Eighteen IdeasTap members will get the chance to put on a production in the house of a theatre industry big wig in front of an industry audiencePlease note: This brief is only open to IdeasTap members based in London and the South East.
Scottee and Ideas Tap are looking for new writers who want to bypass posting their scripts to theatres and programmers and instead present their text in the homes of leading theatre producers and artistic directors. They’re looking for innovative texts that can work in people’s kitchens, living rooms, or even toilets.
Eighteen IdeasTap members will win this brief. Scottee and his producer will get them ready for one of the six sharings in October/November 2014. They will receive direct feedback from the host and their invited guests – all of whom are considered industry big wigs. This is an opportunity for you to get your work in front of the people who have the power to commission, programme or stage it.
You will perform the work yourself, with your own company members or associates, or with performers found especially for the piece.
The judges are looking for exciting and innovative applications that have a playful approach to form.
Further details: the sharings will take place on 20, 27 October, 3, 10, 17, 24 November. The judges of this brief are looking for short pieces that give a rounded feel for your text. No technical equipment – just performers and voices!
IdeasTap will pay each participant £50 and cover travel expenses of those travelling from outside London on the day of the performance.
Scottee is a 28-year-old artist and broadcaster from Kentish Town, north London. He is a regular contributor for BBC Radio 4’s Loose Ends, Huffington Post and i-D magazine. He is currently an associate artist at Olivier award-winning company Duckie and the iconic Roundhouse. He has won several awards for his work including Time Out Performer of the Year and a Total Theatre award for innovation.
How to apply: go to IdeasTap where you will be able to sign up and follow this creative brief. You will also be asked to upload supporting materials.
Free Writers is a new core Rewrite project for young people aged 11 to 18. They have just completed a pilot phase and will be developing the project over the next year. The programme aims to bring together young people from different cultural and national backgrounds to develop their creative writing skills, tackle relevant social, cultural and global issues and offer a platform for participants to share their work. The programme actively aims to promote new literary voices (including those from marginalised backgrounds) and offer access to other literary institutions and opportunities. Free Writers also work with those who are most alienated from literacy and literature to support their learning and help them engage and thrive in educational environments.
They are looking for an exceptional individual, with proven success of working with young people from diverse backgrounds, to guide this group into its new phase.
Professional experience as a writer (poetry, including spoken word, prose, playwriting) i.e. published or staged work for public audiences
Extensive experience (3 years or more) of working with young people from diverse backgrounds, including gifted and talented young people, those with English as an Additional Language and those who find literacy and literature difficult or disenfranchising
Demonstrable interest and/or experience in using the arts to challenge prejudice and injustice
A sound knowledge of the contemporary literary scene, including writing for young people
Qualification in English literature / language / creative writing or a teaching qualification (desirable)
Experience of planning and delivering courses collaboratively
Awareness of child safeguarding and health and safety in education/arts context
Fee: £80 per session (on a freelance basis).
Hours and place of work: 10 weekly sessions per term, Thursdays 4.15pm to 6.15pm, at Inspire, SE17 2HH (and additional trips, planning and evaluation sessions to be arranged each term).
To apply: Please go to www.rewrite.org.uk news for full details on the application process and role.
Trying to fit regular writing time into your life can be a really daunting task. Some of us are lucky enough to have the flexibility to write whenever we want, but for most people, long term commitments like work, family and relationships can make regular time at the keyboard difficult to get a handle on. And it’s often the first thing to go when you’re going through a period of stress. Writing is like a muscle: the more you practise, the easier it gets. And without regular practise, your writing’s unlikely to get better.
A little while ago I went through a really dry period where my writing pretty much ground to a halt. I’d taken on a new job, moved in with someone, and lost a lot of the usual rhythms that led me to write. I’d tried kidding myself that it would just happen: that one of these days I’d be less busy, that I would find the time to sit at my desk and start typing merrily away, but I never did.
I realised the only way that I was going to get my writing mojo back was by beating myself into shape with a writing schedule. I needed to hardwire writing time into my life – and after taking a look at my weekly routine, I realised that reclaiming my mornings would be the best way to go about it. I thought if I carved out some time before work, I could get back into writing properly.
But how to do it? I had grown used to late nights and lie-ins, and the thought of rising early to fit in an hour or so before work filled me with a groggy-headed dread. But in practice, it wasn’t so bad at all – as long as I followed a few rules I set for myself.
Everyone has their own of working, but these are my top tips for making early morning writing a sustainable part of your routine:
Don’t wake up too early. We all need to sleep. Margaret Thatcher may have been able to make it through on only 4 hours a night, but needing 8 is much more normal. Don’t skimp: you’ll get exhausted, make yourself ill, and your writing will suffer. Take a careful look at your schedule and set a realistic wake-up time – and know what time you should be going to sleep. It’s better to have 20 minutes of writing time on a full night’s sleep than an hour without.
