All posts by Kimberley Andrews

Opportunities – Pick of the Week: The Director’s Club seeking shorts on theme of ‘Santa’s Secret…’

Each week we look through our pile of writing opportunities to pick out one we think is particularly worth your time. It could be an innovative brief, great prize money, a high-profile company, or just plain fun.

This week’s pick: The Director’s Club seeking shorts on theme of ‘Santa’s Secret…’

Description: The Director’s Club from Director’s Cut Theatre are looking for writers to respond to their latest brief ‘Santa’s Secret…’ which will be performed on Monday 17th December at Southwark Playhouse.  They are looking for 5-7 minute monologues, duologues or short plays for up to 4 characters  based on the theme of secrets being kept/hidden at Christmas.

What’s so great about it? Well it is November so that definitely means its’ ok to talk about Christmas, right? And if you feel like bringing a bit of Christmas cheer in to your writing, this opportunity is perfect for you. Feeling more Bah Humbug than Jingle Bells? That’s ok, as they are open to all types of stories – dark or funny – as long as your work responds to the brief of secrets being kept at Christmas!

Selected scripts get their work performed at the wonderful Southwark Playhouse so not only is this opportunity a  lot of fun, it’s also a great way to get your work up on a London stage and work with a professional company.  You’ve got until 22 November to submit, so get going. Now, who said its’ too early for a mince pie…

Read the full details here

Please note, we’ve posted this for your convenience and we’re not affiliated with the organisers of the opportunity.

Photo courtesy of Director’s Cut Theatre

The Inn Crowd Project seeking writer/ performer (paid)

South Downs National Park Authority (SDNPA) and Applause Rural Touring (ART) are pleased to announce a new partnership to commission a spoken word inspired show that explores and records residents relationship, thoughts and feelings of the South Downs National Park and will tour across the region in 2019 as part of the Inn Crowd project.

Inn Crowd supports rural pubs to host spoken word-inspired live performances, working with some of the UK’s top artists and performers to provide pubs in rural areas with professional, high-quality, fantastic live entertainment and reinforces the pub as a central, vibrant part of community life.

How to apply: further information about Inn Crowd and how to apply can be found here.

Deadline: 26 November 2018

Source: Arts Council Jobs

King’s Theatre in Annapolis Royal seeking 10 minute plays for festival ($15 entry fee)

The thirteenth King’s Shorts Festival of Ten Minute Plays,will be hosted by King’s Theatre in Annapolis Royal, Nova Scotia, Canada on June 14, 15 and 16, 2019.   

Entries for the Festival must be sent to the address below, with a non-refundable $15 entry fee per script, and be postmarked no later than January 14, 2019.

Who can enter: The Festival is open to all writers and playwrights,worldwide, even if you have never written a play before.  It is suggested that submissions be approximately 10 minutes in length (total reading time), can be of any genre (comedy, tragedy etc.), have a limited number of characters (1-6), and should not have been previously produced in any form.  

How to apply: please send entries to Kings Shorts, c/o King’s Theatre, P.O. Box 161, Annapolis Royal, Nova Scotia, B0S 1A0, Canada.

The first page of the play should contain the play’s title, a pseudonym, and all pages must be numbered.  The playwright’s actual name and contact information should be in a sealed envelope, with the script name and pseudonym on the front.  This will ensure anonymity during the judging process.

Playwrights should avoid wording that might offend.  Hand written plays are not acceptable. Because of the nature of the Festival, the sets must be kept simple and be capable of being changed quickly.  Playwrights may submit a maximum of two plays, using a different pseudonym per script. The reading committee will choose eight plays, by eight different playwrights, to be staged by the Annapolis District Drama Group utilizing local directors and actors.  Of those eight, one will be chosen by Theatre Nova Scotia as the best written script and receive a prize of $300. A second place best written script, also chosen by Theatre Nova Scotia, will receive a prize of $150. All attending audiences will be asked to vote for the People’s Choice Award, announced at the Sunday matinee on June 16.

Scripts will not be returned and applicants will be informed by March 4, 2019 if their play is to be included in the Festival.  

