Wednesday, August 24, 2016

15 Observations from writer/director Billy Ray

My WGA mentor Billy Ray ("Shattered Glass, "Captain Phillips," "The Hunger Games") invited me to an AFI screening of his new Amazon episodic "The Last Tycoon." Afterward he gave a master class in what it takes to be writer who is transitioning into directing. It's the first time this year I've attended a screening Q&A and had to whip out my notepad to write down all the advice. He even had clips ("Body Heat" and "The Godfather") to illustrate the camera subtext.

1. goal of a writer/director is to beat the page. If it's a faithful rendering of what you wrote down, then you are failing.

2. everyone knows that the camera captures subtext which means it must be stuff the character DOES NOT want to reveal. Make sure the actors know this when you are doing close-ups.

3. to get an actor to do something give them a verb, but also remember to give notes to the other actor in the scene to incite something in them.

4. in auditions get your lazy ass up and go out and grab the actors, shake their hands. Don't let the casting assistant just usher them in or you'll begin to feel nothing.

5. never engage in power struggle with actor in front of ppl. Clear the set or go into an office.

6. right before you yell "action" ask the actor 'do you know what you want?' so that it's at the top of their minds and not the blocking, camera, and the million other things.

7. right before you yell 'cut' give it five seconds. Tell the actors that. There will always be something in those quiet extra 5 secs that can be used.

8. know an actor's 'bag of tricks' and force them out of it. So if it's actor who overuses their hands make them do the intense angry scene with their hands folded or under their arms, make them fight against that urge and it creates natural dynamic tension.

9. change off-camera dialogue actors are responding to so that they keep it fresh.

10. change your socks at lunch. When you're on set and standing all day, your feet will start to burn. New pair of socks means new legs for second half of day.

11. ambition got you here, but paranoia keeps you here.

12. shake everyone's hand on set and thank them. It will take the crew about 2-3 days to realize you're not an asshole.

13. always deflect credit for anything good on to other depts and take blame for anything bad. You're the director! You get too much credit anyway, give it to others.

14. as a writer/director you must reject 'a film by' credit if offered. It's egotistical and a lie. Woody Allen doesn't use 'a film by' credit. Movies are a director's medium. We all know who directed the freaking film. You don't need to then stamp the entire thing as your 'creation.' And you don't get any more money for doing it so turn it down. 'A film by' credit is satan's ass crack!

15. Read "Directing Actors" by Judith Weston. It has a lot of the stuff in here. Write them down on notecards and have them in your shirt pocket on set so it looks like you're pulling from your own notes.

Thursday, August 4, 2016

Scandal Monsters and Right-Wing Delusions

Oliver North accused Obama of bending over to the Iranian administration because the US sent money to Iran under an pre-signed agreement. Oliver North: the man whose name is synonymous with Iran-Contra, arguably the biggest illegal arms scandal in our nation's history that gave weapons to, wait for it...Iran! And this has been the surreal MO of the Republican party, which is to accuse the other party of doing the very thing they are intentionally and illegally doing. You get Oliver North, a disgraced officer involved with Iran, to accuse the Obama admin of being corrupt for following through on an agreement. They accuse Clinton of Benghazi conspiracy and launch 7 investigations which all find her innocent b/c the Congress rejected the State Department's request for more security in the embassies and consulates around the world. They obsess about Dems making the country weaker when the largest terrorist attack in our nation's history happened under a snoozing Republican president who received several warnings about a major attack and was literally caught reading a freaking children's book on TV when he heard the news...and he sat there, panicked, and had to be guided up from his tiny chair and out the door to go do his job. They accused Acorn of rigging the elections when Republicans are passing laws in each state to rig the elections by making it harder for Blacks and Latinos to vote. Conservatives say 'blue lives matter' and then consistently try to undercut policemen and firemen's pay and healthcare...so blue lives only matter when they're killing black people on camera. And 45% of the country (and over 60% of working class white people) vote for this. They are being lied to in such a strong and surreal way that they can't even accept the depth and detail of the deep con being played on them.

We wait and wonder if the next scandal, the next act of incompetence, the next Trump moment, the next audacious litany of lies will be the breaking point or at least wake people up from the irrational and 100% fictional bubble they live in. They drink lead-contaminated water, breathe coal-dusted air, watch their unions get eviscerated by conservative politicians while they scream about executing a citizen who has dedicated her life to healthcare, child care, equal pay for all. Love trump hates. But hate is like a bad drug that a lot of people can't kick, even when it's killing them. They keep looking for the target to hate, they keep contriving the next Clinton scandal.

For the record there was never a Whitewater scandal. It was a bad real estate deal. Nor was there a Travelgate scandal. A new incoming president let go a few people in his own White House. Nor was there Vince Foster scandal, Benghazi scandal, or email scandal. The Clinton have been the most investigated couple in our nation's history and the biggest thing they have come up with in the last 20 yrs was 1) Bill Clinton lied to hide an affair 2) Hillary Clinton using a private email server like her previous two predecessors who were Republican-appointed Secretaries of State 3) Secretary Clinton sending 4 classified emails on private server which was really 1 because 3 of the emails were incorrectly labeled as classified. One email out of 33,000. And yet a record number of people trust her less than a man who has been involved in over 3,000 lawsuits, knowingly ripped off families, didn't pay contractors who completed work for him, smears war heroes like John McCain and the Khan family, claims Mexicans have a penchant for being rapists and murderers, wants to ban Muslims from entering the US, and has shady ties to a Russian dictator running a kleptocracy that kills its own citizens with impunity.

