Breakwater Theatre Company new playwriting contest open for submissions

On Friday 22 February 2019, Breakwater Theatre Company will be holding a night of new writing for the stage in the Albert Room at Cleethorpes Library, entitled “Rough Cuts and Scratches”, in conjunction with Lincs Inspire.
Plays will be performed script in hand by local actors.
The evening will feature six new, short plays and will have a competitive edge as the audience will vote for the best play of the night. The winner and runner up will both receive a commission to develop the play into a 40-minute piece of theatre to be staged in October 2019 and will each receive a £300 fee.
The winning writers will be mentored by nationally renowned theatre company New Perspectives as they develop the script for performance by Breakwater Theatre Company. 
Although the contest is open to all, preference may be given to writers living in Lincolnshire.
Who can apply: writers can be at any stage of their writing career and of any age but must not have been a member of either Breakwater Theatre Company or New Perspectives.
What they are looking for:
  • The play can be on any theme but must feature no more than four actors, should be easy to stage and not require a wide range of props, sets or sound/lighting effects.
  • Monologues are also eligible.
  • The play must not exceed 15 minutes in duration.

Breakwater Theatre Company was established by writer Andy Evans and actress Sara Beasley to promote new writing for the stage in North East Lincolnshire in October 2012. They have worked with over 45 writers and are always looking for opportunities to develop new work.

How to apply: writers who wish to be considered for entry to this contest should submit their script in word or pdf format to
Deadline: 15 December  2018
Source: Playwriting UK Facebook Group

Toi Toi, Teatru Manoel (Malta) seeking one act plays on the theme of ‘Breaking the Rules ‘

Are you a writer with a play you want to see realised?

Want your work performed on an international platform?

Toi Toi, Teatru Manoel’s Education Programme are looking for four new, previously unperformed one act plays which will come together under the umbrella title Breaking the Rules

Submissions are open and playwrights are invited to interpret the umbrella title in any way they wish as Toi Toi develop a brand new platform created to showcase emerging and established theatrical talent both at home and abroad.

See your work staged by passionate up and coming professional theatre-makers, all of whom have worked with Teatru Manoel’s team who in turn have been mounting theatre productions in one of Europe’s oldest working theatres.

Submission criteria

  • Pieces can be of any genre: comedy, drama, contemporary, period, but must take the form of a theatrical script with dialogue.
  • Across the four pieces they are looking at casting around twenty young performers.
  • Characters within the piece can be of any gender but must be aged 15 – 30 years.
  • Pieces must be complete as we will not be offering a writers-workshop or re-write period.
  • Pieces must be between 20 – 25 minutes long.
  • Keep things technically minimal but feel free to set the piece in any period.

The successful submissions will be staged in June 2019 in Teatru Manoels’ Studio Theatre.

How to apply: submissions in Word Doc format only to Ian Moore (TMYT Director) at

Deadline:  1 February 2019

Source: Playwriting UK Facebook Group

Purple Hut Cre8tive seeking feature film scripts based in the North West

Purple Hut Cre8tive is a new production company based in the North West looking for script writers to submit their scripts for consideration for their first feature film.

They are looking for scripts that are character focused which are based in Manchester or the North West of England or with scope for relocating. At this stage, they would ask that script submissions are limited in terms of SFX and VFX. Scripts can be of any length.

How to apply: email your treatment/draft script to: as attachments with a covering email explaining who you are and where you are from.

Deadline: Wednesday 24th October 2018

Source: BBC Writersroom

Opportunities Weekly Round-up: 19 October 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:


London Playwrights’ Workshop: we are looking for an intern!

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

The Dead Stage by Dan Weatherer: book excerpt and and advice for new playwrights

LPW Online Book Club: The Effect

Our latest opportunities Pick of the Week: Caroline Aherne Bursary 2018 open for entries

Pursued by a Bear: “Any tips on getting into musical theatre?”

