Peers + Time = Fate

 In my ever expanding, fantasy curriculum of mandatory courses, I would definitely have a college class titled 'Peers: The Right Ones.' On the first day I would tell students '"look to the right of you, look to the left of you. These are your peers. Some of them will help you, some of them will hurt you. Most of your peers have no idea what they're doing in relation to other people, but some are re-enacting scenarios from childhood and will continue to do so for the rest of their life, some are being held hostage by emotions, some are self-motivated, and some are free, some will motivate you to pursue truth, and some will try to get you to buy into a lie. And some just want to party and bullshit.'

The people you choose to hang out with will determine the rest of your life. More than a teacher or even your parents at this point, your peers will determine where you look for jobs, love, housing, family. The group you associate with will determine your mood, your outlook, your work ethic, your drive for learning. This is THE most important factor. And most people choose peers by default. They kind of slide into friendships based upon fairly arbitrary things -whether someone made you laugh on a particular day, or the clothes, or attractiveness- and then you might find yourself entangled in a life-changing relationship with someone who is a detriment to your dreams. It's not their fault for hindering your dreams. It is the fault of the selector, so it's time to be more selective based upon where you want to go. It's time you became more conscious of your peers.

I was having this conversation last night with another POC writer. He's highly successful, self-motivated, and clear-eyed. He's spent most of his life avoiding the cool kids. Now they're in his rearview mirror. We are peers. 

We talked about high school groups: the "you ain't shit's" and the 'delusionalists" The 'ain't shits' are the dregs. They hang out at the bottom. They're comfortable there. It's dark, warm, they can huddle together and muse cynically about how much smarter they are than everyone else because they quit the game. They are free because they see 'THE LIE' of capitalism, public education, adulthood, jobs, pop music. They see 'the lie' of progressive and activity...so they have chosen the opposite. Everyone is a bit of a Holden Caulfield in high school, but the 'aint shits' have found each other. Now they're a flock of Holden's. If you have a dream, they will poke holes in it, deflate your energy, mock your drive as capitalist patriarchy or find some phrase. The 'aint shits' are easy to avoid and somewhat cliche. The danger is when you fall under the sway of a charismatic 'ain't shit.' They're either attractive or funny or they're the school dealer or the rich kid who has access to fun stuff. But you put up with their circle because you're hoping to gain some short-term pleasure. 

The opposite are the delusional narcissists who throw your judgement out of whack. You sing at karaoke and they hype you up as Tina Turner. You're an ok athlete and they convince you that you're going to clobber an opponent...so no need to workout. They expect you to return the favor and hype them up beyond reality. Each delusionalists is an emperor in exile. They deserve all the best things and so do you. Every prize won by someone else is an unfair denial of brilliance. Their optimism has a cult-like sway to it. Within the group, you're amazing. Outside of the group, your equilibrium is thrown out of balance. So...you stay in the group. It becomes hard to make new friends who see you in plain light. They're just 'haters.' I think a lot of my writing peers are in the delusionalists sect. They work on their craft a few times a year. Maybe they'll crank out a short piece, putter around on social media, crack a few witty jokes, and then they wait for the awards committee to call. They want the reward without the actual labor and their selective group supports their toxic optimism. Eventually the weight of reality breaks the delusion and then we get to rage. Rage against the world, rage against an 'ism,' rage and fire. Their dreams were destroyed...by others. Broken, they become more self-absorbed. They need a steady stream of 'me days' and 'personal time outs' and staycations and 'selfcare Sundays.' They suffer breakdowns and addictions and crippling procrastination and writer's block and dramatic edicts about 'leaving NYC...you've changed' or leaving Facebook...you've changed, or leaving their particular arts field...it's changed.' Strangely, they expected things to stay the same or for the world to bend to an unknown name with little credits or hustle. They were told they were special by their parents and peers and now the dam has broken. Their castles are washed away. 

I've not led a perfect life, but I had done the zig zagging dance to avoid delusionalists asking me to join their cult, and the 'aint shits' who have given up. In some cases one cult leds to another: a broken delusionalists becomes an 'ain't shit' with time. 