A monster has been created through a bad habit. And we keep having to face this same demon again and again, during every election. I'm hoping Trump will inadvertently slay this beast of delusions. 

Wednesday, August 3, 2016

GET WHAT YOU WANT: August 2016

1.
Brave New Film
Deadline: August 5th
website:http://www.bravenewfilms.org/fellowships?utm_campaign=fellow_rs_jis&utm_medium=email&utm_source=bravenew

Our program offers social justice advocates from communities of color and/or economically marginalized communities a one year, paid opportunity to work with Brave New Films and learn how to create and distribute media that makes a difference. By working alongside experienced staff, fellows build practical skills in digital storytelling, production, post-production, campaign strategies, outreach, and social media. Fellows spend the majority of the year in one of three areas: outreach, post-production, or social media. In the last two months they rotate through the other two areas. The fellowship equips activists to use film to support activism, and prepares them for  jobs in social justice advocacy, media, and filmmaking.
To complement the on-the-job learning, fellows also meet and network with film directors, activists, journalists, politicians and organizers, and they receive training in camera operation, database management, fundraising, and more.
As compensation, each fellow receives $772/week for the duration of the fellowship, medical and dental insurance, and holidays/hiatus pay. Fellows work full time (M-F, 9:00-6:00) in our Culver City, CA office.
For non US residents, we will assist with visa/immigration processing and can compensate a portion of travel. However, relocation/housing is not provided by Brave New Films.
This fellowship is a perfect fit, if you….
Feel passionate about social justice
Aspire to use film to support your activism
Love to learn by doing and pick up skills quickly through on-the-job training
Welcome opportunities to gain invaluable work experience
Appreciate a good story and can tell a compelling one visually
Possess a heart for progressive politics.

2.
Yale Drama Series Prize
Deadline: August 15th
website: https://yup.submittable.com/submit

The Yale Drama Series is seeking submissions for its 2017 playwriting competition. The winning play will be selected by the series' current judge, distinguished playwright Nicholas Wright. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center Theater.

There is no application form or entry fee.
Please follow these guidelines in preparing your manuscript:
1. This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
2. Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children's plays are not accepted. The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.
3. Playwrights may submit only one manuscript per year.
4. Plays that have been professionally produced or published are not eligible.  Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.
5. Plays may not be under option or scheduled for professional production or publication at the time of submission.
6. Plays must be typed/word-processed, page-numbered, and in standard professional play format.
7. The Yale Drama Series reserves the right to reject any manuscript for any reason.
8. The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.

ELECTRONIC SUBMISSIONS:
The Yale Drama Series Competition strongly urges electronic submission. By electronically submitting your script, you will receive immediate confirmation of your successful submission and the ability to check the status of your entry.

Electronic submissions for the competition must be submitted no earlier than June 1 and no later than August 15, 2015.

If you are submitting your play electronically, please omit your name and contact information from your manuscript.  The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography (optional) where indicated in the electronic submission form.

If you would like to submit an electronic copy of your manuscript please go to:
https://yup.submittable.com/submit.


3.
Blue Ink Playwriting Award
Deadline: August 31st
website: American Blues Theatre 

The winning play will be selected by Producing Artistic Director, Gwendolyn Whiteside, and the Ensemble. The winner of this annual competition will be awarded the Blue Ink Playwriting Award of $1,000 and receive a staged reading at American Blues Theater in Chicago. There is a $5 administrative fee. Please follow these guidelines in preparing your manuscript:
- This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
-Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children’s plays are not accepted.
- Playwrights may submit only one (1) manuscript per year.
- Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production will be considered.
- Plays may not be under option or scheduled for professional production or publication at the time of submission.
- American Blues Theater reserves the Right-of-First-Refusal to produce the World-premiere of the winning manuscript for (1) year beginning with the public announcement in March 2017.
-Plays must be sent as a Word document or pdf file to blueink@americanbluestheater.com.
- Send the $5 administrative fee to: American Blues Theater, 1016 N. Dearborn, Chicago, IL 60610 or pay online here


4.
Image Theater: Naughties
Deadline: August 31st
Website: http://www.imagetheater.com/

Image Theater of Lowell, MA (www.imagetheater.com) is seeking submissions of short plays, sketches, songs, or monologues for our “adult only” evening of original works to be performed on Saturday, November 12, 2016.

We are looking for sexy, silly, scandalous pieces, limit four characters or less, single set… have fun, because that’s what this evening of theater is all about! To submit your play, monologue, or song, please send your work in a WORD format, along with full contact information on the cover page. Songs may be sent in Mp3 format, but lyrics should be included separately, along with sheet music.

Heading of submission: “ Naughties 2016”

Submission deadline: August 31st, 2016 no exceptions

E-mail your submission(s) to: imagetheater@comcast.net, attention Jerry or Ann.

Image Theater is a not for profit theater company that has produced the original works of playwrights since 2005.


