at 11:59pm

SUBMISSION FORM

The Emerging Artists Theatre (EAT) Spark Theatre Festival NYC is a three-week festival of self-produced work for the stage that allows artists of different disciplines to produce one performance of a polished “work-in-progress” with audience feedback.

Submissions are ONLY open for applicants in the Tri-State Area: New York, New Jersey, and Connecticut.

The festival will be broken into two categories: workshop productions and fully developed new work. Additionally, some productions may be given more than one performance slot.

Many pieces selected for the festival will have never been performed before an audience, while some selections have been performed previously but feature new material. We are not interested in presenting established pieces of theatre. We want to see something brand-spanking-new hit the stage for the first or nearly the first time. This festival is an opportunity to present work for a paying audience for the first, or newly the first, time.

There is no submission charge and no obligation to participate if chosen. Plus, participants receive 50% of the box office. Artists are held to an audience guarantee equal to one ticket buyer per minute of your show. Successful Fringe, NYMF, and Off-Broadway shows have been born out of this series, and Emerging Artists is excited to present a new round of opportunities to local artists for yet another year.

We accept submissions for the following new works:

• Solo Shows
• Dance
• Cabaret
• Musicals (Short and Long)
• Short Plays (60 min or less)
• Subway Musicians
• Storytelling Show
• Sketch Comedy
• Interactive

Other … Out of the Box

HOW TO APPLY

PART ONE: 

Read the FAQs on the next page carefully. Please pay special attention to the audience guarantee section to ensure you are ready to gather an audience for your work. 

PART TWO: Fill out the application form. You will be asked to provide information on the following:

• How you heard about Emerging Artists Theatre’s Spark Theatre Festival NYC
• Why your show would be a good fit
• Show title, running time, and production history (if applicable)
• Description of your production
• Support materials including a script, video, or other means of sharing 
• Contact information, website, social media handles, and professional bio(s)
• Hit SUBMIT to submit your application

GETTING ACCEPTED

If you are accepted into the Spark Theatre Festival NYC, there will be a required information session/meet-and-greet on a date to be determined.
APPLY

Submissions for the Spark Theatre Festival NYC are now OPEN through Dec. 1, 2025 at 11:59pm. Click below to continue to the FAQs and Application link.

Theatre Now Soundbites festival seeks 10-minute musicals

Website

Deadline: December 1, 2025

SUBMISSION FORM

​

Theatre Now defines a 10-minute musical as any piece that can be performed in 10 minutes or less; has a beginning, middle, and end story arc; and includes music. Having produced over 100 pieces, we want musicals that are diverse and current, that test the musical form and communicate a well-crafted story. We accept musicals across all styles and genres and are happy to consider foreign language and/or bilingual scripts. 

We strongly encourage submissions from female, BIPOC and LGBTQ+ writers as well as writers with disabilities.

​​

Please review the following criteria thoroughly before sending your submission:

• Ten-minute musicals will be accepted from July 1st, 2025 - December 1st, 2025 at midnight.
• Submissions will not be considered before July 1st or after the deadline.
• Musical theatre writers can submit no more than two scripts during the current submission period.
• The story must have a beginning, middle, and end.
• We accept submissions in foreign languages or that are bilingual. Although the application process is in English, the work itself may be submitted and performed in any other language if selected.
• Each piece must include music.
• All submissions must be submitted via the submission form. No physical copies.
• Each musical must not exceed ten minutes when performed. If accepted, cuts may be required.
• Longer one-acts or full-length musicals will not be considered, although the submission may be a 10-minute portion of a longer piece as long as it tells a complete story with a beginning, middle, and end story arc.
• A musical may be a previously-produced work with a production history.
• We have no formal script formatting guidelines, but all scripts should be easy to read.
• The volume of submissions prevents us from providing feedback on all submissions.
• If your piece is visual (i.e. choreography-heavy), please include video footage or detailed descriptions. 

We expect to contact all writers by mid-February, 2026 on the status of their submission with one of the following emails:

 

An acceptance email into the festival that will include additional information to confirm their involvement. 

A waitlist email. In the event an accepted musical declines their participation, a selected waitlisted musical will be notified to serve as a replacement.

The remaining musicals will receive a "not selected" email and are encouraged to submit again next year.

 

*All criteria is subject to change*

Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays

Website

Deadline: October 31, 2025 at 11:59 PM

SUBMISSION FORM

Seeking playwrights, directors, and actors for Abingdon Theatre Company's sixth annual Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays in collaboration with AMT Theater. Abingdon Theatre Company continues to be committed to creating opportunities for all voices to be heard. With this in mind, ATC is thrilled to open submissions for our sixth annual festival of short plays; a festival shedding light on stories by people of color.

The festival will take place March 9-10, 2026 at AMT Theater (345 West 45th Street).

Short play submissions should be unpublished and no longer than 40 pages, written by BIPOC individuals. 

Plays should not have been previously presented to New York audiences. 

We are accepting applications from artists from all experience levels, locations, and ages. 

Please limit your submission to one play per playwright.

THE 2026 MEANWHILE PARK PLAYWRIGHT PRIZE

Website

Deadline: November 30, 2025

Submissions should be sent via email to info@meanwhilepark.com

Meanwhile Park is a small, private park in Salt Lake City, UT. The Park hosted its first performing arts evening in 2022. Since 2023, Meanwhile Park has produced and presented a new, one-act play chosen through our Playwright Prize competition. Submissions for the 2026 (and possibly 2027.)

Entries into the MPPP should consider the following:

• Plays should run between 30 minutes and one hour including any required or desired breaks.

• The “cast” should be limited to no more than six people. Cast can include actors, musicians, or other artists required to tell the story directly to the audience.