Don’t write on an empty stomach. The last thing you want is to ruin your writing time with a growling tummy. Roll straight out of bed and into the kitchen to make yourself a simple breakfast while your mind wakes up. Take time to eat it properly, too. Don’t try to eat and write – far too messy. Read the paper, check Facebook or listen to music – but then be ready to go straight to the keyboard as soon as you’re finished.
Do it in your pyjamas. Write first, wash later. Whenever I get ready for work, all the little tasks have a funny way of expanding to fit the time available. Leave yourself enough time to get ready once you’ve finished writing, but prioritise your time at the page. If you’re late, be late because you had an amazing writing session, not because you spent too long in the shower.
Find a place to do it. Don’t improvise; take this seriously. Whether it’s at a desk or curled up on a sofa, find yourself a writing nook and make sure you show up there every time. It’ll help you stick to the habit. Try to avoid the bed, as this can interfere with your sleep hygiene – yes that’s a real thing – which can have negative effects on your sleep, and your writing.
Make sure you’re ready to go the night before. Lay out your books, your pens, your computer, and unclutter your writing nook so you can just walk in and get started. Unf**k Your Habitat have great tips for keeping your work area tidy. Make sure you have what you need for your quick breakfast, too.
Don’t put any pressure on yourself. Don’t set a word count; don’t set a goal. All you’re trying to do is show up at the page and write. You don’t need the stress of deadlines getting in your way. Some days you will do really well, and other days it will be like pulling teeth – so don’t beat yourself up about the inevitable dry spells.
Make sure you’re stocked with inspiration. If you like working from writing prompts, make sure you have some lined up to get you going. If you get stuck and find yourself casting around for an idea, make sure you’ve got some nice books or images to hand. If you’re going to be doing something else, like editing a scene or developing a character, make sure you’ve decided what it is before you show up. You don’t want to waste time trying to work out what you should be doing.
Have a backup plan. Sometimes you will have bad days where you can’t write anything. You might be ill, you might be knackered, your laptop might die. Or there might be no reason at all. It happens. But when it does, try to use that time in another constructive way – maybe read something inspiring, go back over an old draft, brainstorm a character, or even just doodle something to get your mind moving.
Know when not to do it. Don’t be too hardcore about this. Good writing doesn’t come from working yourself into the ground. If you’re unwell, if you’re exhausted, if you’re stressed by something major happening in your life, don’t feel awful about taking a morning off to steal some sleep or do something else you really have to get done. If I’m having a hard week at work, I normally take Thursday morning off and have a lie-in instead. That extra hour of sleep helps me make it through the week – and one good Friday morning is better than two mornings of exhausted rubbish. Just make sure you’re not making excuses to let yourself slack off.
Be prepared to get better. At first, just waking up and typing the date may well be challenging enough for you. But the more you practice writing, the better you’ll get at it – so be prepared to move on. You may start to find automatic writing boring – see this as a good thing, as it means you should be trying something more challenging. Try more demanding exercises, or start working on project that means something to you.
Don’t pretend this is everything. Writing for short, sustained periods in the morning is a great way to revitalise your writing life, but it can’t replace the proper commitment of longer amounts of time spent at the keyboard. Block out a regular evening once a week to do more of the heavy lifting, think about taking the occasional writing holiday for a few days running, or just fit in a few hours once a week wherever you can. Whatever you do, you’ll find your morning routine leaves you feeling better prepared, your mind clearer, and your writing sharper.
Camden People’s Theatre has put out a call for submissions, for projects exploring what’s changed since 1994 – and what might change in the twenty years to come.
What they are looking for, in their own words:
In September 2014, as part of our year-long CPT@20 celebrations, we will host a week of new commissioned works-in-progress, responding to our provocation, 20:20 Vision. We will invite artists to ask: What’s changed since 1994, and how? Or: how might we, our country and our world change in the twenty years to come?
We want artists to explore and ask big questions about what’s happening to ourselves, our culture and society in the long term. How did we live back then? And how might we live two decades from now? Are we moving in the right direction? And then, we want those artists to turn these questions into exciting theatre…
What they are looking for: Artists/ companies who…
who want to create new work, or develop work that’s already in-progress, which responds to the above provocation
whose work needs to take place in a live environment
who have the ambition and the ability to speak to a large audience
What you get:
A seed commission of £500
A showcase opportunity as part of our 20:20 Vision week of performances
inclusion in CPT brochure and/or website, and marketing support from CPT
Technical support from CPT technician
What to submit: Please send the following:
Information on yourself and your work (150 words, plus email and phone contact details)
Description of the project you’re proposing (300 words, plus details on any development/performances you’ve already undertaken)
What will it be like for an audience? (200 words)
One A4 page with images / links to your work (optional)
How to apply: Please send your application to Anna O’Dell email@example.com with ’20:20 Vision’ in the subject line.
Drama Centre London is offer a day of masterclasses from 10 top practitioners on dramatic writing on Thursday 3 July 2014, as part of The Year of Experimentation. Sessions will focus on a range of dramatic writing topics, and could provide a useful jolt for anyone looking for some fresh inspiration in their writing!