For further information contact Verilea Ellis at 902-245-2309 or email verilea@yahoo.ca

Deadline: 14 January 2019

Source: direct contact

Lady Eleanor Holles and Hampton High Schools – Write the Girl: discussion & commissioning opportunity

Write the Girl is a day of discussion about theatre-making for and with young women run by Lady Eleanor Holles and Hampton High Schools and will include the  launch of a new commissioning process.

Attendees will then be eligible to apply for a fully funded commission for  Lady Eleanor Holles School and Hampton High School in 2019: full details will be shared on the day.

Details about the day:

Playwrights, practitioners and theatre makers are warmly invited to attend a day of discussion, workshops and professional development in the Jane Ross Theatre, LEH School, on 5th December 2018.  The Write the Girl Project is motivated by the frustration felt by teachers and students in their search for meaningful stories, suitable for large casts, that stretch, challenge and engage a generation of young women dissatisfied by a male-dominated canon.  Sessions will be run by fantastic directors including Eleanor Rhode (Boudica, The Globe), with award-winning television Producer Clelia Mountford (Merman Productions) and representatives from Nick Hern Books also attending.  Most importantly, there will also be opportunities to work with a range of teenagers and their teachers.

Date: 5 December, 10.30am – 4.30pm (approx timings)

How to apply: if you would like to attend the day, please email a brief CV and cover letter explaining your interest in the event to writethegirl@lehs.org.uk.  Please attach this as one document of no more than two sides of A4  in total.

All questions should be directed to this email address: please do not contact either school directly.  Unfortunately, places are limited and priority will be given to those with the clearest sense of an affinity for the ethos of the project.  You will be contacted by Tuesday 20th November with confirmation of your place along with the final details for the day.

Deadline: 16 November 2018 at 3pm 

Source: direct contact

LPB Members’ Monologue Competition: Winning entries

In the summer, we ran an online course for our members on How to Write a Monologue. We then invited participants to submit their monologues to us and promised to publish our favourite ones on the blog!

We received some fantastic entries which encapsulated  some vibrant characters with unique voices, so it was a difficult task to choose the ones we wanted to showcase. However, we managed to make our selection and we’ll be publishing them over the next few weeks…

This week’s selection: Blessed be the Peacemakers by Alison Rayner

Alison is a graphic designer and has returned to writing after a short film she wrote about a sweet seduction was shot in 2016. A slim volume of her short stories was published in conjunction with the film and ‘Pastry’ (13’, dir: Eduardo Barreto) is now doing the festival circuit and being televised through Eurochannel TV. Alison has written several spec feature screenplays and has recently completed her second full-length stage play.

Introduction:

‘Blessed Be The Peacemakers’ was written in response to a prompt, ‘She turned on the radio’, in a creative writing class and is set when radio was in its heyday. Already, before the Second World War and Churchill’s powerful speeches, Hitler was galvanising an inflicted German nation with his passionate broadcasts. The voice of a little girl was used to capture the innocence, curiosity and confusion that reflects not only the tension in her family but, equally, a nation in crisis. A winner in the themed 2018 Waterloo Festival writing competition, it was subsequently published in Bridge House Publishing’s e-anthology ‘To Be … To Become.’ This is the shorter, published version.

Blessed be the Peacemakers

By Alison Rayner

“I’m so excited! I can already hear the crowds cheer. I can’t wait.

My brother Hans is beside himself. He says our time is coming. He says this will be the start of everything he’s been preparing for. He said that last time, too. And the time before that.

Hans finished dinner early then left the table without even asking! He’s waiting for mother by the radio, but he’s still in his uniform instead of his pyjamas. Father seems angry. He doesn’t like seeing Hans get excited, but I do! He’s all wide-eyed and cheery and smiling and it’s much nicer when he’s like that and not being mean and nasty and pulling my hair or screaming at my boy friends if they don’t follow his orders. And worse. He even punched little Bertel last week. But I’ve seen the older boys do the same to him. And sometimes I hear Hans crying when he goes to bed. I don’t think soldiers are meant to cry. He asked me not to tell anyone and I promised I wouldn’t because he said he’ll take my teddy bear and pull his eyes out and I don’t want Teddy to suffer so it’s our secret even though I don’t want to have any secrets, especially not from mother and father.