• Plays should not have been produced elsewhere. We are looking to present world premiere plays. Previous staged readings or workshops are allowed.

• As an outdoor, summer theatrical experience like no other in Utah, entrants are invited to consider stories and genres suitable to the occasion. Ideas include but are not limited to:

o Campfire tall tales
o Backyard ghost stories
o Summer love stories
o Action-packed adventures
o Musical comedies
o Local histories

• Meanwhile Park celebrates the diversity of humanity and welcomes stories from diverse races, ethnicities, cultures, genders, and sexualities.

THE RULES

• Submission for the 2026 Meanwhile Park Playwright Prize are now being accepted.

• The deadline for submissions is November 30, 2025. Submissions should be sent via email to info@meanwhilepark.com

• The winner will be announced no later than January 31, 2026. All entrants will be informed of the winning entry via email.

• The winner will be awarded a $500 honorarium no later than March 1, 2026 via Venmo or check.

• The winning play will be performed eight times during July 2026.

• Entries will be judged by Jeff Paris and a panel of theatre experts and enthusiasts.

• The production will be granted the following:

o A significant production budget including paid onstage performers, directors, and creative staff.o Each performance will feature a pre-performance reception/party with drinks and snacks sponsored entirely by Meanwhile Park. For this reason, ticket sales are limited to individuals 21 and older.

• You may submit a bio with your play, but it is not required. Our initial cuts are based on the plays without consideration for who the playwright is.

• Meanwhile Park reserves the right to cancel the competition or the production at any time for any reason.

• To learn more about Meanwhile Park visit our Instagram account: @meanwhilepark. Or visit our website at www.meanwhilepark.com.

TASN Short Play Festival: Call for Submissions

 Website

Deadline:  November 15, 2025

or until 300 plays are received

THEY HAVE REACHED THEIR MAXIMUM SUBMISSIONS - DO NOT SEND

Email a PDF of your script, with Title page and contact information,  to: tasnshortplayfest@gmail.com Important: PDF’s only 

You will receive an acknowledgement email and be updated during our selection process. 

The Actors Studio of Newburyport, MA  (TASN) is a 501c3 non-profit, dedicated to New Play Development. We will be holding our 6th National Short Play Festival for two weekends (six performances) during October, 2026. The submission window opens on October 8, 2025 and closes November 15, 2025, or until 300 plays are received, whichever occurs first.  

Our judges will engage in multiple rounds of reading, with every play being read at least twice. After 16 semi-finalists are chosen, we will hold an All-Day Selection Sunday, putting the semi-finalists on their feet. The seven winners will be announced in August 2026, with the top-scoring play receiving the coveted Clopton Prize. 

Length: 5-15 minutes. Send us your best. There is no theme and no restrictions on content. Workshops, readings, and a couple of previous productions are okay. 

Limit: One play per playwright. There is no fee to submit 

This event is a fund raiser for The Actors Studio and, unfortunately, we will not be able to pay a stipend to our winning Playwrights.

TASN is an award-winning 60 seat black box in historic Salisbury, Massachusetts. This Festival will be sponsored by The Playwrights’ Collaborative (TPC) who collectively have been produced at more than 350 venues worldwide. In addition to creating new work, TPC’s Traveling Troupe brings turn-key, benefit shows to great venues around New England, including The Barker Playhouse, Providence, RI, The Chelmsford Center for the Arts, Chelmsford, MA, The Chocolate Church Arts Center, Bath, ME, The Custom House Maritime Museum, Newburyport, MA, and The Exeter Public Library, Exeter, New Hampshire. If you are interested in learning more about our benefit program, please email Jack Rushton at jackrushton56@yahoo.com

This Short Play Festival is produced by playwrights for playwrights, and will be directed and performed by our amazing TASN and TPC talent.

Go to www.newburyportacting.org for more information.

Good luck and see you at the shows!

Going It Alone seeks monologues

Website

Deadline: October 31, 2025

SUBMISSION FORM

A collection of original monologues celebrating the unique challenge of writing for a solo performer and performing solo! 

Guidelines:

● Must be original pieces by the playwright submitting

● Performance length – 5-7 minutes (anything longer will be disqualified).

● Monologues only. Must only require one actor on stage.

● Diversity and inclusivity highly encouraged!

Compensation and Performance:

● Small honorarium paid to chosen playwrights

● Chosen monologues will be cast with local actors and performed at Invisible Theatre
in Tucson Arizona in May of 2026.

Process:

● Submissions will be accepted from September 1st, 2025 to October 31st, 2025.

● All submissions will be read blind (without playwright info) by reading committee.

● Script curator will collect all numerical data and narrow the submissions down to 50
and notify playwrights of making it to round 2.

● Script curator will read 2nd round plays and narrow it down to 25 based on committee
scores, timing, and overall quality, and notify playwrights of making it to final round.

● Script curator and IT Executive Director will read final round monologues and
determine which will be part of the 2026 show.

● All playwrights will be notified whether or not they have been selected.

● Chosen monologues will be cast and directed with local actors/directors.

Recommendations:

● Monologues should not be one side of a conversation..pausing for the character to
listen to a character we never see or hear.

● Sometimes monologues based on real people from history read like TED Talks, or rote
history lessons. Instead of just listing dates and book titles, etc, let us hear what that
person thinks, feels, believes, etc. How they’re affected by what’s going on around
them.

● Some monologues included a full page preface with information/exposition on the
character, what they look like, how old they are, and explicitly what the actor should
look like, sound like, etc. If we need to know all of that in order to appreciate your
piece you haven’t done the work to show us who this character is through their
words/actions.

