LPW Online Book Club – A Raisin in the Sun

The LPW Online Book Club is just one of the things you can access if you become a member! Not a member yet? Well, if you want a jump start for your writing for the price of a cup of coffee, what are you waiting for? Sign up here today! (Want more reasons to join and a bit more info? Read this).

As a result of your feedback, we’ve changed the way we do book club, find out more here.

This month’s pick

For our August selection, we’re going to be reading A Raisin In The Sun (Lorraine Hansberry)

Why did we pick this?

Set in Chicago, this play made its’ debut on Broadway in 1959. It might not be new , but the themes of race, class and family are just as relevant and moving today as when it was written.

There’s a real sense that the family in the play are trapped by circumstance: both economical and because of racial prejudice and the tension runs high throughout. However, there is also hope conveyed through the characters’ strong sense of ambition. If you’ve never read this one before, it really is worth a look!

How it works

All you need to do is read the play then head on over to our Members Facebook Group from the 15th of the month to join the discussion! Book club threads will be marked with the hashtag #bookclub, so it will be easy to find the discussion. Feel free to comment on existing threads or even start your own, the more discussion, the better!

Once the discussion is open  on our Facebook Group, it will stay there, so you can dip in and out throughout the rest of the month as much or as little as you like, whenever is convenient for you.

(Please note, to avoid spoilers for those who haven’t finished the play yet, any comments posted on our Facebook Group prior to 15th of each month will be deleted). 

Need a copy?

If you need to buy a copy, you can do so at the link below. (And if you buy through this Amazon Affiliate link, a small portion of the sale will go towards supporting LPW – at NO extra charge to you!)

 A Raisin In The Sun (Lorraine Hansberry)

Want to plan ahead?

Our next Book Club text will be: 

September: Look Back in Anger (John Osborne)

Find out more and sign up to become a member here!

Image courtesy of Danielle Closs via Flickr Commons 

W&M Productions seeking kids’ plays for ‘Trick or Treat’ night

After the successful run of “Shorts @ The Canal”, “Shorts @ The Union” and with “The Twilight Hour” and a September show both currently in production, W&M Productions are inviting all writers to submit a play for their next show “Trick or Treat”, a kids show to have it’s first performance at the Hornsey Vale Community Centre.

Every play selected will be performed during the Halloween holidays 26th and 27th October.

What they are looking for: 
– Halloween Theme
– For kids – age range (2-9)
– No character limit
– Up to 20 minute plays

How to submit: send your plays to trickortreathornsey@gmail.com With the header: Play

Deadline: 24 August 2018

Source: direct contact

David Higham Associates – open day for fiction writers from under-represented backgrounds

Note: This one isn’t for plays but if you’re writing a book, read on…

“We’re hugely excited at David Higham to open out the way that we connect with new writers by offering ten people from under-represented backgrounds the opportunity to spend a day with us – meeting industry experts and receiving tailored feedback on their work at what is planned to be a bi-annual DHA Open Day for Under-Represented Writers.”

The inaugural DHA Open Day will take place on Thursday 13 December 2018 at their offices in Soho and will focus on fiction-writing for adults.* The day will feature talks and Q&As with agents and publishers, one-to-one sessions to provide tailored feedback on current writing projects and the opportunity to meet like-minded authors and agents at a drinks reception. DHA’s second Open Day will take place in 2019 will focus on writing for children.

They welcome applications from any writer living in the UK from an under-represented background including LGBTQ+ writers, BAME writers, writers from working-class backgrounds, writers from ethnic, cultural and religious minorities and writers with disabilities. Writers must be un-agented.

A bursary for travel expenses will be available for each writer chosen.

* They are not at this time looking for poetry, plays, screenplays or children’s fiction.

How to apply: Please complete the application form on the website and attach up to three chapters of your work. The deadline for submissions is Monday 17 September and the selected writers will be informed on Monday 12 November.

If you have any questions, please contact Yas Langley at openday@davidhigham.co.uk.