5.
Radcliffe Institute at Harvard Fellowship
Deadline: September 15th
Website: http://www.radcliffe.harvard.edu/fellowship-program/how-apply

Radcliffe Institute is accepting fellowship applications from the creative arts until September 15th. Fellows receive office or studio space and access to libraries and other resources of Harvard University during the fellowship year, which extends from early September 2017 through May 31, 2018. Stipends are funded up to US$75,000 with additional funds for project expenses.Stipends are funded up to $75,000 for one year with additional funds for project expenses. Some support for relocation expenses is provided where relevant. If so directed, Radcliffe will pay the stipend to the fellow’s home institution. We work with fellows who have families to help with relocation issues for a smooth transition.
Fellows receive office or studio space and access to libraries and other resources of Harvard University during the fellowship year. Visual artists and film, video, sound, and new media artists may apply to come for either one or two semesters. In the event that they come for one semester, the stipend is $37,500. Fellows are expected to be free of their regular commitments so they may devote themselves full time to the work outlined in their proposal. Since this is a residential fellowship, we expect fellows to reside in the Boston area during that period and to have their primary office at the Institute so that they can participate fully in the life of the community.

6.
Cullman Fellowship
Deadline: September 30th
Website: https://nypl.onlineapplicationportal.com/misc/guidelines/default.aspx
Notification: March 2017
Award Period: September 6, 2017 - May 26, 2018
Stipend: $70,000

The Dorothy and Lewis B. Cullman Center for Scholars and Writers supports projects that draw on the research collections at The New York Public Library’s Stephen A. Schwarzman Building (formerly the Humanities and Social Sciences Library). The Center looks for top-quality writing from academics as well as from creative writers and independent scholars. It aims to promote dynamic conversation about the humanities, social sciences, and scholarship at the highest level — within the Center, in public forums throughout the Library, and in the Fellows’ published work.
Candidates who need to work primarily in The New York Public Library’s other research centers — The New York Public Library for the Performing Arts, the Schomburg Center for Research in Black Culture, and the Science, Industry and Business Library — are not eligible for this fellowship.
In order to avoid real or apparent conflicts of interest, the Cullman Center for Scholars and Writers does not accept applications from New York Public Library staff members or their partners, or from people active on the Library’s Board of Trustees, Board Advisory Committees, or Library Council.
Please visit www.nypl.org/research-collections for detailed information about the collections of the Stephen A. Schwarzman Building at Fifth Avenue and 42nd Street.
Fellows are required to work at the Cullman Center for the duration of the fellowship term and may not accept other major professional obligations during the term. Some fellows may have a few prior commitments, but must limit research trips, attendance at scholarly meetings, and speaking engagements to short periods of time. Anyone who needs to be away for more than two days must notify the Center's Director or Deputy Director. The Library will pro-rate fellowship stipends for fellows who spend too much time away from the Center.
Fellowships will not be granted to post-doctoral fellows or to applicants doing graduate-school dissertation research.
The Cullman Center will not accept dossier letters in place of new letters of recommendation.
Fellows must be conversant in English.
Completed applications and supporting materials — research proposal, Curriculum Vitae, letters of recommendation, and creative writing sample or art work sample — must be submitted by 5 p.m. EST on September 30, 2016.

7.
Marin Theatre Company’s Sky Cooper American Play Prize
Deadline: August 31st
Web: www.marintheatre.org/productions/new-plays-program/new-play-awards/

Norton J. “Sky” Cooper established the New American Play Prize at Marin Theatre Company in 2007 to celebrate the work of the American playwright and to encourage the creation of bold, powerful new voices and plays for the American stage. The Sky Cooper Prize will be awarded annually to either an established or emerging playwright for an outstanding new work. The play selected as the Sky Cooper winner will receives a $10,000 award and a developmental workshop as part of the theater’s annual New Play Reading Series. The winning play will also be considered under option for a full production at MTC as part of the theater’s annual main stage season.

Sky Cooper New American Play Prize Guidelines
• Submissions will be accepted from August 1 – 31, 2015
• Submissions must be unpublished, original full-length plays in any genre.
• Musicals, translations, individual one-acts, and any play submitted in a previous year for the Sky Cooper or David Calicchio Prizes are not eligible.
• The submitted play may not have received or be scheduled for a full-scale, professional production prior to submission (plays that have had a workshop, reading, or non-professional production are eligible).
• Playwrights must be citizens of the United States.
• Only one submission per playwright is allowed each year; you may submit the same play for both prizes.
• For the Sky Cooper prize, the submission is required to include a professional recommendation.

About: Now in its tenth year, Marin Theatre Company's Sky Cooper New American Play Prize is awarded to an emerging or established playwright for an outstanding new work, and is given a $10,000 cash prize and option for production on MTC's main stage.These prizes serve to further MTC’s commitment to the development of new plays as a central component of its artistic programs.

PHASE I: Submit a completed online submission form and 10 pages of consecutive sample dialogue.
Agents may submit full scripts of their client’s work. Please do not send full scripts for Phase I unless via an agent or professional representation; unsolicited scripts will not be read.
We prefer sample pages attached to the online submission form in .pdf format, with last name, first name, (title of the play) as the document title. For example: Wilson, August (Seven Guitars).pdf.
PHASE II: Selected submissions will be invited to send full scripts for Phase II. All full scripts that have been solicited after Phase I will be read by a member of the Marin Theatre Company artistic staff.
All scripts will be read by a member of the Marin Theatre Company artistic staff. Please do not send more than the requested materials. Do not send videos, CDs or DVDs. Incomplete submissions will not be considered. Due to the high number of submissions, not every playwright will receive a response to their Phase I submission. No materials will be returned.
Winners will be chosen from among submitted and solicited scripts; final selections are made by Jasson Minadakis, Artistic Director.