There's a reason why the third of the Buddha's 3 Jewels is your peers. There's a reason why one of the foundation of all 12 step programs is your sponsor. There's a reason why every religion and philosophy spends to talk about the people you voluntarily choose to be around. Every great arts renaissance, political movement, inquisition, holocaust, and war has been a collective effort of peers joined together in some sprint toward its own illusion. The question is whether this shared fantasy helps or hurts the individual?

Call Me By My Actual Name: POC Dilemma in White Spaces

 Definitely felt seen when a white reporter mistook Daniel Kaluuya for someone else. And this was after he had won the Oscar. Being mistaken for another black person once and a while...ok. I get that. But when it's a pattern you start to think 'wait, you really don't see me, do you?' I've shared this story before, but first day as a Northwestern freshman and this smiling white student came up to me and said 'so nice to see you back, Reggie.' I was 18 and it was no big deal. People make mistakes...once. But when the third and fourth white student mistook me for Reggie I had to insist on my...existence in their space. And by doing so I had to insist that the college wasn't just their space. Politely. I didn't scream or bellow. I just had to firmly make clear...I'm not that negro. And, of course, when I finally did meet Reggie we did not look alike. At all. Different body, skin tone, hair, nose, height, demeanor, and even voice. Reggie had this cracking, high-pitched voice. We could not be further apart...but we were black. And, of course, no black student EVER EVER mistook me for Reggie because there were no similarities. 

I started wondering if Tom Cruise gets mistaken for Mr Rogers? Does Julia Roberts get mistaken for Betty White? Seriously. Is there any world where someone comes up to Tom Hanks and says 'OMG. I am such a fan. Followed you my whole life and let me just say...THE MATRIX was phenomenal, Keanu.' You may think that's not a fair comparison because those people are famous!! Well fast forward to Samuel L. Jackson talking about auditioning for PULP FICTION. This is after being in movies for a long long time. Well known. He still has to audition again and again for PULP FICTION for these execs. In one of his last rounds he gets into the room and the exec said 'loved you in APOCALYPSE NOW.' Jackson calmly, politely insisted that he was NOT Laurence Fishburne. Like what the hell? You've seen me audition in front of you!! We do not look alike. 

I have another POC friend who says white people always spell his name wrong...which is weird b/c his name involves THREE LETTERS. It's not hard. It's not complicated. What total lack of effort does it take to fuck up 3 letters on a consistent basis? They let it go when their name was misspelled on awards they won, on acceptance letters, in emails. But at a certain point they started to wonder 'wait...is this forever? Will I have to insist and re-insist on my existence? 

Is it any wonder that the first Black president was harassed about his birth certificate for years by white people. And when he showed his birth certificate they insisted 'no, show us the long form!!' And when he showed the long form birth certificate they went...'nah! I just don't accept it. I don't believe you. I don't accept your legitimacy. You're hiding something...despite being the most scrutinized person on the planet, despite government documents, proof, pictures...I just don't accept you as legitimate. It is my one claim I can hold on to by denying you as who you say you are.'  I used to have a funny nightmare of accepting the Nobel Peace Prize for saving the planet from alien attacks or something ridiculous and this polite and very liberal Norwegian say 'thank you so much, Austin. Austin Squirrel everybody. Give it up.' (and I only knew it was a dream b/c Norwegians don't say 'give it up.' like Arsenio Hall. That's a dead giveaway that you're fucking with dreamland Norwegians.)

Is this why old-time Black performers had to hire their own hype men when they went on white radio and tv? Is this why James Brown and other performers paid a specific black person to go around saying their name correct, giving them a proper intro, and not mistaking them for Little Richard?' Every appearance, becomes a re-coronation in which you have to baptize and crown yourself with the rightful kingdom of your name. Is this why the concept of hype men didn't have to exist in white culture? The regular radio announcer could do the introduction because he would say their name CORRECTLY. And, of course, why would a white male need a hype man? The world is his hype and the ground is strewn with the soft rose petals of adoration.

Brooklyn v. Hollywood Artists

 

Real Brooklyn Artists' Convo (w/ Neighbor)

Me: what are you up to?