When: Thursday, 13 December 2018

Where: David Higham Associates, Waverley House, 7–12 Noel Street, Soho, London, W1F 8GQ

Deadline: 17 September 2018

Source: @Littlepiecesofgold

Caspa Arts seeking 10-15 minute scripts for new writing night

Caspa Arts is seeking 10-15 minute scripts (1-4 handers) for a new writing night to be performed at the Phoenix Artist Club by thier students on Monday 15th October (matinee & evening)

 

What to submit: A 10-15 minute play around any topic (they tend to lean towards female led and working class themes). There is no entry fee for submissions. Find out more on the website

How to apply: email the script, character list and a synopsis to: info@caspa-arts.com

Deadline: 9 September 2018
Source: direct contact

LPB event: How to shape inspiration into an idea

Editor Jennifer Richards is recapping our practical workshop with  Kimberley Andrews at London Writers’ Week! Want to learn how to get your creative inspiration juices flowing? Read on… 

Getting excited about a story, and feeling like you just have to tell it, is a brilliant sensation. Feeling ideas bubbling up inside you, ready to spill onto the page.

But what about those times when you’re just staring at your computer (or typewriter if you’re old school), ready to write, and there’s not even a single spark of inspiration that’s coming to you?

Luckily Kimberley Andrews from London Playwrights’ Blog was on hand to help us all out with our creative inspiration during her workshop at London Writers’ Week.

She explained both how to get that first spark and, importantly, how to then shape it into an idea that can later become a story.

So here’s all her steps to help you banish that blank page and get back that wonderful feeling of having a story to tell:

1. Clear the cobwebs

Sometimes you just don’t feel like writing. Inspiration is refusing to strike, but a looming deadline means you really need to get on with it (*gulp*)

And that deadline is definitely not helping your stress levels. So in these moments, it’s good to get your brain into a different headspace; and doing a quick stream of consciousness scribble is a great way of doing that.

Starting her workshop this way, Kimberley got everyone’s creative juices flowing, with this simple exercise helping you let go of all the stresses that may have stopped you from feeling able to write.

After three minutes of scribbles, you’ll find your brain is in a different space and, hopefully, feeling a lot readier to write! It’s also a good idea to read back over your stream of consciousness and circle any ideas that may be of interest that you could return to later.

2. Let yourself experiment

Remember how you told stories as a child? Inventing crazy worlds and impossible scenarios that were never limited in how wild they could be? Do that again!

Kimberley got everyone to play the Consequences game, where each person in a group writes a different section of the story on one part of the paper, folding it as they go. Then when you open up the paper at the end, you’ve got a pretty bonkers story!

The great thing about doing this game is you feel completely free in what you’re writing, knowing it’s meant to be wacky, rather than worrying about creating an award-winning story.

Also the time pressure in a writing game is really useful, as it forces you to write anything down, not allowing you to procrastinate – which I’m guessing we’ve all been guilty of now and again?

See if you can get some friends, or family or your housemate to do a game of Consequences with you. And, if you’re home alone, why not try out the Headlines game Kimberley played with us next?

This game involves writing a bunch of themes down, like jealously or love, and cutting them all out into strips. Also print out a variety of news headlines, and then, pick one of the themes and one of the headlines (maybe pulling them out of a hat if you’re feeling adventurous!).

So have you got your theme and your headline?

Now try writing a play idea that could link both or, if that feels too difficult, maybe just try writing one line of dialogue or even a title of a play.

From Kimberley’s workshop, it was easy to see that even that smallest spark of an idea can light something much bigger if you give yourself some time to sit with the idea.

The best thing about the Headlines game is that it also pulls you out of your comfort zone as you’re forcing yourself to write about something you normally wouldn’t.

It sounds strange that constrictions could help improve your creativity, but it’s all about making your brain look at things differently.

3. Learn from others

No, this doesn’t mean directly stealing your ideas from others (wait, you’re telling me someone’s already done a film about two lovers aboard the Titanic? What?!).

It’s actually about finding ways to use another person’s creativity as a springboard for your own, without ripping off the Titanic (oops…)

During the workshop, we looked at film premises to see how they’re put together. We then used them to help us expand upon the stories we had already begun creating in the earlier games, by now making them into film premises.

Creating a film premise, or a book blurb, or a play text blurb, is a great step between having the initial idea and then actually writing the body of work. It doesn’t seem quite as daunting, but still helps you suss out the fundamental question of what the central conflict of your piece is about.

A film premise is essentially saying that “someone has to do something in order to…”, so have a go and fill that out for your idea.

Done it? Brilliant – onto the next stage!

4. Get feedback

After everyone had been silent, busy concentrating on creating their film premise, the room soon became full of chattering’s again as Kimberley got us all to pitch our films to each other.

We weren’t expecting to all get major film deals out of this (though how cool would it have been if Steven Spielberg was at our workshop?!), instead, it was just a great way of using feedback to shape our ideas even further.