Hans tells me he’s a good soldier and he won’t let the Fuhrer or the country or our family down. I don’t know. I don’t think he likes soldiering very much but he likes it when the little boys follow his orders. Yes, he likes that very much.

Hans is itching for mother to turn on the radio. We’re going to hear if we’ve won. I’m not sure what we’re winning, but Hans is already jubilant. I don’t understand why mother and father are so quiet. I think mother is secretly excited because she likes the Fuhrer… a lot. When father isn’t here, when he’s working late, and we hear the Fuhrer talking about what they stole from us and how he’s going to get it all back, she’s very happy. Me too. It’s like Abel at school when he takes our sweets. He’s a big bully. The Fuhrer says that we were bullied and they took all our sweets and he’s going to get them all back for us. And he will. He fixed the country and made it happy again because everyone was sad and poor and hungry and now we have lots of food and nice homes and good jobs and we have fun together like a big family that all thinks and feels the same and I like that feeling too.

I don’t know why father isn’t happy about that. He was angry after the squad leader came with the brown shirts for Hans. I was only little then, but I remember. Mother was pleased because Hans needed more shirts but now he only wears the brown shirts anyway. Hans has such a fine time, I don’t know why he cries about it. He marches and sings and fights and plays cowboys and I think it must be a lot of fun! When I join the League, I can march too. I’m really looking forward to that. We all sing in school. Exciting songs about our dear Motherland and our countrymen. Comrades that are our brothers and sisters even though we don’t know them at all. That makes me feel really special. But when father tells us to stop singing, I just feel sad.

Mother turns the radio on. There’s music. Hans stands to attention like he’s the conductor. Father fidgets. He doesn’t want to be here but he doesn’t want to miss out either. I look at father and I worry sometimes. Maybe he knows something no one else does. Hans ignores father now. He doesn’t believe in him anymore. But I do.

Oh, stop. Listen.

There’s a really long list of countries that are also listening in, just like us. It must be good news!

The crowds are so loud. It’s amazing. There are so many people! I get tingles. Then the Fuhrer speaks. Mother’s eyes twinkle and she smiles at me like I’m the most precious thing on earth.

It’s way past my bedtime and the Fuhrer talks a lot about things I don’t understand but mother tells me to be quiet and that I will understand when I’m older. It’s a very long speech and I’m very sleepy.

The crowd roars again and I jerk awake. Great news! Our stolen Sudetenland has been given back to us! The Fuhrer is so proud. We grow bigger and stronger every day and no one can make fun of us anymore. We are so blessed. We truly are the best people in the world.

The Fuhrer wants peace and happiness for all but he says that everyone else wants war. Why do people want war? I don’t understand. Even Hans wants war. I hear my parents argue at night about how they don’t want him to be a soldier and about him crying. I swear, I didn’t tell them that.

They whisper about the Eidleman’s, our old neighbours, going to America and us not having enough money to go there too but I don’t want to go because all my friends are here and the teacher told me they don’t even speak German there.

I know everything will be okay because the Fuhrer will protect us. He’s built a really big army and we’re very powerful now so we would beat everyone anyway.

Mother says don’t be silly, there won’t be a war. I trust her because she’s happy and positive and wise and I trust the Fuhrer because he’s working hard to make sure everyone feels blessed with the good fortune of our Motherland. But father says there will be a war, and soon, because people are just plain stupid. But he’s been saying that for years.”

If reading this gets you in the monologue writing mood, you can still access the course on our members’ site here. If you’re not a member yet, sign up here!

Opportunities Weekly Round-up: 9 November 2018

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Our weekly Friday round-up of opportunities listed on the blog that haven’t yet reached their closing date (listed in order of closing date).  Opportunities are grouped into four sections: 1) Pick of the Week & featured posts; 2) Opportunities with Deadlines; 3) Workshops and Events; 4) Ongoing opportunities (No deadline).

Want to be sure you never miss an opportunity?  Sign up for our email list to get the weekly roundup direct to your inbox! 