QUESTIONS? Send an email to goingitalonesubmissions@gmail.com

Oakland Review: Inaugural Playwriting Prize [Vol. LII - "Gibbous" Issue]

Website

Deadline: December 31, 2025 at 11:59 PM

SUBMIT VIA SUBMITTABLE

Inaugural Playwriting Prize [Vol. LII - "Gibbous" Issue]

Playwriting Prize: A competition for twenty-minute stage scripts. Only one playwriting piece will be accepted per issue. The final round will be judged by CMU Drama faculty (ranked #4 globally by The Hollywood Reporter in their 2025 list of best drama schools).

One piece per submission. Your name should not be printed anywhere on your submission, save the document title. Prize pot is $250.

Titles should follow the format “Name, Genre”.

Editors’ Foreword:

Having recently published our half-century issue, the Oakland Review is growing, working, waxing. Taken on its own, “gibbous” represents a concept still in the works, under construction, nearly-there. Perhaps this is what it means to live in a gibbous phase of the decade: something swollen, marked by tension and possibility. How do you—and your work—handle the half-light?

Eight Annual Eric Weinberger Award for Emerging Librettists

Website

Deadline: November 30, 2025

SUBMISSION FORM

Only one submission per playwright/librettists will be accepted. The winner of the Award is announced in Spring 2026.

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

Submission Requirements:

The musical must:

• Be a full-length show (at least 80 minutes)
• Have no more than eight actors (actors may play multiple roles, if so, please include a suggested breakdown of role distribution)
• Be complete and ready for readings, workshops and/or productions
• Have a demo that is an accurate representation of the music and style of the show (at least five songs)
• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)
• Not have had a full production or be published in any way, even if with a different name.

​​
What to submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.

1. Biography and resumes of the creative team like writer, composer, lyricist (if applicable)
2. History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
3. Brief synopsis (maximum 150 words)
4. Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
5. Proof of rights (if applicable)
6. Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)
7. PDF document of the full-script and sheet music, if available (no writers named)

Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

PROOF OF RIGHTS

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

FULL SCRIPT

The full script must include:

1. Title page (which should only have the title on it and absolutely no other information)
2. Character breakdown (maximum one page)
3. The complete script with page numbers

​
For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.


Demo Tracks

• The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.
• Demo tracks should:

1. Include at least one song from the first 25 pages
2. Have at least five recordings available – they do not need to be professional or studio quality, but they must be clear enough to hear lyrics, melody, and accompaniment
3. Have singers of appropriate vocal types for their respective roles
4. Be full songs only, no medleys of spliced songs


For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.


The Selection Process

Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script, and the demo tracks.


Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee.

Our process is based on the quality of the work submitted.


Round 1 (September-December)

1. Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.
2. The team fills out evaluations for each show, which determine the submissions that continue to Round 2.
3. If selected as a finalist, the show’s application primary contact is notified via email.



Round 2 (January-March)

1. The selection committee reads the scripts in full and listens to all demo tracks submitted.
2. Committee members write their evaluations to determine which one is best suited for the Award.
3. The winner is announced in the Spring of 2025.
4. The application’s primary contact is notified and a development schedule is created with the winner.



We will not be able to provide feedback regarding why a particular piece was or was not selected.



The Winner

• Will receive $2,000 to help pay for cost-of-living expenses.
• Will receive development assistance in the 2025 New Works Development Program of Amas Musical Theatre.
• Will have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.
• Must be present in New York City for the development process.


• Must give the right of first refusal for a world premiere of the selected show that will expire 90 days after Amas Musical Theatre presents the Lab production.

Discount tickets: CONNECTING DOT: A KINDRED REVUE

The Green Room 42 presents CONNECTING DOT: A KINDRED REVUE on OCTOBER 23, 2025. 

CONNECTING DOT is an absurdist cabaret musical about the timeless existential crisis known as Jewish womanhood. Amy “Dot” Iaccarino is a starving actress moonlighting as a bartender in Hell’s Kitchen. On the eve of Rosh Hashanah, she is visited by a divine presence, and the encounter flourishes into a miraculous vaudeville revue starring her ancestors. Among them: a grandiose narcissist, a jazz-singing mafiosa, and a rebellious immigrant from the Old World. Dot begins to see herself in their stories and mannerisms, and comes to terms with the centuries-long conflicts that live on through her.

Starring Dara Naomi Gallagher as Dot, with Alyssa “Alyx” Cassese, Kat Siciliano, Ruthy Froch, and Brooke Shapiro. Also featuring Yasmin Ranz-Lind, Claudia Cromley, Madhu Murali, Leah Raquel Petraglia, Zoë Parrish, and Courtney Martin-Cox.

Produced by: Nancy Pop

Music and Lyrics by: Victoria R. Romano Orchestrations by: Margaret Barbour Music Director: Christina Cinnamo

CONNECTING DOT: A KINDRED REVUE plays at The Green Room 42 on OCTOBER 23, 2025. Tickets are available starting at $29, with no food or beverage minimum. The show will also be livestreamed. 

Tickets and more information are available at www.thegreenroom42.com.

10% discount  - use code "NYC10" for in-person ticket purchases

In Person & Livestream Tickets
Follow Along on Instagram

Call for Submissions: Spartan Theatre One Page Play Festival – “Haunting Holidays”

Website

Deadline: October 26, 2025, 11:00 PM PDT

SUBMISSION FORM

 The Spartan Theatre at Spokane Falls Community College
Facebook Page: Spokane Falls Theatre – https://www.facebook.com/SpokaneFallsTheatre
Festival Date: Friday, December 5, 2025 at 7:30 PM

The Spartan Theatre at Spokane Falls Community College proudly announces our Second Annual Festival One Page Plays: Haunting Holidays!