By pitching to others, you have to zone in on what the heart of your piece is. You’re asking yourself what is the central idea in this story, why does it need to be told and, importantly, why does it need to told by you.

And, as well as helping you get to the heart of your story, chatting to others is a great way to soundboard ideas in general, if you’re not quite ready to do a film premise yet.

Whenever there’s something in one of my ideas that’s niggling away at me, making me feel like I can’t put it to page yet, I call my mum. I try explaining the idea to her, as that forces me to fill in the gaps my brain couldn’t work out. And whenever I finish chatting to her, I’ve always got a much more concrete story on my hands!

So, having started the workshop playing a children’s game, we had all left the session with a premise and a pitch.

Though the idea of waiting for creativity to strike and having your idea suddenly spill out of you sounds lovely, this is a bit of a romanticised idea of writing.

Sometimes you have to really work for the inspiration, and work even further to shape it into an idea. But when you’re playing children’s games, reading about your favourite films, and chatting to your friends, it honestly doesn’t really feel like work. And, best of all, you’re now ready to start writing the story!

LPB Event: How to take your story from stage to screen

Editor Jennifer Richards is recapping our practical workshop with  Freddie Machin at London Writers’ Week! Want to learn how to write for two different media? Read on…

“Nobody knows anything.”

Okay, so your workshop leader saying this is probably not how you want an event at London Writer’s Week to start, but it makes a lot more sense when it’s stage-writer turned screen-writer Freddie Machin quoting two-time Academy Award winner William Goldman.

Because even the people at the top of their field feel like they’re blagging it sometimes.  It’s about not letting ‘the fear’ stop you from trying something new, such as turning your stage play into a film.

And that’s exactly what the topic was of this London Writer’s Week event run by London Playwright’s Blog. And though Freddie may have said he doesn’t feel like the expert, I left the workshop excited to try a new form of writing I wasn’t used to, and knowing I had learnt some brilliant tips and tricks on how to put my best (screen-writer shaped) foot forward….

Wait! Hold up! I’m having major writer’s block!

Does turning your stage play into a film seem like jumping five, or five million, steps ahead? Let’s take a pause and go back to the initial ideas process. If you’re feeling stuck, it’s best to remember it’s all fun and games – quite literally!

At the workshop, Freddie got us to spark our imaginations by playing the ‘Anyone Who’ game. One person stands up in the middle and has to complete the ‘anyone who…’ sentence with something they’ve done, and whoever else in the room has also done it then has to stand up and they all have to swap seats – then it’s the turn of the last person standing and so on! For example, I might say anyone who writes blog posts while in their pyjamas (though *cough* I’m definitely not doing that right now *cough*)

After the game, everyone created a scenario from one of the ‘anyone who…’ sentences that were said, and this then became a scene with a set-up, complication and outcome. Suddenly, the room was buzzing with ideas!

And a lot of the participants found that the idea that came to them was something they never would have thought of if they’d just been staring at a blank page for hours.

Though you probably don’t have a whole room of people to play with when you’re writing, you can still do writing games on your own. Using images, free-writing, or even just picking up objects in your house and creating a scenario from that is a great way to spark that initial idea. Even if you think the idea isn’t that great, just write it down and see where it goes!

As Freddie told us: “You don’t have to have an idea for a story when you begin writing something. You can start from anywhere. And first ideas are always a bit raw and rough around the edges.”

And don’t let that pesky fear we were talking about earlier stop you. Freddie pointed out that: “The most important thing anyone should take away from a workshop is that you can write.”

So, considering that’s the most important thing, I could probably leave the piece here, but I think we should get onto tip number two…

But I don’t know what makes a great film great?

Pick your favourite film. Right now. Got it in your head? Now tell me what makes it a good story.

When Freddie did this with us, we realised how important relatability was – we always connect to the characters or the story in a really brilliant film. But maybe you come up with something different, though it most likely still links in with the idea of dramatic action.

Dramatic action means having conflict in your story; your character has to face obstacles and we get a sense of the character from how they respond to the conflict they face – as well as getting a gripping story!

That’s not too different from playwriting then, is it?

Storytelling is in everything really. Yes, plays and films, but also everyday things. We want to see dramatic action and the three act structure even when we watch a football game. No one wants their team to breeze to victory, we want to be on the edge of our seats, biting our nails as we watch them struggle against a brilliant team (and then we win, of course!)