8.
MacDowell Colony Residency   
Deadline: September 15
Website: http://www.macdowellcolony.org/apply.html

The MacDowell Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which to produce enduring works of the imagination. Residencies are awarded based on a completed application to the Colony. Applications are chosen by a peer-review panel. Artists may apply only ONCE within a 24-month period - select the residency period that best suits your schedule. We are currently accepting applications for our winter spring 2017 residency season. The deadline is September 15, 2016.
The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to eight weeks. There are no residency fees. MacDowell Fellows are selected by our admissions panels, which are comprised of a revolving group of distinguished professionals in each artistic discipline who serve anonymously for three years.
The Colony accepts applications from artists working in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. The sole criterion for acceptance is artistic excellence, which the Colony defines in a pluralistic and inclusive way. MacDowell encourages applications from artists representing the widest possible range of perspectives and demographics, and welcomes artists engaging in the broadest spectrum of artistic practice and investigating an unlimited array of inquiries and concerns. To that end, emerging as well as established artists are invited to apply. Applicants who are in a degree program as of the date of application are ineligible for a residency and therefore cannot apply.
Artists may apply only once every 24 months. MacDowell will only accept applications for the next deadline. Please refer to the applications dates in the column on the left for open application time periods.  Applicants will be notified of admission status approximately 10 weeks after the applicable deadline. Winter/Spring residency takes place Feb 1, 2017 -May 31, 2017. Notification: November 25th     
Processing Fee: A nonrefundable processing fee of $30. Payable by Credit or Debit Card.  
 
9.
Princeton Arts Fellowship
Deadline: September 19th
Website:  http://arts.princeton.edu/fellowships/

The Princeton Arts Fellowship, funded in part by The Andrew W. Mellon Foundation, will be awarded to artists whose achievements have been recognized as demonstrating extraordinary promise in any area of artistic practice and teaching. Applicants should be early career composers, visual artists, conductors, musicians, choreographers, filmmakers, performers, directors, or performance artists—this list is not meant to be exhaustive—who would find it beneficial to spend two years working in an artistically vibrant university community. Princeton Arts Fellows spend two consecutive academic years (September 1-July 1) at Princeton University and formal teaching is expected. The normal work assignment will be to teach one course each semester subject to approval by the Dean of the Faculty, but fellows may be asked to take on an artistic assignment in lieu of a class, such as directing a play or creating a dance with students. Although the teaching load is light, our expectation is that Fellows will be full and active members of our community, committed to frequent and engaged interactions. An $80,000 a year stipend is provided.
Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.  Holders of Ph.D. degrees from Princeton are not eligible to apply.


10.
Princeton Hodder Fellowship
Deadline: September 19th
Website: http://arts.princeton.edu/fellowships/

 The Hodder Fellowship will be given to artists and writers of exceptional promise to pursue independent projects at Princeton University during the academic year. Potential Hodder Fellows are writers, composers, choreographers, visual artists, performance artists, or other kinds of artists or humanists who have “much more than ordinary intellectual and literary gifts”; they are selected more “for promise than for performance.” Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own fields; the Hodder is designed to provide Fellows with the “studious leisure” to undertake significant new work. Fellowships are for one academic year and provide the opportunity to pursue an independent project. Hodder Fellows spend an academic year (September 1-July 1) at Princeton, but no formal teaching is involved.
Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.  An $80,000 stipend is provided for this 10‐month appointment.


11.
Playwrights First
Deadline: September 20
Website: http://www.playwrights-first.com/how-to-submit.html

Playwrights First consists of a panel of judges looking for original unproduced plays with a unique point of view, founded by Carolyn French.
Requires one, original, unproduced play in English. Hard copies no longer accepted. No adaptions, translations, or musicals will be accepted. Include a summary of your playwriting history with your play.  $1,000 grant and a professional reading when feasible.  

12. 
Brooklyn Arts Fund
Deadline: September 21st
Website:https://brooklynartscouncil.submittable.com/submit/60382

The Brooklyn Arts Fund aims to cultivate Brooklyn’s artists, arts organizations, and audiences through its support of performances, exhibitions, pop-up galleries, workshops, reading series, festivals, public art and more, all across the borough. This program is appropriate for arts and culture makers developing projects that contribute to the rich creative experiences that engage audiences all across the borough. Competitive applicants will clearly identify the audience they strive to reach, and articulate how the project’s outcome(s) will impact the cultural life of the borough. 

This program is appropriate for arts and culture makers developing projects that contribute to the rich creative experiences that engage audiences all across the borough. Competitive applicants will clearly identify the audience they strive to reach, and articulate how the project’s outcome(s) will impact the cultural life of the borough. Brooklyn-based 501c3 organizations and individual artists with Brooklyn residency may apply directly to this program. Program areas of funding include: dance, film/video/media, folk arts, interdisciplinary arts literary arts, multi-disciplinary projects, music/opera, theater/musical theater, performing arts community education and visual arts/crafts.