Opportunities with deadlines: 

Play Submissions Helper: 47 Opportunities with October deadlines

Writing tutors required for City Academy, Manchester – Deadline: 19 October 2018

Untold Theatre seeking plays from emerging writers – Deadline: 19 October 2018

The Female Edit seeking work from female writers – Deadline: 21 October 2018

Writer in Residence for Dorset Libraries with The Arts Development Company open for applications (paid) – Deadline: 26 October 2018

The Bi’an Award open for submissions from UK based writers of Chinese Heritage– Deadline: 26 October 2018

Writerslam open for entries from TV writers – Deadline: 26 October 2018

Deadman new writing night at The Mockingbird, Birmingham open for submisisons – Deadline: none posted/ performance at end of October 2018 TBC

New Plays for Young Audiences seeking new scripts for 2019 season– Deadline: 31 October 2018

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

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

Open Vault Theatre seeking shorts for scratch night – Deadline: 5 November 2018

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

Caroline Aherne Bursary 2018 open for entries – Deadline :5 November 2018 at 10am

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

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

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

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

Theatrefullstop accepting submissions for Pub Theatre Festival – Deadline: 1 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

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 November 2018

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

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:

Self-producing: Where Do I Begin? – free workshop at The Pleasance for artists who identify as female – Date: 19 October 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

Ongoing submissions:

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)

University Women In The Arts Announces Partnerships With Leading Arts Organisations On Project To Tackle Abuse In The Arts

University Women in the Arts, the mentoring scheme to improve the transition from women studying the arts to working in the arts, has announced a series of new partnerships with leading arts and education organisations to help tackle abuse in the arts.

The year long project will help female arts students and recent graduates have their voices, experiences and views heard in the current discussions around bullying, abuse and harassment in the arts.

University Women In the Arts will also work with GenPol, the gender equality think tank based at the University of Cambridge, to produce a toolkit to help drama schools and university arts courses and departments equip their female and male students to deal with, tackle and help eradicate bullying, abuse and harassment in the arts as they make their way into the arts industry.

The five initial partners being announced for the writing workshop series are Sphinx Theatre Company, one of the UK’s leading female theatre companies; Actor Awareness, which is leading the way campaigning for and supporting working class actors and writers; Kings College London in partnership with Pokfulam Rd Productions, which recently produced the anthology “Foreign Goods” of work by British East Asian playwrights published by Oberon Books, one of the UK’s leading performing arts publishers, and Papergang Theatre; the University of Cambridge via the Arts and Creativities Research Group and GenPol, the gender equality think tank based at the University of Cambridge; and Brush Stroke Order, which was developed in the North West of England via the National Theatres’ Step Change Programme. The overall project will be supported by the Creative Industries Federation and 5 more leading arts and education partners will be announced later this year.

Writing will be mentored by Titilola Dawudu, who has recently edited the forthcoming book of audition monologues created by and for diverse actors, “Hear Me Now”, to be published shortly by Oberon Books, Jingan Young, who was a BBC New Talent Hot List Writer in 2017, editor of the “Foreign Goods” anthology published by Oberon Books and is Artistic Director of Pokfulam Rd Productions, and Jennifer Tuckett, Director of University Women in the Arts and Co-Director of Art School, which manages the University Women in the Arts programme amongst other work.

How to submit: you can find all the submission details along with submission guidelines on the website. 

Deadline: 15 March 2019

Source: direct contact


The Dead Stage by Dan Weatherer: book excerpt and and advice for new playwrights

Staffordshire based author, Dan Weatherer, is set to release a new book, The Dead Stage, detailing his experiences as a playwright and offering advice for writers wanting to break into the theatre industry. 

Dan, 39,has been writing stage plays for three years. In that time he has seen a number of pieces performed in the UK and USA. He has also published and sold performance rights to several more.

In The Dead Stage, he shares his early mistakes, offers tips on tailoring your work to the needs of the theatre industry and draws upon advice from theatre professionals. 

Here, Dan shares his motivation for writing the book along with an excerpt…

“This book is about sharing my experiences and mistakes, in the hope that I can help others avoid the pitfalls that I fell into.”

Placing a stage play with a theatre company is (in my experience) more difficult than placing a book with a publisher. Open theatre calls are highly competitive, seeing hundreds of entries for a call that can possibly stage only three or four pieces. Quality of work is no longer enough to guarantee consideration for performance.

The tips and advice contained in The Dead Stage allowed me to build an impressive portfolio of theatre work in a relatively short space of time. I believe it is important to share experiences if they may be able to help others achieve success.

Throughout my career, I have worked to create opportunities for others, believing it is better to be a small fish in a thriving ocean, rather than a big fish in a stagnant pond..

Theatre, more than any other medium, is a tough industry to break into. Every piece a playwright will write will always be in competition with work from the greatest playwrights of all time.