Featured posts:

LPB Members: Online Course – Writing in Dialect: How to Listen, What to Write

Adaptation, or what you will: Chloë Myerson from Monkhead Theatre on writing adaptations

LPW Online Book Club: The Effect

Our latest opportunities Pick of the Week: The Yard Theatre submissions window open

Pursued by a Bear: “How do I give exposition without getting bogged down?”

Opportunities with deadlines: 

Play Submissions Helper: 32 Opportunities with November deadlines – Deadlines : various throughout November 2018

The Alfred Bradley Bursary Award open for submissions from radio drama writers (North of England) – Deadline: 9 November 2018 at 5pm

The Book Pipeline seeking source material to adapt ($65 entry, $10,000 prize) – Deadline: 15 November 2018

BBC Alba Children’s Short Drama Scheme open for submissions from Gaelic writers – Deadline: 16 November 2018

The Royal Court Theatre and Kudos Writing Fellowships open for applications (£10k bursary) – Deadline: 16 November 2018

Scene Gym accepting submissions for R&D project (paid) – Deadline: 16 November 2018

Orison accepting monologues for Spring Board Showcase – Deadline: 16 November 2018

Transition Stage company launch Enter Stage Right Competition (£10-£30 entry fee) – Deadline: 19 November 2018

University of the West of England (UWE) – Workshop Training Opportunity for BME writers – Deadline: 19 November 2018

The Director’s Club seeking shorts on theme of ‘Santa’s Secret…’- Deadline: 22 November 2018 at midnight

Founding Fall Theatre seeking stand alone scenes – Deadline: 28 November 2018

Free 5 week film course with Collage Arts – Deadline: 30 November 2018

The North Wall Oxford seeking young writers for ArtsLab residency – Deadline: 30 November 2018

RAODS ‘321’ Play Writing Competition 2019 open for entries for performance in Italy – Deadline: 30 November 2018

Almost Random Theatre (A.R.T) Playwriting Competition seeking one minute plays – Deadline: 30 November 2018

Theatrefullstop accepting submissions for Pub Theatre Festival – Deadline: 1 December 2018

The Yard Theatre submissions window open – Deadline: 3 December 2018

RSL’s Literature Matters Awards call for proposals– Deadline 5 December 2018

International Young Theatre Playwriting Contest open for entries (15-25 year olds) – Deadline: 15 December 2018

Breakwater Theatre Company new playwriting contest open for submissions – Deadline: 15 December 2018

365 Women a Year Playwriting Project – Deadline: 31 December 2018

Dwell Time – Penistone Train Line Newspaper: seeking submissions– Deadline: 31 December 2018

Quantum Frolic Theatre Company seeking shorts for playwriting competition (£10 entry fee/ £250 prize) – Deadline: 31 December 2018

Ashland New Plays Festival: International Playwriting Competition ($20 entry, $1500 prize) – Deadline :31 December or when they reach 400 submissions, whichever is sooner

Drip Action Theatre Company: Arundel Festival Theatre Trail open for submissions – Deadline: 31 January 2018

BBC Writersroom announces submission window for Script Room Drama 2019 – Deadline: 7 January 2018

Toi Toi, Teatru Manoel (Malta) seeking one act plays on the theme of ‘Breaking the Rules ‘ – Deadline: 1 February 2019

Green Curtain Theatre seeking one act plays on the theme of ‘breaking away‘ – Deadline: 28 February 2019

University Women In The Arts Announces Partnerships With Leading Arts Organisations On Project To Tackle Abuse In The Arts– Deadline: 15 March 2019

Langham Court Theatre announces Risk Theatre Modern Tragedy Competition ($45 entry) – Deadline: 29 March 2019

Carlo Annoni Award 2019 open for entries – Deadline: 30 April 2019

Events and workshops:

Writing your own role: workshop with Lydia Parker at the Actors’ Centre – Dates: find out more on the website

The revival of Broadway theatre with Chris Jones and Matt Wolf by Bloomsbury Institute – Date: 27 November 2018

National Theatre – Playwriting Then and Now: 30 Years of Nick Hern Books – Date: 8 December 2018

Drama Studio London: Writing For The Theatre – Playwriting Course 2019 – Dates: Starts 15 January 2018

Women’s Writing Workshop with Actor Awareness (University Women in the Arts) – Date: 22 January 2018