Funding is made possible through the generous support of the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs (DCA) in partnership with the New York City Council and Brooklyn Borough President Eric L. Adams. Additional support is provided by MetroPlus Health Plan.

Visit brooklynartscouncil.org for complete guidelines and a downloadable PDF of application questions, for your reference. In order to apply, you will need to scroll down and create an account with Submittable.

Monday, July 25, 2016

Protest at a Convention

Voting for Hilary. Don't need convincing. I know what's at stake.

BUT I don't like the conventional wisdom that states it's important to have a convention where everyone falls in line and cheers for the same thing. ZZZZ. Party conventions used to involve actual caucus, rancor, yelling, fighting, dealing, strong-arming, protests. And we did just fine with hashing things out. We have become more concerned with the optics of how something looks rather than what is actually going on. And this is how cable news and TV has made us more obsessed with the image of conformity rather than the messy process of democracy; the two things are actually completely separate. A political convention is a not a high school class photo. And maybe if people actually yelled and screamed and didn't have 'cheer whips' to orchestrate crowds like a tv sitcom audience things wouldn't feel so neat. Conformity for the sake of an image is more insidious and evil than rabble rousers and unreasonable screamers. And this holds true for both parties. Ted Cruz should be allowed to say what he wants without having his life (and wife) threatened.

Sandernistas at the DNC

Disclaimer: not condemning Sanders or Clinton, just trying to understand. 

When you promise people a revolution and get them to believe in something that had little chance of happening, you can't pull back and be like 'j/k people. Thanks for giving up a year of your life but let's no support the same ol' same ol that accused of being compromised' Words matter. There is a diehard faction of Bernie Sanders supporters who really did think this was going to be a revolution and they believed Clinton was the worst thing ever. They thought they were going to change the entire system through one candidate. And now they're being told they should just go back into the melting pot. In addition to that every move Clinton has made since cinching up the nomination has only confirmed the fears of some diehards who think she's going to blend back into the middle, which is double-down on with the VP nomination. And then the DNC emails confirmed conspiracist in addition to the on-going gripe about Superdelegates. So now we are here and fractured. And unlike the GOP, Dems care about free speech than showing a unified front. It'll be interesting to see what happens.

Wednesday, July 6, 2016

Get What You Want: July 2016

1.
The Amoralist ‘Wright Club
Deadline: July 16th
Website: http://www.theamoralists.com/write-a-play
During their one year residency in 'Wright Club, each club author creates two new one-act plays in a workshop production process modeled on The Amoralists' method. These plays are presented to the public in “dangerously” staged readings at the bi-monthly public forum we call ‘Wright Night, and they are followed by a daring conversation wherein authors speak openly about their work, exploring the successes and shortcomings of the plays.


Between these public presentations, ‘Wright Club authors attend meet-ups and workshops twice per month where they engage in peer support, artistic activities, and discussion groups lead by cross-disciplinary artists ranging from emerging and mid-career artists to established professionals.


‘Authors leave the program with two new plays, a bevy of new collaborators, and a new way of seeing themselves and their processes. 'Wright Club’s foremost emphasis is the development of the playwright as theatremaker. There are no dues or fees for 'Wright Club.




Applications due July 17, 2016.


Questions? Feel free to reach out to WrightClubNYC@gmail.com.
2.
EST/Youngblood
Deadline: July 13th


*Award:* Membership. *Fee:* N/A. *Restrictions: *Applications are open to
New York City resident playwrights under 30 years old.

Youngblood is Ensemble Studio Theatre's OBIE-winning collective of emerging
professional playwrights under the age of 30. Youngblood provides artistic
guidance, peer support, regular feedback and a fertile production
environment, which allows our member playwrights to hone their skills and
explore their craft. Membership includes attendance at all weekly meetings, monthly (or more frequent) performances, readings and retreats.
3.
Estrella Mountain Community College: Seeking One-Acts
Deadline: July 24th
Estrella Mountain Community College in Avondale, Arizona. This Fall they are producing several one-acts in rep. They have a sizable and diverse company of actors and one of the major focuses for the upcoming school year is going to be new plays.
In short, they are seeking One-act play submissions to be produced as part of their Fall programming. There will be a stipend for selected plays.
Please e-mail submissions (and questions!) to: George.Lopercio@estrellamountain.edu
Deadline for submission is July 24, 2016.
4.
Blue Ink Playwriting Award
Deadline: August 31st
The winning play will be selected by Producing Artistic Director, Gwendolyn Whiteside, and the Ensemble. The winner of this annual competition will be awarded the Blue Ink Playwriting Award of $1,000 and receive a staged reading at American Blues Theater in Chicago. There is a $5 administrative fee. Please follow these guidelines in preparing your manuscript:
- This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
-Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children’s plays are not accepted.
- Playwrights may submit only one (1) manuscript per year.
- Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production will be considered.
- Plays may not be under option or scheduled for professional production or publication at the time of submission.
- American Blues Theater reserves the Right-of-First-Refusal to produce the World-premiere of the winning manuscript for (1) year beginning with the public announcement in March 2017.
-Plays must be sent as a Word document or pdf file to blueink@americanbluestheater.com.
- Send the $5 administrative fee to: American Blues Theater, 1016 N. Dearborn, Chicago, IL 60610 or pay online here.