Theatre is a business: seats need to be sold in order to keep theatres running, and so often established pieces are booked instead of the work of what many might term the ‘New Writing’. This is because they are considered safe bookings, and the theatre will, in most instances, not lose money. New writing is considered a risk. Usually, theatres set aside a budget for new writing, but this is often small and tightly contested.

But theatre needs new voices and there are theatre companies willing to give new writing a chance. This book is my way of saying that yes, it is possible to see your work performed on stage, no matter your previous experience in the theatre industry.

Excerpt from The Dead Stage

From ‘Place the Play’ essay…

So, you have penned your theatrical debut and it is a masterpiece, but what now? How do you get your freshly completed stage play from your hard drive and onto the stage?

Believe it or not, this is not as daunting or as complicated a process as it might sound. While there is no 100% sure-fire way to ensure your piece gets to be performed on stage, I will share a few useful tips that will save you a lot of time when it comes to submitting material, and help manage your expectations of what you can expect to experience during the process. Again, I must stress that this is in no way, shape or form the ONLY way to get your work onto the stage, but as of writing this I have only been writing as a playwright for eighteen months, and I have already had several pieces of work staged/aired in the UK/USA, and have successfully landed representation as a playwright. What has worked for me may work for you.

OK, so let’s dive in with what I have learned during my short stint as a playwright:

First, some truths as regards to theatre and new writing (most of what I will discuss is born of my experience with the UK theatre scene, but I imagine some of it will ring true wherever you are in the world). New writing is seen as a gamble, more so than with regard to traditional book publishing. Many believe that theatre is the toughest nut to crack when compared to film and book industries. The aim of the theatre is to make money by filling seats. The sad truth is that new writers are not often seen as seat fillers, and theatre companies are reluctant to take a risk on any piece, regardless of its merit, if they feel the name of the author is not enough of a draw to cover their overheads and make a profit.

However, don’t despair! There are many theatres that DO encourage new writing, and they often post submission calls detailing exactly the kind of work that they are looking for. I use the Play Submission Helper and the London Playwrights Blog. Check them often and I guarantee you will eventually come across a theatre/group that will be willing to read your work. From then, it is a case of following their submission guidelines and waiting patiently for a response (please bear in mind that response times vary considerably, and as with any submission, decisions are based a multitude of factors, and feedback is rarely provided with a rejection).

Before You Submit:

Proof it.

How many times have you looked over your work, confident that it reads perfectly well, submitted it, then later found a glaring typo?

Proofreading a script is just as important as proofreading a manuscript. Shabby submissions rarely get to the stage. Remember, you might be submitting alongside countless other playwrights; you may as well give your work the best chance of acceptance possible by submitting a watertight script to begin with.

Further, if you can get a group of people together to read your script aloud before submitting, you will immediately hear if your dialogue is in need of further work. Hearing others speak your material will highlight any clunkiness of dialogue, or other shortfalls (such as the flow of the piece, plot holes, etc.). I would also advise listening to what your readers/performers have to say with regards to your characters. For example, not everybody speaks in full sentences, and your readers may highlight lines that feel awkward when spoken aloud. Properly written dialogue can be wooden and unbelievable. Listen to how it is performed and amend accordingly. You will be surprised at how different a line is heard as to read inside your head. However, taking into account their feedback is entirely up to you (not every piece of advice you will be given need be followed, after all: you are the architect of the piece), but sometimes they may be able to highlight issues that you may have overlooked. All of this effort can help fine-tune a script and make it ‘pop’ from the page, improving your chances of success.

The Dead Stage by Dan Weatherer is published by Crystal Lake Publishing and is available from 19 October via Amazon.

You can find out more about Dan Weatherer on his website. 

London Playwrights’ Workshop: we are looking for an intern!

Interested in joining our team? We want to hear from you!

London Playwrights Workshop is seeking an intern to support our work on both our blog and members’ site. The post is ideally suited to an emerging writer who is interested in broadening their knowledge of the new writing scene and gaining hands on experience in working in a theatre non-profit.

About the job: The role will focus on supporting the day to day running of the organisation including proof reading site content, posting on social media, helping us to source opportunities, and assisting us in delivering new content for our members.

For a person with the right interests and experience, there may also be opportunities to write additional content for our site and to become involved with some of the exciting projects we’ve got coming up in the next few months.

What we are looking for: as a small team, we’re used to turning our hands to all the necessary tasks involved with a running a start-up company and we’re seeking someone who is enthusiastic about getting stuck in!