You can even get dramatic action in the shortest of stories. Freddie got us all to watch the 2017 Waitrose Christmas advert. What initially seemed like your standard advert, once we started analysing it, then became a story full of tension, conflict, a climax, sub plot and character development – all in 90 sections!!

So the principles of storytelling may be similar in plays and films (and everything else), but Freddie noted that there was one distinct difference between writing in these two different media: the importance of structure.

Why does structure have to matter so much?

This is partly practical, as when you go into meetings about making a television series or a film, the big wigs will want to know structure and plot points down to a T, so these have to watertight, whereas you can be a bit more liberal when it comes to playwriting.

Here’s the typical film structure Freddie outlined:

ACT ONE

  • Routine; you see the character go about daily life as normal
  • Inciting incident; something happens that causes the paradigm to shift and the world will never be the same
  • Refuse the call to action; the protagonist refuses to do anything about the inciting incident
  • Point of no return; given circumstance forces the character to do something
  • Hero emerges; we find out which character will save us, usually meaning the protagonist has stepped up to the plate
  • ACT TWO; This act contains the sub-plots that lead to conflict in Act Three. Act Two doesn’t have a standardised structure, but the events in it have to happen for the crisis to take place later in the film

ACT THREE

  • Peak; everything is looking up and we think we’ve won
  • Crisis; the victory is snatched away from the protagonist
  • Climax; showdown, tension
  • Resolution; the payoff. However, some workshop participants pointed out that sometimes we don’t get the resolution, and the payoff comes in a slightly different form, such as the change in character relationships in the film Three Billboards. And Freddie added: “We are programmed to understand this structure of films, which gives us license to experiment with it sometimes, but this structure is the typical one.”

So I’ve written my stage play. But how do I change it into a screenplay?

Unfortunately it’s not a matter of just shifting around some of the dialogue. Freddie explained, “You need to work out what is at the heart of your story, what are you trying to say.” To do this, he gave the practical exercise of describing your play in eight words, then five and then one. A play needs to be broken down before we can build it back up into a film, which leads us onto the next tip…

What’s the biggest difference between playwriting and screenwriting?

It requires a change in thinking. Freddie noted: “If you’re writing for film, it’s predominately about images. Start thinking in pictures and not text.” Not concentrating on the words on the page may sound like an alienating thing for a writer (and it certainly did for me!), but Freddie’s explanation helped clarify it.

He described how the placement of scenes in a film is really the placement of images, which is why filmmaking is visual storytelling. If you look at the idea of the montage, you’re taking a neutral image and placing it next to another neutral image, and it’s only then that it creates meaning.

The example Hitchcock has talked about before is if you see the image of an old man smiling, it doesn’t mean anything; but if you then place it after an image of a girl in a bikini, the old man now becomes sleazy – we’ve learnt something important about our character without any words.

And adapting a play to screen is really about stripping away this dialogue. It’s a real shift in the brain to think in imagery and not verbally.

It was Freddie’s play Chicken that then got made into a film, with him also writing the screen play. And of his experience, he said: “My plays are very wordy and the film has hardly any words, you have to strip all the words away and tell the story visually; that’s the art of film making. Really, in beautiful storytelling, there needn’t be any words.”

This is where his points on structure and writing visually come together. He shared the advice his uncle, who is also a screenwriter, gave to him when he started adapting Chicken: “You have to write it so they can’t make it any other way.” This means your screenplay should be written in such a way that directors and producers can’t chop it up and move scenes around, as you’ve made it so the story needs certain images to be next to each other in to tell the story authentically.

So is it time to start writing my film?

Definitely! At it this workshop, it was fascinating to learn that these two different styles of writing require two very different parts of the brain. For plays, perfecting interesting dialogue is your most important role as a writer, and though structure is a part of the play-writing process, you can definitely take more risks with it.

But for films, you’re working in the world of images and need to look at how they slot and fit together, with the structure being vital – both to your audience, but also in terms of how you pitch it to those big wigs.

Looking back at the two scripts you’ve written, you should feel that your play would only work on stage, and your film needs to be shown at a cinema and in no other form. Use what’s different about the two mediums to your advantage.

Who knows, maybe you’ll soon find yourself blagging your way through the film industry as a two-time Academy Award winner who understands that nobody really does know anything.

Scriptwriting workshop with Phillip Shelley & Scriva

Do you never have quite enough time to make proper progress with your screenplay? Are you stuck on a project? Or bursting with ideas but not quite sure where to start?