5.
Theatre LiLA
Deadline: July 10th
Theatre LILA, an Equity theatre company in Madison WI, is accepting submissions from playwrights and poets for our upcoming original work entitled The BED: a Theatre LILA invention. We are seeking short scenes ranging from five minutes to maximum of thirty minutes.  We will not be accepting monologues. We are also seeking all styles of poetry, spoken word and original songs.
Writers should know that the entire scene will be set around a large four poster bed. Submitted works must revolve around this set piece only plus props. This is a highly theatrical play-space and we encourage artists to consider LILA’s style of storytelling (see our portfolio at www.theatrelila.com) when submitting. Previously produced works may be submitted.
Your cast may not exceed 8 actors. We are a company dedicated to presenting plays that represent our community and are seeking a diverse collection of voices from all cultural backgrounds, races and ages. We love to get inventive and say ‘YES’ so we encourage you to be fearless in your ideas.
All selected scripts will be combined to create the world premiere of The BED.  This collage-like production will be produced by Theatre LILA in March, 2017.  Writers will receive a small stipend, a pair of complimentary tickets to the production and acknowledgement in press, website and playbill materials.
Submissions are DUE JULY 10th, 2016.  Please email your submission in a PDF format to theatrelila@gmail.com.  Subject line should read ‘The BED-(your last name)’


6.
33 ⅓ Book Proposal
Deadline: open
Website: https://333sound.com/how-to-submit/


33 ⅓ is a prestigious book publishing company that focuses on albums. It’s been around since 2003 and has gained a fairly good reputation, pays their writers a small advance, and offers a healthy percentage from book sales. You write a proposal for an album you want to cover, write a chapter, give a table of contents, and go. It’s great for the music lover who is also a great non-fiction writer able to give solid critique, cultural analysis, and understanding of where an album fits in the trajectory of music.


If you would like to submit a proposal for a 33 ⅓ volume, please submit ALL of the following to333submissions@gmail.com. The word/page counts below are not exact but should point you in the right direction of what we are looking for. Proposals will be reviewed on a rolling basis.
Submit the content below in one single document as either .doc, .docx or .pdf. No .rtf files will be accepted. Please put your name, album and artist in the subject line of the email.
Proposal requirements:
1. Your professional CV/resume, including full contact details + a short biography (25-50 words).
2. A draft annotated table of contents for the book. This should include chapter titles and a brief 50-500 word summary of each chapter. If you plan on deviating from a chapter structure, please explain why in 500 words.
3. A draft introduction/opening chapter for the book, of around 2,000 words.
4. A concise description of the book (up to 250 words). This needs to be clear, informative and persuasive. It should be suitable for use as the book’s blurb. It should be written so that people who are unfamiliar with the album will understand what this book is about.
5. Your analysis of the most relevant competing books already published (or forthcoming) about the artist in question or the scene surrounding that artist – and how your book will differ. Are there any films or film projects in the works? 200 words or less.
6. At least 500 words about yourself and why you are qualified to write this book. Why are you the best person to do it? How you would help Bloomsbury Academic market your book? Please list websites/forums/listservs you’d contact directly; any artist involvement you might expect; any college-level courses on which you think your book could be used, and so on.
7. Which existing 33 1/3 books or other types of music writing you like or dislike. Why? 500-1000 words.
8. Describe the audience for your book. What are the fans like? Describe your target market. How large is this market? 200 words.
9. Please list the amount of time it will take you to complete your manuscript.
10. Do you have any feedback? How is the series doing so far? What could we do better? Not required.
Upon submission you will receive an auto-reply message. Unfortunately we are not able to respond to each submission individually, but we will reach out to you as soon as we can if we would like to move forward with a project.
Just in case you need a refresher, here are the other books in the series and here are the ones currently contracted to come out in the next 3 years.


7.
Yale Drama Series Prize
Deadline: August 15th
website: https://yup.submittable.com/submit


The Yale Drama Series is seeking submissions for its 2016 playwriting competition. The winning play will be selected by the series' current judge, distinguished playwright Nicholas Wright. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center Theater.


There is no application form or entry fee.
Please follow these guidelines in preparing your manuscript:
1. This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
2. Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children's plays are not accepted. The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.
3. Playwrights may submit only one manuscript per year.
4. Plays that have been professionally produced or published are not eligible.  Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.
5. Plays may not be under option or scheduled for professional production or publication at the time of submission.
6. Plays must be typed/word-processed, page-numbered, and in standard professional play format.
7. The Yale Drama Series reserves the right to reject any manuscript for any reason.
8. The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.


ELECTRONIC SUBMISSIONS:
The Yale Drama Series Competition strongly urges electronic submission. By electronically submitting your script, you will receive immediate confirmation of your successful submission and the ability to check the status of your entry.


Electronic submissions for the 2016 competition must be submitted no earlier than June 1, 2015 and no later than August 15, 2015.


If you are submitting your play electronically, please omit your name and contact information from your manuscript.  The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography (optional) where indicated in the electronic submission form.