Neighbor: I started shooting a movie.

Me: Cool. What are your goals?

Neighbor: I just want to shoot a good movie right now and then I'll worry about all the other stuff later.

Me *waiting for him to sell me the movie*

Neighbor *awkward silence*

Me: Well...

Neighbor: We should bar-b-q some time when the weather gets warmer.

Me: Sure. So this movie...if you want me to look at it...

Neighbor: ..oh right. Well if it doesn't suck, I might show it. Just want to make sure it's good.

Me: Mmmm....*awkward silence*

Neighbor: Well I'll break out the grille some time and tell you.

IF SAME CONVO TOOK PLACE AT OLD APT IN WEST HOLLYWOOD

Neighbor KNOCK KNOCK

Me: Hey...can I help you?

Neighbor: I'm your next door neighbor. I just moved in. But I heard you're in TV.

Me: umm...

Neighbor: I wanted to get into the biz. Wanted to know if I could sit down with you, talk through my goals, strategize, synergize, network, cojoin, link, associate, amalgamate, and merge?

Me: what?

Neighbor: over coffee. I'm looking to get an agent. And then a manager. And then meet Spielberg. Or Ryan Murphy. Ideally both b/c I have a slate of tv and film projects that spans genres from horror to teen prom.

Me: I'm sorry I can't meet right now. I'm...terminally ill.

Neighbor: Oh no. I'm so sorry.

Me: stage 7...cancer of the nuts.

Neighbor: Oh my. So sorry. That sounds awful. I can totally come back in like, what? 5 business days? Is that enough time?

Me: I might be in agonizing pain.

Neighbor: Totes. OMG. Studio 7 cancer...

Me: it's stage 7.

Neighbor: Well let me just leave a thumbdrive for you. Just some random tik tok outtakes I made. I can stop by in 9 or 10 days. 

Me: might be dead. But sure.

Neighbor: Gotcha. Hey and you have a powerful story. It would make a great movie. Maybe we can collaborate and co-write your script. I would love to hear a story about cancer from the Black perspective. Maybe we could throw in some #BlackLivesMatter themes...cop shooting you. Or slavery. I don't know I'm just spitballing off the whole nut cancer cuz, you know, diversity...

Me: Right right. Well I should be getting dressed to go pick out a coffin. 

Neighbor: Gotcha. Hey, you take care, brother. *does Wakanda gesture.* Rest in Power. You're going to beat Lot 7. And check out my thumb drive if you're in chemo and bored.

Champagne Tears and Cancel Culture Fears

 Piers Morgan voluntarily stormed off his own show and quit over a heated discussion where he was challenged by people of color. This led to Sharon Osbourne having her own heated discussion on her own show in which she was unreasonable, loud, and hysterical. An investigation reveals that she is/was problematic and then she quit her own show. She goes on Bill Maher's show to discuss how awful cancel culture is for old white millionaires with their own show who voluntarily quit when they have their position challenged. This is all happening in the same week where multiple videos show black and brown people being shot, killed, tased, pepper sprayed, and terrorized. 

Can we start A Million Mercedes March through Malibu for these millionaires? A Petty Penny Parade in which they are showered with loose change? Toys for THOTS? I'm trying to figure out how to stop these rich white millionaires from quitting their own show and claiming that the threat of POC voices is so dangerous that they can not withstand a balanced discussion without breaking down in Moet-flavored tears of persecution. I have seen white people quit their jobs, shut down entire institutions (Ovation Awards), self-immolate, destroy infrastructure...rather than integrate, work toward equity, try to figure out how inclusion could work. I have seen some of the best minds enflamed with rage when historically disenfranchised populations ask...a question that pertains to their survival. 

I have seen white liberals destroy some of the nation's best school systems (NYC, Chicago) out of integration fear while honoring MLK day. I have seen rich white people pull up stakes and try to destroy entire metropolises (Detroit) rather than share the pie. 