This course, run with experienced script editor Philip Shelley, is designed to boost your confidence and creativity, and kick start your writing, taking you away from the hassle, hustle and bustle for a week in the French countryside with expert advice and tuition (not to mention delicious food and wine) on hand. By the end of the week you will leave a clear understanding of your story and what to do next.

Course dates: 16-22 September 2018

Cost: £850/ £780

For more information and to apply visit the website 

Deadline: not applicable 

Source: direct contact

Last Word seeking new writing for Side Swipe at the White Bear

Award nominated company Last Word Theatre are looking to curate Minerva – a short season of new writing at the White Bear in Kennington. They are looking for short plays which respond to the themes of the main show Eros by Kevin Mandry (Running 28th August – 15th September) which is being directed by Last Word’s Artistic Director Stephen Bailey.

“Alongside our main show we want to programme work that comes from different angle but considers the same issues, work that develops the conversations and expands perspectives.

Eros is concerned with consent and objectification of the female body within erotic art .”

They are interested in pieces which explore the theme of the objectification of the human form.

“This can take any angle you wish and we encourage innovative and ambitious ideas. We want plays that are rooted in the modern day, represent marginalised voices and will challenge audience preconceptions.

The three selected shows will be given four hours of rehearsal space, dramaturgical support and help with casting. They will then play after the show (which runs as approximately 85 minutes) to our audience for three nights.”

Play 1: 29th August – 31st August.

Play 2: 4th September – 6th September

Play 3: 11th September – 13th September

Submission Guidelines

  • 15 minutes maximum in length.
  • Maximum 3 characters.
  • 1 play per writer.
  • Stand-alone pieces only (no extracts, screenplays, etc)
  • You must be resident in the UK.
  • Minimal staging requirements (Eros’ set is a photographer’s studio but leaves much of the stage open. You can use light and sound but cannot reprogramme or move Eros’ equipment.
  • You do not need to send a CV. We will be selecting on work not experience.
  • If you have intended director’s/cast members please indicate this in your initial email.

“We are committed to promoting writers from any and all backgrounds. For this project we are particularly interested in female writers,  BAMER writers and those who self-identify as disabled. Submissions will be read by Stephen Bailey (Trained at LAMDA, Script Reader at Finborough Theatre, European Theatre Convention Scholar 2018) and Kevin Mandry (former reader at the Orange Tree, written for BBC and commissioned by Tricycle, Churchill Theatre and Bristol Old Vic Studio among others)”

What they offer:

  • Three performances over a week following the main show.
  • Assistance in sourcing actors, directors and technical support.
  • Four hours of rehearsal space.
  • In person dramaturgical input on the draft you send if chosen.
  • Written feedback for the next best 20 scripts.
  • Full sharing of all industry contacts in attendance on your performances and we will pass on details of your team to them.
  • Comps to invite industry.
  • Tickets for the writer to see their work.

How to apply: email a pdf copy of the script to lastwordcompany@gmail.com by

Deadline: 15 August 2018

Source: direct contact

Opportunities – Weekly Round-up: 27 July 2018

Want to support LPB? Become a member!

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! Don’t forget, if you missed the GDPR deadline, you’ll need to resubscribe if you want to receive this Round-up straight to your inbox!

Featured posts:

Summer Sessions: Online Workshops from LPB this August!

LPB Memberships: One Year On!

LPW Online Book Club – A Midsummer Night’s Dream

Working class voices: vibrancy, determination and finding inspiration in the ordinary

Our latest opportunities Pick of the Week: Little Pieces of Gold seeking shorts for new writing night

Pursued by a Bear: “I can’t make sense of five-act structure”

Opportunities with deadlines: 

Play Submissions Helper: 27 Opportunities with July deadlines – Deadline: various throughout July 2018

The Octagon Theatre accepting submissions for Best of Bolton competition -Deadline: 27 July 2018

Lost Chapters Theatre seeking shorts in response to their show, ‘Lies’ Deadline: 27 July 2018

Some People Productions seeking work for UNFOLDED new writing night Deadline: 29 July 2018

The Felix Dexter Bursary (BBC Comedy Commissioning) accepting applications – Deadline: 30 July at 5pm

Sterts one-act play competition (£8 entry/ £100 prize) – Deadline: 31 July 2018

Audiojam Flash Fiction Competition open for submissions – Deadline: 31 July 2018

Wildclaw Theatre seeking 10 minute horror audio scripts – Deadline: 31 July 2018

Eurodram seeking English translations of contemporary European plays – 31 July 2018  at 5pm