10am Welcome coffee
10.30am: Opening Address: Jennifer Tuckett
11am: Masterclass One: Fin Kennedy on writing for young people
12.15pm: Masterclass Two: Nina Steiger on writing for digital media
2pm: Masterclass Three: Steve Winter on writing for verbatim
2.45pm: Masterclass Four: Caroline Jester on collaborative writing
3.30pm: Masterclass Five: Philip Shelley on writing for television
5pm: Masterclass Six: Kate Rowland on writing for the BBC
5.45pm: Masterclass Seven: Ola Animashawun on Playwriting
6.15pm: Masterclass Eight: John Yorke on Into The Woods
7.30pm: Masterclass Nine: Stephen Jeffreys on Playwriting
8.15pm: Masterclass Ten: Jennifer Tuckett on teaching dramatic writing
9pm: Finish and drinks in the bar
How to book: Tickets are free and can be booked here.
The Leslie Scalapino Award is made in memory of Leslie Scalapino, her extraordinary body of work, and her commitment to the community of experimental writing and performance. (Read about Leslie here.)
The Leslie Scalapino Award recognizes the importance of exploratory approaches and an innovative spirit in writing for performance. The first cycle’s winner was Joyelle McSweeney, with her work Dead Youth, or The Leaks. Last cycle they received 400 submissions and a wonderful range of work. In this second cycle, they are refining the award in the following ways: expansion of the prize; and being more specific about the kind of work we wish to encourage in Leslie’s spirit.
Eligibility:Applicants should have had no more than 3 productions of their work, as the award is intended to open up opportunities, although it is not limited to emerging writers. The Award for Innovative Women Performance Writers intends to support new writing by female-identified people, inclusive of transwomen. The prize is open to international submissions in English.
What to submit: They are looking for a full-length work for live performance by a woman writer with an inquiring approach to language and content. The poetic practice of Leslie Scalapino was interdisciplinary, including photography, plays, performance, and collaboration with dance and music. They would like to honor this aspect of her work in the award.
While the principal focus for the award is on innovative writing for performance, competitive submissions may consider a range of approaches to innovation in performance, including but not limited to integrated experimentations with language, gesture, movement, sound, visual art / vision, site / location and/or activist practice. The writer should demonstrate some experience in the discipline, materials or medium involved.
How to apply: Application is online only, at Submittable… To apply click HERE.
You will be asked to submit a single PDF containing:
A 10-page excerpt from a completed work.
A further single page of work statement, to include a) a summary of the work, and b) a description of your approach.
Deadline to apply: July 4 2014
Full texts requested from shortlist: August 1 2014
The purpose of the festival is to present new international plays that have not been read or staged in Finland. Selected plays will be presented in Helsinki on October 6-8, 2014.
They have announced an Open Call for new plays for the festival from the following countries: Denmark, Norway, Iceland, Estonia, Lithuania, Russia, Ukraine, Hungary, Italy, France, Great Britain and Germany. Playwrights should be between 15 and 45 years old.
What to submit: Each author can send one to three plays that fulfill the following requirements:
A play written no earlier than 2010
A play that has not been presented in Finland in any way
A play that has already been translated into English language
Topic: European Identity
Please send your plays to firstname.lastname@example.org before 30 of June 2014.
BBC Writers Room have now launched their latest Script Room window. This time they are looking for Children’s scripts (CBeebies & CBBC)
The Script Room is a place where you can send your script to be assessed by a team of experienced readers. All scripts are read as a calling card of a writers talent. This is not a free script-reading service, but a means by which the BBC seeks out the best new writing talent, offering writers without a track record, representation, or contacts the opportunity to have their work considered by the BBC. Shortlisted writers will go forward to access a range of development opportunities with BBC writersroom.
Submission details/ Brief:
CBeebies is looking for:
Original dramas with a particular focus on fantasy adventure rather than real life.
Strong female leads representing diverse Britain.
Original animation and comedy scripts
Writers to submit 15 min/ pages x2 episodes (Please submit both episodes as 1 PDF document on E-submission)
They are also looking for: original drama / comedy content for CBeebies Radio – for more information and to listen or download the podcast please visit the CBeebies Radio website. (writers to submit 10 min (up to 15 pages) scripts for radio slot).
The Audience: CBeebies is for both girls and boys aged 0-6 years. This is a diverse and complex audience; 2 & 3 year olds are very different to 5 & 6 year olds.
For more information on CBeebies please visit the Commissioning website:
CBBC is looking for:
CBBC is an exciting destination for imaginative and original ideas and have a completely open brief. They are looking for original drama, comedy and animation scripts.
Duration / length: 28 min (30 pages) for drama/ comedy scripts.
Animation lengths are 11 minutes or 22minutes – an 11 minute script would be approx 16 pages and a 22 minute script would be approx 30 pages.
Writers to either submit 1 x 22 min script (30 pages) Or 2 x 11 min scripts (15/16 pages each – please submit both episodes as 1 PDF document on E-submission)