Writing for Television: Residential workshop with Roy Mitchell – Dates: 20-24 May 2018

Online workshops and resources: 

Stagedoor App Podcast (Bridget Minamore and Chris Campbell of the Royal Court’s Literary Office)

Bloomsbury Publishing: How to get your play published (view live stream of talk)

WGGB launches FREE Musical Theatre Kit

An Introduction to Screenwriting: free online course with FutureLearn & Uni. of East Anglia

LPB Summer Sessions: Overcoming writers’ block (online workshop)

LPB Summer Sessions: How to write a monologue (online workshop)

LPB Summer Sessions: Promoting yourself as a writer (online workshops)

LPB: The Redrafting Toolkit

LPB Members: Online Course – Writing in Dialect: How to Listen, What to Write – Goes live 13 November 2018

Ongoing submissions:

The Cabot Cruising Club, Bristol looking to programme arts events – Deadline: none posted

Katzpace call out for submissions – Deadline: none posted

Exploding Whale Theatre seeking submissions for their next show – Deadline: none posted

Thunder Theatre seeking submissions for 15-20 minute plays – Deadline: none posted

Mate Productions accepting applications for Writers Collective – Deadline: None posted

Manchester ADP seeking scripts to produce – Deadline: Rolling

The Questors Theatre Ealing accepting submissions for staged readings – Deadline: None posted

Sparks – HighTide’s new script submission process – Deadline: Weekly, follow them on Twitter for updates

Attic Theatre seeking musicals for 2019 tour – Deadline: None posted

React Scratch inviting writers to share work at monthly scratch night – Deadline: Rolling

Out of Joint launches Writers Room for London Uni Students: Submit your work to the London Student Drama Festivalplaywrights– Deadline: Rolling

Drama Notebook seeking short plays for kids and teens (paid) – Deadline: None posted

Manhattan Repertory Theatre’s Play Production Programme – Deadline: Ongoing

Aurora Metro Books seeks British East Asian plays for publication – Deadline: Ongoing

Middle Child Theatre seeking scripts to commission – Deadline: None posted

Ugly Duck offering cheap rehearsal space in Docklands – next few months for Edinburgh Fringe– Deadline: None posted

Three opportunities with Alphabetti Theatre and rolling deadlines– Deadline: None posted

Newsthump looking for spoof news writers – Deadline: ongoing

Arvon Grants available for writing courses – Deadline: none posted/ various

Paines Plough accepting ongoing submissions – Deadline: rolling

BBC Comedy Classroom – Comedy writing resources for young people –  Deadline: various

Online Masterclass with Aaron Sorkin on Screenwriting ($90) – Deadline: none posted

JW3 seeking submissions of pieces about Jewish culture – Deadline: rolling

BFI Postroom open to submissions of films and scripts from emerging filmmakers – Deadline: rolling

Opportunities to hear your play with Player Playwrights – Deadline: rolling

Online Playwriting Course with Live Theatre (£95-£495) – Deadline: rolling

Playwrights Circle at the Bread & Roses – Deadline: ongoing (monthly event)

The Institute of Other seeking creative practitioners – Deadline: none posted

White Hart Trust Studios seeking international and foreign language theatre – Deadline: none posted

Londonville Lit offering reading slots – Deadline: none posted

Orange Tea Theatre accepting submissions – Deadline: rolling

Funding available for students at Glasgow University MLitt Playwriting & Dramaturgy – Deadline: none posted

Everything Theatre accepting plays for podcast readings – Deadline: none posted

The Cockpit Theatre seeking work for scratch nights – Deadline: none  posted but performances take place on the first Monday of the month.

Shred Productions open to submissions – Deadline: none (open submissions)

The Director’s Club seeking shorts on theme of ‘Santa’s Secret…’

The Director’s Club from Director’s Cut Theatre are looking for writers to respond to their latest brief ‘Santa’s Secret…’ which will be performed on Monday 17th December at Southwark Playhouse.

What secrets are you hiding up your chimney this Christmas?

The Brief

  • 5-7 minute monologues, duologues or short plays for up to 4 characters
  • Short plays based on the secrets being kept/hidden at Christmas
  • Comical stories, dark tales, dramatic moments, true stories, fictional ones, they are open and interested!