‘Write Here! Write Now!’ Contexture Theatre seeking 20 min plays for Herts & Essex Playwriting Festival – Deadline: 31 July 2018

Young Pleasance London: Playwriting Competition – open for monologue submissions (16-25) – Deadline: 31 July 2018

London Horror Festival Playwriting Competition – open for submissions – Deadline: 1 August 2018

Shifft Script Lab open for applications (female and non-binary* screenwriters in Wales) – Deadline: 1 August 2018/ 15 September 2018

The Liverpool Everyman and Playhouse Playwrights’ Programme open for applications (Liverpool Writers) – Deadline: 3 August 2018

The Lancaster Playwriting Prize open for submissions (BAMER writers/ North West)– Deadline: 22 June 2018 5 August 2018

Little Pieces of Gold seeking shorts for new writing night – Deadline: 10 August 2018

Southwark Playhouse seeking writing workshop facilitators (paid) – Deadline: 10 August 2018

The Arden School of Theatre seeking 3 minutes scenes for actor showreels – Deadline: 10 August 2018

Bashir Theatre seeking short scenes and monologues – Deadline: 12 August 2018

Yale Drama Series seeking scripts for competition (submissions open 1 June!) – Deadline: 15 August 2018

Bench Theatre One Act play competition open for submissions – Deadline: 17 August 2018

Angel on the Corner accepting submissions for new theatre project – Deadline: 17 August 2018

Applications for VAULT Festival now open – Deadline: 24 August 2018 at 6pm

Little Wonder Short Radio Plays competition open for entries – Deadline: 30 August 2018

People’s Play Award open to writers from the North of England (£1000 prize) – Deadline: 31 August 2018

Traverse Theatre submission window (opens 1 August)– Deadline: 1 September 2018

Independent International Award for Improper Dramaturgy «Neem-2018» (2000 ruble prize) – Deadline: 1 September 2018

Chaos Theory seeking new plays for 2019 (under 25’s) – Deadline: 30 September 2018

Pheobus Fire call for scripts on theme of ‘women’s empowerment’ – Deadline: 30 September 2018

The Creative Screenwriting Screenplay Contest open for entries (entry fee, cash prizes) – Deadline: 10 October 2018

LegalAliens seeking short plays on the theme of ‘Migrations: Harbour Europe – Deadline: 15 October 2018

Farnham Maltings accepting applications for grant scheme (18-25) – Deadline: 18 October 2018

Theatre Uncut and Young Vic launch UK’s first major political playwriting award – Deadline: 1 November (submissions open on 1 September)

Ink19 festival accepting submissions (East Anglia writers only) – Deadline: 5 November 2018

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

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

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

Dwell Time – Penistone Train Line Newspaper: seeking submissions – 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

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

Events and workshops:

David Lane’s Playpens feedback sessions – 15% off for July

Oplex Careers – Playwriting and Screenwriting Course (Online, £19) – Online

Royal Court announce series of workshops for women – Dates TBC

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

Free writing workshops with Papatango’s GoWrite – Dates: various

WGGB launches FREE Musical Theatre Kit – Online resource

An Introduction to Screenwriting: free online course with FutureLearn & Uni. of East Anglia – Ongoing, sign up any time

Writers’ Support Group (Manchester)– Mondays 6pm-8pm

Pinter On Screen: Power, Sex and Politics – at the BFI Southbank this July & August – Dates: various in July & August

Applications open for the John Retallack Playwriting Course 2018-2019 – Deadline: 31 July 2018 (for September start)

Actor Writer Gym: Flux Theatre Workshop – Date: 31 July 2018

LPB Summer Sessions: Overcoming writers’ block (online workshop) – Online/ Available 3 August 2018

CAMP writing workshop with John Burgess (£1,119 – bursaries available) – Dates: 8-12 August 2018

Monobox Workshop: Creating memorable characters with Lisa Carroll – 14 August 2018

LPB Summer Sessions: How to write a monologue (online workshop) – Online/ Available: 17 August 2018

The Scenic Route: Creating Theatre Lab- open for applications – Starts 27 August 2018

LPB Summer Sessions: Promoting yourself as a writer (online workshops) – Online/ Available 31 August 2018

COMMON GROUND event at the Tron Theatre, Glasgow – Date: 6 September 2018

Black Writers Conference 2018 – Date: 13 October 2018

Write Theatre playwriting course – Dates: 13-14 October 2018

Ongoing submissions:

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)