We are seeking submissions from playwrights across the globe to be presented in a reader’s theatre format. Selected plays will be performed live at SFCC’s Spartan Theatre on Friday, December 5, 2025, at 7:30 PM.

Last year’s festival received over 100 submissions from playwrights all over the world, making it a truly global celebration of creativity. We are excited to build on that momentum and see how playwrights will haunt the holidays this year!

What We’re Looking For

We want one-page plays that creatively explore the theme Haunting Holidays. Whether it’s a ghostly gathering at a festive dinner, a spooky twist on a traditional celebration, or a chilling winter tale, we encourage all kinds of imaginative interpretations.

All holidays are welcome: New Year’s Day, Independence Day, Thanksgiving, Arbor Day, Talk Like a Pirate Day, Valentine’s Day, Halloween, Mother’s Day, Father’s Day, St. Patrick’s Day, April Fools, Cinco de Mayo, or any other day of cultural or personal significance you’d like to haunt with your imagination.

Here’s a fun challenge: bonus points for including Bigfoot! Why Bigfoot? Because Bigfoot is the mascot of Spokane Falls Community College, and we’d love to see this legendary cryptid make an appearance in our festive and eerie festival.

How to Submit

Submit your one-page play in MS Word or PDF format through the following link:

What to Expect

• Selected plays will receive a staged reading in a reader’s theatre format, focusing on the script and storytelling.
• Playwrights will be notified of their selection by November 24, 2025.
• There is no submission fee, and no participation fee if selected.

Length of Plays

Plays should be one page only (roughly 1–2 minutes of performance time).

Restrictions

• Open to all playwrights worldwide. There are no restrictions on age, nationality, or gender. All are welcome!
• Only ONE submission allowed per playwright. Send us your best work!
• Previously produced or published works are welcome, however scripts submitted to last year’s festival is ineligible.
• No Self-Production Required

If your play is chosen, SFCC will handle all aspects of the production. You do not need to self-produce or cover any costs.

Submission Guidelines Recap

Submit in MS Word or PDF format through the provided link.
Deadline: October 26, 2025, 11:00 PM PDT.
For questions, please contact our Festival Director, Rebecca Cook: Email: racook321@gmail.com
We can’t wait to see your creative take on Haunting Holidays, and we’re especially excited to see how you might work in Bigfoot! Please share this opportunity with fellow playwrights and theatre lovers.

11th Annual Pyro PlayFest 2026 Call for Plays Theme: "Spark of Creation: Humanity, Invention, and Expression"

Facebook page

Deadline: January 12, 2026

 SUBMISSION FORM

Paris Junior College Department of Drama's 11th Annual Pyro PlayFest is now accepting submissions!

In a season celebrating new voices, we are looking for bold, original short plays that explore the heart of creativity — the human spirit, invention, imagination, and the drive to express. Whether you tackle these ideas literally, abstractly, or metaphorically, we want to experience the spark that fuels your storytelling!

The chosen submissions will receive a full production on our 3/4 thrust stage space performed by students and community members in late April 2026, right here in Paris, Texas, on the Duane Allen Stage in the Ray E. Karrer Theater.

Please note: This is a non-paying opportunity. While we are unable to offer financial compensation at this time, selected playwrights will have the opportunity to have their work brought to life in front of a live audience by a dedicated team of emerging artists and community members.

Submission Guidelines

• Unpublished, minimally produced plays (readings okay; no full productions).
• Length: 10 minutes or less.
• Page Limit: 10 pages max (standard format, 12-pt font, with page numbers).
• Cast: No more than 6 characters.
• Technical Requirements: Keep it simple — minimal sets, basic lighting, and modest props.
• Theme Connection: Must explore creation, humanity, invention, or expression in some form.

Content Note: Please keep language and themes suitable for a general adult audience.

Important Dates:
• Submission Deadline: January 12, 2026
• Festival Dates: April 22-26, 2026

How to Submit:
Please submit your scripts (Up to three) in PDF format through this Google Form: New Works Submissions

Include a cover page with the following information:
• Play title
• Playwright's name
• Contact email
• Short synopsis (2-3 sentences)
• Character breakdown

Please make sure that your name is not on any part of the play except the Cover Page as we submit our shows to a panel, blind.

NYCPlaywrights seeks monologues on the theme "Black Woman Genius"

NYCPlaywrights seeks monologues.

THE DEADLINE IS SUNDAY NOVEMBER 30, 2025 at 11:59 PM.

The theme is "Black Woman Genius."

In November 2024, NYCPlaywrights began the "Resisting Fascism" project. The winning piece was a monologue, THE 92% by Bryan-Keyth Wilson that highlighted the fact that 92% of Black American women voters did not vote for Trump - and their intelligence and wisdom are increasingly clear.

The murder of Charlie Kirk was horrific, but that does not erase the fact that he said hateful things like this:

“If we would have said three weeks ago [...] that Joy Reid and Michelle Obama and Sheila Jackson Lee and Ketanji Brown Jackson were affirmative-action picks, we would have been called racist. But now they're comin' out and they're saying it for us! They're comin' out and they're saying, "I'm only here because of affirmative action.

Yeah, we know. You do not have the brain processing power to otherwise be taken really seriously. You had to go steal a white person's slot to go be taken somewhat seriously.”

Kirk dropped out of community college to become a full-time political pundit, while the Black women he attacked graduated from Harvard and Princeton and Yale.

And so this call for submissions seeks monologues on the theme of Black Woman Genius. 

SEMI-FINALIST SCRIPTS

NYCPlaywrights will select as semi-finalists as many of the scripts that we like and which meet the submission guidelines.

