Reboot Theatre Company seeking new plays

Hot on the trail of their recent show at The Bunker London, Reboot Theatre Company are looking for new writing for their Autumn production.

Reboot will choose 4-6 plays to perform at a central London Theatre on 2-3 evenings in October 2018. A £50 fee will be paid to each writer whose work is chosen.

“We’re not just looking for outstanding text, but for plays that will showcase interesting, novel, or experimental theatre. No specific theme is required, and we suggest reviewing our previous performances, workshops and biographies. We strongly recommend considering our current actor repertoire when submitting a play, as casting will be from within Reboot Company.”

What they require: 

  • Writing in English (including British textual references)
  • Full play length: 15-20 min
  • Complete plays – no extracts from longer pieces
  • Finished plays – this isn’t a scratch night
  • The piece is relevant to a British audience
  • Minimum of 2 characters
  • Play does not require a complex or fixed set
  • Only one entry per writer (previous submissions are welcome)

How to apply: please email script submissions to (preferably in PDF format and providing a short synopsis)

Deadline: 24 June 2018 at midnight

Source: direct contact

Play Submissions Helper: 25 Opportunities with June deadlines

Play Submissions Helper have published their monthly roundup of opportunities, featuring those with deadlines in June 2018.

As usual, we’ve already picked and posted the ones we’ve found most relevant (most of these are based in the US), but you can click through to peruse the whole list of playwriting opportunities.

Deadline: various throughout June

Source: Play Submissions Helper

Playhouse Playmaker: Oxford Playhouse writers attachment programme open for applications

Playhouse Playmaker is the Oxford Playhouse writers attachment programme for new and emerging playwrights led by award-winning writer and director John Retallack.

Each year they select up to 6 writers who meet one Saturday a month between October and June. These sessions are used to work on writing techniques, with individual mentoring and feedback on scripts. Find more information here. This programme is free but selective.

How to apply: please send two 20 page extracts of your work with a cover letter, no more than one side of A4, telling them about yourself and why you’re suitable for the course.  Applications should be emailed to as Word or PDF documents or posted to Participation, Oxford Playhouse, 11-12 Beaumont Street, Oxford, OX1 2LW marked ‘Playhouse Playmaker 2018-2019’. Please send any questions or enquiries to

Deadline: 2 July 2018 at 10am

Source: direct contact

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Opportunities – Pick of the Week: Just Some Theatre accepting submissions for 2019 production

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: Just Some Theatre accepting submissions for 2019 production

Description: Just Some Theatre are looking for new play scripts. After successful Arts Council funded tours and London runs including Coward (2013) and The Doppel Gang (2015/17), they are looking for fresh projects with a view to produce in 2019.

What’s so great about it? As much as we value call outs for short scripts for scratch nights, it’s really great to see an opportunity for writers to get a professional run of their full length play.

This is an opportunity to work with a theatre company whose focus is on new writing (they also strive for high production values and immersive design) – and  with a couple of successful Arts Council funded tours and London runs already behind them, we reckon your play will be in good hands.

They are looking for plays with casts of 2-4, preferably with an interval and you can send them either the full script, an extract or even a concept. You’ve got until 12 June to send them your ideas! Good luck – and we’re excited to find out what gets produced.

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 Just Some Theatre

How I Learnt To Love The Redrafting Process

In this post, Editor Jennifer Richards shares her tips on how she gradually fell in love with the re-drafting process, as editing exercises and tips and tricks helped her realise how vital re-drafting is for playwriting success!

Re-drafting a script used to be the dreaded monster I’d put off at all costs. It got to the point of not even wanting to write the script in the first place, knowing I’d just have to take a sledgehammer to it later. It seemed pointless to pour time and energy into a script knowing that I could end up with only a few lines from that original script making it into my final draft.

Image by Stephen Dan via Flickr CC

Of course that’s a very dramatic editing process, but I’ve always had a flair for drama! And I’ve learnt that it takes real determination to not mind, or even to like, the fact that I could go through 30 drafts with only one line from the very first script making it into the last one.

Now I’ve got to the point where I can actually enjoy getting to cut out characters, or moving where the story takes place, or even changing it from a four-hander to a monologue.

So here’s the tips and tricks I discovered to help make that re-drafting process fun rather than frightening…

1- Start with a blank page

Editing seems a lot more cruel when I’m actively having to cut out lines and move big chunks of text around. I found I’m a lot happier to make bigger changes if I start from a blank page again.

This doesn’t mean I need to re-write everything; I can just copy and paste across the bits I need, but it ultimately means I’m a lot more honest about the bits I definitely don’t need.

2- Get a buddy group

Sometimes when it comes to do what feels like my 30th draft (or, in some cases, my actual 30th draft), I find myself loosing interest in my story.