This brief is completely open to interpretation by the writer, it can be based on true life stories or fictional. They are seeking out scripts that have a strong sense of character and story, and that move and evoke emotion within the audience, be it through laughter or tears, they are looking for variety and a range of comedy and drama in their productions.

How to apply: please send all scripts to scripts@directorscuttheatre.co.uk Visit their website for full details and to join their writers’ database

Deadline: 22 November 2018 at midnight

Source: BBC Writersroom

Writing for Television: Residential workshop with Roy Mitchell

A 4 day residential Workshop in Writing for Television takes place on 20 – 24 May 2019 with Roy Mitchell.

What do you want to write and why do you want to write it?

Roy Mitchell is an accomplished television drama writer whose career spans 4 decades and includes scripting popular series such as Casualty, The Bill, Boon, Blue Murder, Back Up and Thief Takers. Roy co-created the series New Tricks with Amanda Redford and Denis Waterman, which ran for over a decade, and he recently completed a US TV series set in Maine for Fox TV.

Each participant will have ample time to write dramatized exchanges, scenes and short treatments for TV. Roy is an engaging and entertaining member of the Industry and will lead the writers through fields such as:

  • Character, Plot, Structure and Dialogue
  • The verbal versus the visual
  • Watching people not plot
  • The 90 seconds before someone stops watching
  • The Beginning, the Middle and the End
  • What things cost in TV drama and why the writer should know
  • Why actors don’t do as they’re told, why directors don’t do what they say they will, and how to get them to do what you want
  • The course will also look at the reality of writing for present day TV and attempting to break into the business.
  • TV Drama – Single Dramas, TV Series, Serials and Soap.
  • Writers’ Agents and TV Drama Commissioners. What are they looking for?
  • Most important of all – what do people watch? And what do people want to watch

Location: The Workshop will be held at the Priory (not that one) close to Poitiers, France (Ryan air), a small chateau where each writer will have their own luxury room with desk and all meals provided.

How to book: Please contact Jayne Morley at jftmorley@hotmail.com for further information, costs and bookings. The workshop is limited to 8 writers.

Deadline: none posted 

Source: direct contact

Opportunities – Pick of the Week: The Yard Theatre submissions window open

Each week we look through our pile of writing opportunities to pick out one we think is particularly worth your time. It could be an innovative brief, great prize money, a high-profile company, or just plain fun.

This week’s pick: The Yard Theatre submissions window open

Description: Twice a year The Yard opens up submissions for scripts, asking you to send in a 10 page sample of your writing and a single page telling us more about you and your piece. All of these will be read by their core team, as well as a small group of trusted readers. From there they will request full scripts from writers, whose ideas excite them and whose work they think could be a good fit for The Yard’s programme.

What’s so great about it? As The Yard only opens its’ submission window twice a year, we thought it was only right to flag it up! As a London theatre with a focus on providing a platform for writers, it’s really worth considering submitting to if you have a script you’re hoping to get noticed. Whilst there are no promises of production, this is a great way to make a connection with an established company – and who knows where it will lead? You’ve got until 3 December to send in your 10 page sample (but don’t forget to polish up the rest of the script in case they request it later!).

Read the full details here

Please note, we’ve posted this for your convenience and we’re not affiliated with the organisers of the opportunity.

Photo courtesy of The Yard Theatre

The Cabot Cruising Club, Bristol looking to programme arts events

Interested in presenting a theatre or other arts event on Bristol’s famous Harbourside?

The Cabot Cruising Club is offering a unique arts venue at The Lightship Theatre, Bristol (New Guinea Street, Bathurst Basin, BS1 6SG)  – a historic ship with a well-stocked cash bar, in Central Bristol.

They would like to start  holding regular arts events – a programme of plays, comedy nights, film showings, exhibitions, children’s theatre and a whole lot more…

They have a flexible approach to programming – welcoming a wide variety of community and professional material.

How to apply: for more details email Briony Pope at events@cabotcruisingclub.co.uk

Deadline: none posted 

Source: Playwriting UK Facebook Group