If you would like to submit an electronic copy of your manuscript please go to:

8.
Stella Adler: Ensemble Plays and Playwright-in-Residence
Deadline: July 29th
Website: www.stellaadler.com/cultural-center/playwrights-division/play-submission/
Seeking new, full-length ensemble plays for young actors with casts that have a majority of female characters or gender neutral characters. One or more play may be selected for a student production (this is a curricular project for full-time acting students). Plays must be new, unproduced works and require minimal set, props, costumes.
Completed applications must include a required application form and a full-length play.
Please note: Your play submission should be “blind”. The cover page should ONLY include the title of your play. Your name should not be anywhere on the blinded script. This copy will be shared with the committee of play readers who will not know the authors of the plays they are reading.
Completed applications must be received by Friday, July 29, 2016.
Please click here to complete a web form application AND then e-mail a PDF of your play submission to community@stellaadler.com with subject line ENSEMBLE PLAY
Please note: Paper applications will not be accepted.
A SEARCH FOR A PLAYWRIGHT-IN-RESIDENCE
The Stella Adler Studio of Acting is seeking applications from female playwrights for the 2016-2016 Harold Clurman Playwright-in-Residence program. This is a collaborative residency that is mutually beneficial to the mission of the studio and the playwright. We are seeking playwrights who:
– self-identify as female
– are in their early careers
– are unpublished
– have not yet had professional productions other than those using the showcase code
– have a vested interest in working with a community of artists
– are interested in engaging in a discussion about how the studio can support and challenge their work
While this is a merit-based residency search, we are particularly interested in diversity – diverse writers, voices, viewpoints, perspectives. The studio is interested in co-designing a residency with the playwright that will support and challenge their process. The course of the residency is not regimented, but may be described as “playwright’s choice” within the resources and capabilities of the studio. Past participants have chosen some of the following:
1) a series of readings on a play written during the course of the year
2) a series of readings on a variety of plays/pages
3) writing a new work for an ensemble of graduate-level actors
4) a showcase production
The resident will engage in a discussion with the Artistic Director and other staff to explore what activities might be most helpful to their process during the year. Residencies typically begin in September and culminate in June.  Resident playwrights receive a $1000 stipend and have access to the Studio’s space, members of the Clurman Lab Theatre Company, and student actors for readings and workshops.
Completed applications must include a required online application form AND a full-length, polished but unpublished play (a full-length play is one that constitutes a full evening of theater; a 90-minute one act play is acceptable). Playwrights must read and agree to the Letter of Agreement before applying. By applying for this residency, playwrights confirm that they have read and agree to the Letter of Agreement.
Your play submission should be “blind”. The cover page should ONLY include the title of your play. Your name should not be anywhere on the blinded script.  This copy will be shared with the committee of play readers who will not know the authors of the plays they are reading.
Please do not include any of the following anywhere on the script: synopsis, development history, representation. We ask this because readers are seeking a play based on artistic merit and we want artistic merit alone to be the influencing factor for a script’s advancement.
Completed applications must be received by Friday, July 29, 2016.
Please note that applicants who advance to the final round of consideration may be asked for a second work sample.
Applicants will be considered for the playwright-in-residence position as well as:
– participation in the First Breath New Play Reading Series (Spring/Summer 2017)
– participation in the Teen Program Ten-Minute new play program (Summer 2017)
Please click here to complete a web form application AND then send a PDF of your play to community@stellaadler.com with subject line PLAYWRIGHT-in-RESIDENCE. Please note: Paper applications will not be accepted.
9.
MTC’s David Calicchio’s American Playwright Prize
Deadline: July 30th


Norton J. “Sky” Cooper established the Emerging American Playwright Prize award at Marin Theatre Company in 2007 in honor of David Calicchio’s lifelong career as a playwright and in support of Marin Theatre Company’s commitment to the discovery and development of new and emerging American playwrights. The Calicchio Prize will be awarded annually to a professionally unproduced playwright for a new work that shows outstanding promise and a distinctive new voice for the American theatre. The play selected as the Calicchio Prize winner will receive 2 public staged readings at Marin Theatre Company as part of the theatre’s annual New Play Reading Series. The playwright will receive a $2,500 award, as well as travel and accommodations for the MTC rehearsal period (25 hours).
  • Submissions must be unpublished, original full-length plays in any genre.
  • Musicals, translations, individual one-acts, and any play submitted in a previous year for the Sky Cooper or David Calicchio Prizes are not eligible.
  • The submitting playwright may not have received a full-scale, professional production prior to submission (plays that have had a workshop, reading, or non-professional production are eligible).
  • Playwrights must be citizens of the United States.
  • Only one submission per playwright is allowed each year; you may submit the same play for both prizes.

10.
Ars Nova Play Group
Deadline: July 31st
Website: https://arsnovanyc.wufoo.com/forms/m18aja2a1hd4ztj/


This vibrant and eclectic group of emerging playwrights gathers twice a month at Ars Nova to share new work and get feedback. The group offers members the chance to develop their plays with peer support, form collaborative relationships and build a strong sense of community within Ars Nova. In addition, members receive dramaturgical support and artistic matchmaking advice from the Ars Nova artistic staff and development opportunities through public readings and workshops.