The semi-finalists will be listed on this blog and an excerpt from each monologue (if permission is granted by the playwright) will be displayed in a blog post, one per day, along with any website links or other contact information the author wishes to share. 

The semi-finalist script selections will be announced Sunday, January 4, 2026. 

THE WINNING MONOLOGUE

The winning monologue will be selected from the semi-finalist monologues. The winning monologue will be recorded with an actor and an excerpt of the recording will be posted on NYCPlaywrights.org and on the NYCPlaywrights YouTube channel (if permission is granted by the playwright) along with author and actor contact information, biographies, etc.

The author of the winning monologue will receive an award of $100. 

The award-winner will be announced Sunday, January 18, 2026. Excerpts from the semi-finalist scripts will begin posting that day one monologue per day, and the winning monologue will be posted after all the semi-finalist monologues have been posted.

💡 THE SUBMISSION GUIDELINES 💡

Failure to follow guidelines will result in your script being rejected.

As always, there is no fee for submissions. 

• The deadline is November 30, 2025 at 11:59 PM EST.

• All rights will remain with the playwright.

• Monologues must be no more than two pages long, using standard 12-point text size and line-spacing.

• Send only one monologue script per author to genius@nycplaywrights.org.

• The monologue script must be submitted by the author of the script, no agents or others may submit. 

• The monologue script submission should be sent by email, with the script itself as a file attached to the email.

• The file format of the monologue script should be .pdf because it will retain your original script formatting.

• Make sure you have your name and your email address on the script.

• Plays can be submitted by anybody, from anywhere in the world but must be primarily in English (a few non-English phrases are acceptable, but the phrases must include English translations in production notes or stage directions.)

• A play that has had a production is acceptable.

• A play that has been published is not acceptable.

• There will be no money awarded for selected scripts except for the winning monologue.

• NYCPlaywrights' decisions are final.

• Any questions email info@nycplaywrights.org

PLEASE NOTE: when you submit your play, you should get an automatic response that says:

***

Thank you for sending your monologue to the NYCPlaywrights “BLACK WOMAN GENIUS” project.

The semi-finalist script selections will be announced Sunday, January 4, 2026.

The award-winner will be announced Sunday, January 18, 2026.

Nancy at NYCPlaywrights

***

If you don't receive the automatic response, email us at info@nycplaywrights.org to check if we received your script.

Please note:

• The monologues must be dramatic - we love facts, but the monologue must not simply be a lecture on some aspect of history or current events. A dramatic monologue should have an emotional impact and often will tell a story. We'd like to see creativity and invention.

• The call for submissions is open to any person, anywhere in the world. 

• Although the theme is Black Woman Genius, the character speaking in the monologue does not necessarily have to be a Black woman.

• Although this is a serious subject, you do not have to be grim. We welcome humor and playfulness, and we are just as interested in hopeful monologues, and anticipating a brighter future as much as we are in the injustices of the past and present.

DATE RECAP

• November 30, 2025 - submission deadline
• January 4, 2026 - semi-finalists announced
• January 18, 2026 - the winning monologue will be announced and then each day an excerpt from one of the semi-finalist monologues will be posted. 

Some genius prompts:

• Ida B. Wells, investigative journalist, sociologist, educator, and early leader in the civil rights movement.
• Aretha Franklin, voted Rolling Stone's greatest singer of all time - "a work of genius" (#2 is Whitney Houston)
• Valerie Brown, the first Black woman animated character on American television, resident genius of  the 1970s cartoon "Josie and the Pussycats"
• Alena Analeigh Wicker, in 2021, became the youngest person to intern for NASA
• Simone Biles, athletic genius
• Wanda Sykes, stand-up comedian, actor and writer
• Angela Davis, philosopher and political activist
• Dr. Ayda Mensah, character performed by Noma Dumezweni, the brilliant team leader and "favorite human" of Murderbot, from the sci-fi books and AppleTV+ series.
• Lorraine Hansberry, the young, gifted and Black playwright
• Kamala Harris, America’s first woman, Black and South Asian vice president, became the Democratic presidential candidate half-way through the 2024 campaign when Biden bowed out. She drew record-breaking crowds during her campaign and accurately predicted that Trump would use the US military against US citizens.

Albee Foundation Residency

Website

Deadline: October 13, 2025

SUBMIT VIA SUBMITTABLE

Plays/Screenplays: A full manuscript (one act plays count as a full script)

Please note: writers who write in a foreign language should apply with English translations of their work.

You must be able to take full credit for the creation of your work sample.

ALL APPLICANTS must also include:

• An up to date resumé

• Email addresses of 2 professionals familiar with you and your work (your recommenders will be contacted for letters by us)

• An artist’s statement explaining your current need for a residency, as well as the details of the proposed project while in residence

The Edward F. Albee Foundation maintains the William Flanagan Memorial Creative Persons Center (better known as "The Barn") in Montauk, Long Island, New York, as a residence for writers and visual artists of all media.  We are proud to be ADA-accessible and open our doors to all creative people.

The Center is open year-round (with the exception of December, when it is closed for general maintenance and holidays), and can accommodate four creative persons at a time. Residencies are for calendar months only.  The standards for admission are, simply, talent and need.

Located approximately two miles from the center of  Montauk and the Atlantic Ocean, "The Barn" rests in a secluded knoll  which offers privacy and a peaceful atmosphere.  The Foundation expects all those accepted for residence to work seriously and to conduct themselves in such a manner as to aid fellow residents in their  endeavors.  Writers and visual artists are offered individual en-suite bedrooms and separate working studios.  Domestic residents are provided with a $2500 stipend; Foreign residents are reimbursed for verified expenses up to $2500.  The environment is simple and communal.   Residents are expected to do their share in maintaining the condition of  "The Barn" as well as its peaceful environment.

ellipsis… literature and art open for submissions for the 2026 issue

Website
 
Deadline: December 16, 2025 at 2AM

SUBMIT VIA SUBMITTABLE

ellipsis… literature and art is a nationally and internationally recognized journal published by the students of Westminster University since 1965.