We’re looking for someone with a keen interest in playwriting and the new writing industry, although you do not need to have worked in this area before.

You must be 18 or older to apply for this role.

Key Skills:

  • Confident writing skills (including excellent spelling and grammar)
  • Reliable personality
  • Able to work to deadlines
  • Strong attention to detail
  • Proactive and able to work independently
  • Able to follow a writing style guide

What you’ll get out of it: 

  • Training in how to blog and use WordPress software
  • Your byline included on any posts you write for London Playwrights’ Blog
  • Excellent knowledge of the new writing landscape in London
  • Firsthand experience of working in a theatre non-profit
  • The opportunity to develop your skills in a hands on way within a small company
  • Free LPB membership!

Hours/Duration:  6-8 hours per week (approx).  The hours are flexible and designed to work around other professional and personal commitments, as the majority of the work can be completed from home. As long as deadlines are met, you can work when you please!

The role requires a four month commitment to the blog, from mid November 2018 to mid March 2019.  Whilst we don’t ask you to give up your life during this time, we do ask that you can make a commitment to the four month period.

Payment: This post is unpaid as the core running of the company is done on a voluntary basis.

How to apply:  Please send us:

How to apply: Send your application materials to, including the job title in the email subject. If you have any questions, please feel free to email us at this address.

Shortlisted applicants will be invited to a telephone interview during the w/c 5 November 2018.

Deadline: 31 October 2018

Souce: LPB

LPW Online Book Club: The Effect

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 November’s selection, we’re going to be reading The Effect by Lucy Prebble.

Why did we pick this?

We’ve done things a bit differently this time and November’s pick is a suggestion from one of our members! We’re really excited about discussing the play with as many of you as possible.

Here’s a bit more information about the play: 

The Effect is a clinical romance. Two young volunteers, Tristan and Connie, agree to take part in a clinical drug trial. Succumbing to the gravitational pull of attraction and love, however, Tristan and Connie manage to throw the trial off-course, much to the frustration of the clinicians involved. This funny, moving and perhaps surprisingly human play explores questions of sanity, neurology and the limits of medicine, alongside ideas of fate, loyalty and the inevitability of physical attraction.

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!)

The Effect by Lucy Prebble

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

Image by AL Eyad via Flickr Commons

Opportunities – Pick of the Week: Caroline Aherne Bursary 2018 open for entries

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: Caroline Aherne Bursary 2018 open for entries

Description: the bursary, in the memory of the late Caroline Aherne was launched last year at the Salford Sitcom Showcase. Aimed at writer/performers, the bursary will award £5000 to the successful applicant to enable them to fund future development, alongside the guidance of an experienced BBC commissioning editor.

What’s so great about it? This opportunity is one for all you comedy writer/ performers out there and as they are asking for something a little bit different, we thought it was worth flagging up! To apply, you’ll need to send in a film of you performing your own comedy character material but the great thing is, they’re not looking for fancy production skills, they just want to see your talent shine – so if you have an idea in mind, you can even film it on your mobile phone. Whilst they are looking for comedy, there is a serious prize on offer here, with a £5K bursary for the winner and support from the BBC in developing a sitcom idea. You’ve got until 5 September to apply!

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 BBC Writersroom

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

Writing authentic dialect is a powerful tool for playwrights. Get it right and you can add an extra layer of originality to your writing and bring depth to your characters and their world. Get it wrong and your characters will be more ‘cringe’ than credible…

During this course, you’ll pick up key tips for tuning your ears to the finer details of dialect. You’ll explore speech patterns, rhythm and slang, and consider how class affects the way people speak. You’ll look at the best way to convey the specific details of dialect in your script, whilst keeping things clear and coherent for those reading or performing it.

The course is run by LPB’s Head of Writer Development who, as a native of the Black Country, has extensive experience in how to communicate regional dialect on the page! You can find more out about Kimberley here. 

How it works: the course takes the form of 10 online sessions which will include videos, exercises and resources designed to improve your dialect writing skills.

Once enrolled, you’ll be able to work through the sessions at your own pace and the course will remain live on our website in case you want to revisit it at a later date.

How to enroll on the course: LPB members will be able to access the course from the drop down ‘resources’ menu over on the members site from 13 November 2018.

If you’re not a member, you can join for just £3.63 per month and gain access to this course plus many other resources! You can find out more and sign up here.

Cost: included in members’ subscription

Dates: the course will go live on 13 November 2018