Play Group is a two year residency in which members become a part of the Ars Nova Resident Artist community. In addition to biweekly meetings where members share new work and receive feedback from their Play Group peers, members also receive dramaturgical support and artistic match-making advice from the Ars Nova artistic staff; invitations to Ars Nova shows, Resident Artists mixers, and to see the work of Play Group alums around the city; two Play Group writing retreats; and the opportunity to further develop and showcase one of their plays in a weeklong workshop that can culminate in a public reading.


Criteria
All playwrights who identify as emerging are eligible to apply. In selecting new members, we will take into account the strength of the submitted play, what the writer stands to gain from membership at this point in her/his career and the overall balance of voices and styles within the group. Writers of all genders, races and abilities are strongly encouraged to apply.


How to Apply
Please click HERE for the application form. Applications require one full-length play, a resume, two professional references and a personal statement describing what the playwright hopes to gain from membership. Applications for Play Group 2017 will be accepted beginning June 30th and must be submitted by midnight on July 31st to be eligible for consideration.  

11.
National Park Service: Artist-in-Residence
Deadline: July 26th
Website: NPS


Resident artists spend 30 days living in a historic cabin in Zion National Park. They explore and surround themselves in the sights, sounds, textures, and wonders of Zion to find inspiration for their work. Each artist conducts two public presentations on their work and residency experience. Date, time, and location of these presentations will be announced closer to each artist's residency.

DETAILS

Artists must submit application materials and art samples exactly as indicated. Insufficient or excess materials are causes for applicant rejection, as is an artist's proposed use of a work already in progress. Your application packet will include a combination of a digital CD/DVD and hard copy materials as directed below. Mail application materials to:
Coordinator, Artist-in-Residence Program
Zion National Park
Springale, UT 84767

Applications must include:

  • Completed and signed Application and Contract form
  • Resume with list of professional works and social media and websites you manage for your artwork (no more than two pages)
  • Statement of purpose for residency (no more than one double-spaced page). Please explain what you hope to accomplish during your residency at Zion National Park, how the stay will contribute to your artistic development, and what you will contribute to benefit the park.
  • Samples of artistic work. Do not send originals. Samples of work will not be returned.
  • Non-refundable application processing fee of $35. Payable by credit card or check. Make check payable to Zion Natural History Association.

12.
12 Peers Theater
Deadline: August 1st


12 Peers Theater is accepting unsolicited submissions of new full-length plays to be recorded and released monthly on a podcast about and featuring new plays. In an effort to maximize exposure for playwrights and assist them in securing full productions, 12 Peers Theater will record and release readings of new plays to be aired on our Modern Myths Podcast throughout 2017.


We understand that there are many forms of theatrical storytelling, but here are a few guidelines that will help you determine if your play is right for us. We will not consider plays that have had a major AEA production; plays that have had productions in smaller professional, semi-professional, community, and educational settings are acceptable.


We will only accept full-length plays; no one-acts, collections of one-acts, or musicals. Due to recording limitations, plays should be able to be performed with no more than 6 actors (doubling permitted). As a company we are drawn to plays with themes of social and cultural identity, plays that are politically, socially, and ethically relevant, and plays with mythic themes. We are also drawn to plays with a clear sense of dramatic action, an excellent use of language, and a creative use of theatrical resources.
If you would like to submit, please send your play, a brief synopsis, and a biography to Matt Henderson, 12 Peers Theater’s Literary Manager, atmhenderson@12peerstheater.org by August 1st, 2016. One submission per playwright, please.

13.
Park Playhouse Seeking Musicals
deadline: July 31st
website: http://www.parkplayhouse.com/


Park Playhouse Inc. in Albany, NY, is seeking submissions for new musicals by unpublished and emerging composers, lyricists and librettists.


Submissions will be considered for possible inclusion in upcoming first annual new musical festival in New York’s Capital Region.


Submissions may be workshopped through a staged reading or concert production as part of new annual festival, and may be considered for full-scale professional productions in future seasons.


The ideal submissions will be full length (at least 90-minute) musicals of either one or two acts, and will not have been produced in a professional setting to date. All genres and subject matter are welcomed.


Please send brief description of piece, PDF of libretto/score, and any links to examples/recordings of music from the piece.


Submissions selected for workshop and development will be notified before the fall season.


Please send materials by email to Owen Smith, Producing Artistic Director of Park Playhouse and Managing Director of the Palace Performing Arts Center, at owen@parkplayhouse.com


Or send hard copy materials/recordings to: Park Playhouse, Attn: Owen Smith, 19 Clinton Avenue, Albany, NY 12207. Submissions accepted through July 31, 2016.

14.
Image Theater: Naughties
Deadline: August 31st
Website: http://www.imagetheater.com/


Image Theater of Lowell, MA (www.imagetheater.com) is seeking submissions of short plays, sketches, songs, or monologues for our “adult only” evening of original works to be performed on Saturday, November 12, 2016.


We are looking for sexy, silly, scandalous pieces, limit four characters or less, single set… have fun, because that’s what this evening of theater is all about!


To submit your play, monologue, or song, please send your work in a WORD format, along with full contact information on the cover page. Songs may be sent in Mp3 format, but lyrics should be included separately, along with sheet music.


Heading of submission: “ Naughties 2016”


Submission deadline: August 31st, 2016 no exceptions


E-mail your submission(s) to: imagetheater@comcast.net, attention Jerry or Ann.

Image Theater is a not for profit theater company that has produced the original works of playwrights since 2005.