We accept original English language submissions in poetry, short fiction, creative non-fiction, drama, and art. Submit poems in one document, please. Our submission period is August 1 through December 15 for poetry, short fiction, drama, and creative non-fiction. We accept art submissions from August 1 through January 31.

Please include a 75 word contributor’s note and your address, telephone number, and email address.

Simultaneous submissions are welcome but withdraw your submission immediately if your work is accepted elsewhere. Note that we do not republish pieces, including work online.

We usually pay $10 per poem and page of visual art, and $3 per page of prose, plus two free copies of the issue. We cannot pay international contributors.

New issues of ellipsis… literature and art are published each April.

Drama 2025-26 submission: Please submit one English language drama piece per year, up to 8,000 Words. Use 12 point font.

2026 Snowdance® 10 Minute Comedy Festival

Website

Deadline: October 10, 2025

Produced by the Over Our Head Players

At Racine’s Sixth Street Theatre

The Snowdance® 10 Minute Comedy Festival is a festival of original comedies that run 10 minutes or less. Submitted scripts will be judged by the Snowdance Selection Committee. A selection of scripts will be chosen for production during the Snowdance Festival in the winter of 2026. These selections will round out a complete performance. Audiences attending Snowdance performances will have the ability to vote for the production they enjoyed the most. The votes will be tallied throughout the five-week festival run, and the Snowdance “Best in Snow” will be awarded to the winning playwright after the final performance on March 9, 2026 with an award of $300.00 to “Best in Snow,” $200.00 awarded to second place, and $100 for third place. All submissions, selected for production, will receive a one-time $50.00 royalty payment.

* Through October 10th, 2025 - Call for scripts.

* December - Scripts chosen for production will be announced.

* February 6 – March 8, 2026 - Run of festival performances.

* March 8, 2026 (immediately after final performance) - Announcement of “Best in Snow.” To enter a script, please follow these steps:

#1 - The competition is open to original plays that are 10 minutes or shorter and free of royalty or copyright restrictions. Submission constitutes approval for the piece to be produced without further royalties, aside from a one-time $50 royalty payment if selected for production in the Snowdance Festival. Musicals, adaptations, and translations will not be considered.

#2 - Plays must run 10 minutes or less. A rule of thumb - 1 page (8 1/2 x 11) of single-spaced, average dialogue will total about 90 seconds. Read it out loud - time it – test it – and re-write if need be.

#3 - Submissions must be postmarked on or before October 10, 2025.

#4 - Manuscripts must be on standard 8-1/2” x 11” paper, cleanly typed and securely bound. Scripts should follow standard format. (Check any script-writing book in your library.)

#5 - Plays can have a cast of 1 to 5 characters and should be easily staged. Avoid any elaborate set requirements. And remember it is a ‘COMEDY FESTIVAL’.

#6 - The writer’s name, address, phone number, and e-mail address (if applicable) should be included on the title page and only the title page. The title page should also include a cast list, set requirements, and a 1 to 3 sentence synopsis of the play.

#7 - Submit one (1) copy of your script.

#8 - Send scripts to: SNOWDANCE

C/O Sixth Street Theatre
318 Sixth Street
Racine, Wisconsin 53403
USA

*Alternatively, you may save some paper and email submissions to snowdance@overourheadplayers.org. (For those who have entered previously, please note the new email address for submissions.)

#9 - Any questions can be directed to Rich Smith at (262) 632-6802 or by e-mail at snowdance@overourheadplayers.org

* Plays selected for the festival will be produced by Over Our Head Players.*

FALL 2025 Online Classes in Playwriting and Musical Theatre Lyrics with Arianna Rose

FALL 2025 Online Classes in Playwriting and Musical Theatre Lyrics with Arianna Rose

Fall online classes in Writing the Ten-Minute Play and Wordcraft: Writing Lyrics for the Stage with award-winning playwright and musicals writer Arianna Rose are open for enrollment. 

1. WORDCRAFT: LYRIC WRITING FOR THE STAGE – ACT ONE SONGS

Offered directly through Arianna Rose. For more information/to register: rockawayrose@gmail.com or https://ariannarose.net/playwriting-classes-and-other-workshops

COURSE OVERVIEW

The audience has one chance to comprehend the dramatic import of your lyric. Is it clear? Is it about one thing? Does it move the story along? Does it employ the highest level of craft? We'll look at typical Act One Songs: Openings, I Want Songs, Conditional Love Songs, Antagonist Songs, Energy Songs, Act One Closers and assist you with your Act One lyrics through sharing and feedback in class. Craft is stressed: song structure, perfect rhyme, meter and scansion, and best practices for working with composers. Suitable for anyone who has been writing theatre lyrics or wants to learn.

COURSE SCHEDULE & TUITION:

Six sessions: Wednesdays, 7:00 – 10:00 pm EST. October 22 – December 3. $450 registration by October 19; $500 after.