After having spent so long trying to get it right, it still doesn’t seem to be doing what I want. Often I’ve got so wrapped up in my own head that what I need is an outside perspective to give me a bit more clarity.

I’m lucky enough to be in a buddy group with three other playwrights, which has been incredibly helpful in having peope to offer feedback on bits of the script that I’m struggling with, or just as a way to soundboard ideas off of. It helps ignite that love for the story again and make me feel like maybe, yes, I can give the 51st draft a go.

3- Remember you’re not the story

When I write something more personal, it’s hard to distance myself from the story. And though that can definitely make it very hard when it comes to reading reviews, it can even make it difficult to edit.

When something feels so close to you, it’s a struggle to look at it objectively and decide what is and isn’t necessary for the  narrative. Yes this one detail may be really important to me, but does it actually matter to the story? I constantly have to remind myself I’m not editing out my history or any of the real story I’m basing the play off of, I’m just making the best play that I can.

Image by Barman Farzahd via Flickr CC

4- Take your characters out of the script

I’m someone who has a total fear of wasting time. So the idea of spending time doing writing exercises rather than writing the actual script makes me feel a bit nauseous. But it’s actually a great way of exploring characters.

Whether that’s freewriting an extra scene that maybe the audience don’t see on stage but I’d like to explore, or putting two characters together who don’t interact during the play and making them have a cuppa, it’s a great way of putting life back into the script.

This means redrafting seems like creating something new and exciting rather than a chore, which makes that editing process a whole lot more enjoyable!

And if you want to find out about more tips for the re-drafting process, you can become an LPW member to get access to our new re-drafting toolkit that’ll help you tackle all those editing problems!

Creative Futures: opportunity for 16-25 year olds with Creative Youth Network

The Creative Youth Network is  looking for 5 young people to take part in a paid 6 month opportunity to set yourself up as a freelancer, make and show your own work and get mentoring. It is open to people aged 16–25.

What you get: 

  • Studio space
  • Professional mentoring
  • Work placements/professional experience
  • Money to make new work
  • Showcase opportunities of new work
  • Professional business support
  • Help setting yourself up as a freelance practitioner
  • 8 hours a week of paid work as a freelancer at Creative Youth Network to plan and run workshops for other young people

What they are looking for: 

Five young artists, musicians, dancers, choreographers, performers, writers, designers… basically anyone with a creative vision, idea and passion. You should be committed and motivated at the start of your creative profession and career. With a drive and passion for making new work and developing yourself but you may not have had the opportunity to do so before.

How to apply: to find out more and apply, visit the website.

Deadline: 5 June 2018

Source: Arts Council Jobs

Theatr Genedlaethol Cymru – New Writers’ Group: open for applications

heatr Genedlaethol Cymru (the national Welsh-language theatre) are leading on a new venture – Grŵp Awduron Newydd (New Writers’ Group). The New Writers’ Group is open to writers of every age and from all parts of Wales and beyond writing in the Welsh language – people who are eager to explore, experiment and develop their craft. Maybe some will be experienced writers in other media but fancy venturing into the theatre world. Maybe others already work in the theatre but are keen to try their hand at writing. And maybe others have had some experience in theatre writing but feel they need a helping hand in taking their next steps.

They are especially keen to encourage applications from groups that have been under-represented in the arts – disabled people, women, people from BAME backgrounds, and those from economically disadvantaged backgrounds.

The New Writers’ Group is a Theatr Genedlaethol Cymru initiative presented in association with S4C, Literature Wales, Pontio, Theatr Clwyd, Aberystwyth Arts Centre, Carmarthenshire Theatres, Wales Millennium Centre and the Sherman Theatre.

How to apply: 

Full details, including an info pack and how to apply (in Welsh)

Full details, including an info pack and how to apply (in English)

Deadline: 18 June at 5pm

Source: BBC Writersroom

Bloom Theatre and Film search for new playwrights

Are you a budding Playwright? Would you like to have your work performed on a London stage? 

Bloom Theatre & Film are looking for two 30 to 45 minute, 2 character fictional stage plays to be performed in July this year at a London theatre.

Chosen by Bloom Theatre & Film and a panel of their collaborators, the plays will be judged on:

  • Originality
  • Plot
  • Storytelling
  • Writing technique
  • Enjoyment

Although not exclusive, they are keen to receive submissions from BAME and female writers, which include strong female characters as well as characters that can be performed in any accents and ethnicities. They are looking for exciting, innovative and envelope pushing work.

You don’t need any previous writing experience. You can enter on your own or as a group, but you can only enter once.

How to apply: please send your play to with ‘Play Submission’ in the subject line, and a brief explanation of why your play should be chosen. Winners will be notified by Monday 18th June 2018. Best of luck writers!

Deadline: 14 June 2018 at midnight

Source: BBC Writerroom