TO REGISTER/MORE INFORMATION:

Please contact Arianna Rose at rockawayrose@gmail.com, or https://ariannarose.net/playwriting-classes-and-other-workshops

2. WRITING THE TEN-MINUTE PLAY

You must register for this course directly with www.playpenn.org. (link below)

COURSE SCHEDULE & TUITION

10 Sessions. Thursdays, October 23 – January 15th. 6:30 – 9:30 pm EST. Tuition: $600 (Payment Plans available)

COURSE OVERVIEW:

Ten-minute play festivals grow in popularity around the world, with readings, productions, and publications at every level of theatre. While shortform plays share some similarities with full-length storytelling, the dramatists who excel in this form have learned how to write into the differences. This class helps you join their ranks and gives you the tools to write to the highest level of craft. This ten-session course is a combination of lecture, reading, writing prompts, discussion, and most importantly, in-class sharing of your work for feedback. All levels welcome. Topics will include the elements of a successful ten-minute play, dramatic structure, generating ideas, character development, giving and receiving constructive feedback, effective rewrites, formatting your play, submissions, and log-keeping.

TO REGISTER/MORE INFORMATION: https://tinyurl.com/3n5n2wxm


BIO

Arianna Rose is a Dramatists Guild Institute Instructor and Pip Mentor, professional dramaturg, and an award-winning playwright, musical theatre writer, and educator. Produced in 37 states and 11 countries. Recipient of the MAC Song of the Year Award, the York Theatre NEO, and numerous best short play awards. Two-time Finalist, Kleban Award for Lyricists and Librettists. Top 20 Finalist, NAMT. Semi-finalist, O’Neill Music Theatre Conference. Published: Smith & Kraus, Applause Books, Theatre Odyssey, Ghostlight Publications. 2019-2021 Miami-Dade County Playwright Development Program, moderated by Kia Corthron. M.F.A., NYU Tisch Graduate Musical Theatre Writing; B.A. Theatre, Bucknell University; BMI-Lehman Engel Musical Theatre Writing Workshop. Memberships: ASCAP, LMDA, MAESTRA, Musicians Union, New Play Exchange, South Florida Theatre League, Dramatists Guild of America http://www.ariannarose.net

Interested but not available?

Email rockawayrose@gmail.com and I'll compile a list for future courses.

One-on-One Private Dramaturgy http://ariannarose.net/dramaturg-for-hire

Arkana Magazine open for 10-minute plays

 Website

Deadline: We accept submissions all year, but please be aware that our active reading period is August through March, taking a short break during April, May, June, and July.

SUBMIT VIA SUBMITTABLE

We publish work by established and emerging writers unaffiliated with the University of Central Arkansas. We accept previously unpublished fiction, poetry, creative nonfiction, scripts for the stage or screen, translation, artwork, and illustrated narrative through our Submittable submission manager.

Simultaneous submissions are always welcome. We only ask that you withdraw your piece as soon as you accept another opportunity.

As a compendium of the rare, intriguing, and unheard, we’re looking for quality writing that is thought-provoking and literary. We are especially interested in work that explores the identities and experiences of writers from the Delta region, BIPOC, immigrant, LGBTQ+, women, disabled, and neurodivergent writers, the resource-poor, writers over 50, those who have experienced or been impacted by incarceration, or anyone whose voices have traditionally been silenced.

Scripts: We’re committed to publishing genres not often featured in literary journals. Whether it’s a 10-minute play or a scene from a screenplay, we’re looking for polished scripts with compelling character motivation and innovative use of dialogue.

We're looking for polished scripts that illuminate truths and push boundaries. We accept ten-minute plays and scripts that are 20-pages or under.

REGULAR SUBMISSION GUIDELINES 

Up to 4,000 words of prose (fiction or nonfiction), double-spaced

No more than 20 pages per submission

Limit 1 submission per genre until you’ve received a response 

Up to three poems per submission

Up to 5 photographs or pieces of art

Cover letter with a brief biographical statement 

For translated work only: 

Original publication information 

Confirm publication rights are available

If the piece is in the public domain, please let us know

It is always free to submit. While we accept submissions year-round, please note that our graduate students read during the school year, so you will experience longer response times over the summer.

HOW WE ADVOCATE FOR OUR AUTHORS

We nominate our writers’ work for the Pushcart Prize and Best of the Net every year and promote them regularly on social media. Our issues feature audio recordings of the pieces we publish. All our writers’ work is considered for $50 Editors’ Choice Awards in each genre.

Murmuration Theater Company call for short plays and monologues

Website

Deadine: Rolling basis

SUBMISSION FORM

Murmuration Theatre Company is currently accepting excerpts up to 12 pages for public reading consideration

The scenes selected will be performed live by attending volunteer actors as part of MurmurCo's monthly open mic event at Pete's Candy Store bar (Williamsburg, Brooklyn).

No submission fee, No playwright eligibility requirements

Simultaneous submissions are accepted; a new form completion is required for each piece. Playwrights will be notified if their submission is selected + the expected performance date, and are welcome & encouraged to come see how their piece sounds.

Submissions must:

• Have a page count between 1-12
• Be either a monologue or dialogue
• Monologues or dialogues with interjections that can be skipped are also permitted.

Please note: we like to work on pieces that feel contemporary, authentic, inventive, and that ask interesting questions.

Instagram: https://www.instagram.com/murmurationtheatreco/

some scripts issue 6: nostalgia open for one-act plays

Website

Deadline: October 15, 2025

Or until they have received 150 submissions

Submission form

Submissions for some scripts issue 6: nostalgia are open now until 10/15/25 or until 150 submissions, whichever comes first. As always, submissions are free for everyone! 

"nostalgia" means a lot... literally. I want to read scripts about aestheticizing Y2K, of cringe millennial culture, of looking back through time, of characters having a moment of self-reflection to see how far (or not) they've come. Give me your nerdiest shit, your grief, your weirdness. Stuff that can never be staged and stuff that has been staged. Plays about memes and emojis and the internet of old. Discord and radio and Zoom plays welcome. I want to see all facets of nostalgia at play and creativity in terms of technology use. 

Accepted pieces will be published in an ebook and POD (print-on-demand) physical book. All accepted contributors will receive a token $10 payment; unfortunately, some scripts does not have the funds to pay more even though your work absolutely deserves it. <3

GUIDELINES:

Scripts can be no longer than 45 pages (one-act). 

Essays and theatre reviews can be no longer than 1500 words. 

Absolutely nothing racist, sexist, homo/transphobic, fascist, imperialist, anti-vax, etc. Get that shit out of here. You can, however, engage with these as themes in your work; if you glorify them, your submission will be rejected on sight. 

Any genre is fair game. Sci-fi, fantasy, dystopian, utopian, realism, etc. 

Premiere Stages seeks full-length plays

Website

Deadline: November 1, 2025 11:59 PM

Submissions sent early in the submission window are strongly encouraged.

All plays must be submitted as a PDF via Submittable at premierestagesatkean.submittable.com/submit. Hard copies will not be accepted.

Premiere Stages will accept submissions of unproduced plays written by playwrights affiliated with the greater metropolitan area from September 1, 2025, through November 1, 2025. 

All plays submitted to the festival are evaluated by a panel of professional theatre producers, directors, dramaturgs, playwrights, and publishers. Four finalists are subsequently selected for public Equity readings in Spring of 2026.

Following the Spring readings, one play is selected for an Equity production in the Premiere Stages 2027 season and receives an award of $4000. Another finalist receives a 29-hour staged reading and $1500. The other finalists will each be awarded $1000.

Submission guidelines can be found at https://premierestagesatkean.com/play-festival/guidelines/

• Plays must be full-length and have a cast size of no more than eight.
• Plays must be unpublished and unproduced (readings and workshops are okay), with no productions and/or publication currently scheduled through September 2027.
• Playwrights must have strong affiliations with the greater metropolitan area (New York, New Jersey, Connecticut, Pennsylvania, and Delaware). 
• Musicals, adaptations (of existing plays or other sources), and solo shows are not eligible.
• Submissions are limited to one script per playwright.
• Please contact Premiere Stages to inquire about submitting a script that has been previously submitted. Generally we only accept re-submissions if the play has undergone significant revisions. 
• Playwrights must be available for the development of their script (see the 2026 schedule table on our website).
• Names and contact information are welcome on cover pages of scripts

NO AGENT? NO PROBLEM! Premiere Stages now accepts full manuscripts from all submitters. 

Submissions must include:

• Brief synopsis of the play (no more than half a page)
• History of the play’s development (or statement that it has none)
• The playwright’s bio or resume
• Members of the Premiere Stages literary team will read at least 10 pages of every play submitted and will decide if the play should be further considered by the Play Festival Panel.

All playwrights will be notified by e-mail OR Submittable message of their status by June of 2026.

Playwright and script doctor Sarah Congress is offering writing coaching

Whether you are a producer with a screenplay that needs reworking, a fiction writer in need of inspiration, a new playwright, or an organization in need of commercial writing, Sarah is here to help. 

Visit Sarah's website or send her an email (sarah.congress@gmail.com) to learn more.

Script Services:

• Help clients get “out of their own way” and fully realize their work and writing potential
• Offer rewrite suggestions 
• Punch up jokes and humor
• Improve confidence 
• Fine-tune material to hook a reader’s interest
• Assist in finding submission and publication opportunities as needed

Bio

Sarah Congress is a playwright and script doctor. Her play "Last Sunrise" was produced by Nylon Fusion for their Gilded Age/Cage Festival at TADA Theatre (June, 2025). "Last Sunrise" was presented with writers John Patrick Shanley, Lyle Kessler, and Migdalia Cruz. Sarah’s play “Delulu” was a semifinalist for Centre Stage's 23rd Annual New Play Festival (1 of 40 plays from 800 submissions). "Delulu" will be read at the Episcopal Actors' Guild this October. She co-wrote the screenplay "I Can't Hear You!" which won BEST COMEDY in the 2024 Jersey Shore Film Festival. Her play “Overdose” won 2nd place for BEST SHORT in the 2023 Downtown Urban Arts Festival at Playwrights Horizons.

Teaching Experience

Sarah has taught writing classes for the Hoboken Historical Museum, Project Write Now, The Knowledge Project, RTA and the Hudson Valley Writers Center - as well as private teaching.

Testimonials

"Writer's block is real! Sarah helped me get out of my own way. Through our relaxing conversations and visualization exercises, I was able to get out of my head. She's extremely positive and encouraging. We collaborated on my film script. She provided concise feedback and was able to punch up my script with her humor and poise, and bring it to the next level. As a result, my short film has been selected as a finalist in a film festival! I'm so grateful for Sarah's help. You can't go wrong trusting in Sarah!"

--- Caryn Whitman, CPA, CEO & President of Vasana Ventures

"I had a breakthrough in my playwriting after working with Sarah. Her coaching made me realize I had the bad habit of undermining the power of my words.. I saw that after she pointed out one line in my play BIG FAT BABY IN HIS MOTHER'S ARMS which I went on to rewrite immediately and submitted for a serious Playwrights Fellowship. Just yesterday I heard from the UCROSS Foundation that I am the Alternate Fellow in the event one of the winners cannot attend in Spring 2025. I am honored to be acknowledged for the Fellowship and thank Sarah for her important coaching. Sarah will have you grow as a playwright/screenwriter in front of her eyes."

--- Tino Juarez, Playwright

"My biggest takeaway from last night is that anything can be made funny. That really dovetails beautifully with my deep gratitude for a healthy sense of humor, even in the darkest moments…."

--- Gay Norton Edelman, Author/Editor