When you would rather destroy, resign, light your career on fire, and shut down historic institutions rather than have a discussion...you are proving the exact point you are trying to refute with your tears of cancel culture. Your toxic tears are terrifying to black people trying to not get killed, bullied into suicide, or harassed into subservience. Just b/c the world does not revolve around you does not mean it ceases to spin. The chaos of progress does not mean the apocalypse is upon on white people. It means we are working through some deep shit that isn't going to be corrected with a TED Talk. The work takes generations. 

As Tom Hanks would say...there's no crying in white allyship. Cut. It. Out.

1 AM Taxi (like a real taxi)

 Arriving at JFK at almost 1AM, I decided to risk it all...on a taxi. Not an Uber, not a Lyft, no a Via. An actual, yellow, mystical, enchanted, 'as seen in the movies' NYC taxi. I got into the taxi with a driver who looked like he had been waiting for a passenger since the Ford administration. Hunched over the steering wheel, peering out into the darkness, he looked like Bela Lugosi. The taxi swerved out of the stand and had trouble staying within the dotted lines of the road. 

Ok, first thing: this might have been a mistake. He kept whispering an urgent question to me that I couldn't make out. I assumed it was about directions. I asked 'sir could you speak up' about 8 times before giving up. Finally I just punched the address into his phone. Bela sped down the highway, riding between two lanes. Fortunately the highway was mostly empty. The few cars that were out there steered clear of our 'creative driving.'  After a minute of this I offered some advice: could we, perchance, stay in one lane? After a few more minutes I politely asked a question that had been consuming me: could you turn off the right-hand turn signal? Yep, this was a mistake. 

Bela zipped down the highway like, well...like a bat out of some enflamed nether region. I started practicing my hunch position when we surely hit one of the pylons. I considered giving him a negative review and then I remembered...oh yeah, I'm in a taxi. Can't do that shit. I have to just sit there and shut the fuck up. 

It's interesting how quickly I began plotting some form of 'aggressive customer feedback.' Uber and Lyft have trained me so well to immediately note anything suspicious and run like swift-footed Karen to the cybermanagers of the world. Remembering my life before zoom and ride shares and social media, I recall several harrowing taxi rides. There were so many bad drivers, so many precarious, anxiety inducing trips I took. None of them ended in accidents. The old school taxi drivers cursed and smoke and swerve...and I just clutched my bags a bit tighter, cradled my jewels with more care, thought about my 'end of life' montages to distract me from the trip. And here was this old, I mean REALLY old guy who had probably been waiting for me or anyone to ride his taxi. And I was ready to immediately express my outrage about Bela. 

As the ride continued, he almost seemed to regress back to what I would consider a 'steady driver.' He stopped swerving, no turn signals were left on blinking for minutes. As the turns got tighter in pitch darkness, he handled all of them with a certain ease, as if he was rediscovering 'oh yes, this is what it's like to have a passenger, to be a taxi driver.' I was rediscovering my role too as a passenger: let the man DRIVE!! 

Exiting off the highway,  Bela reduced his speed and my anxiety went down. We were only a few blocks from my apartment. Suddenly I could hear his urgent question. Maybe it was the reduced noise level or I was just listening better but Bela asked me this most important question...'do you like American cheese...OR do you like Swiss cheese?' I thought about it and for a second I honestly considered: is this like one of those last questions a serial killer asks? A sphinx-like riddle or pop culture question a killer leaves his victims with...like a signature? Was he going to drive me this far, blast me, and then leave by the side of the road with a slice of cheese -of my choice- over my face as a warning to all you Uber-driving motherfuckers that TAXIS MATTER!! My anxiety level shot up...no, maybe he had some secret about health and wellness? No, maybe he had actual cheese in the car that he wanted to share? 

NO, AURIN! STFU!! What Bela is probably doing is making...conversation. Awkward conversation. A weird human interaction. OMG it had been so long since I had weird taxi driver conversation that I had to work through multiple catastrophe scenarios to see what was in front of me: Bela wanted me to answer the fucking question. Did I like American or Swiss? It's not that complicated!! 

'Well..." I thoughtfully paused and rubbed my chin like a person about to answer a casual question (because that's what casual ppl do, right?) "Bela...I suppose I like both." My tone went up like a Valley girl question. Then I added in a more firm masculine tone of making a decision 'but probably Swiss...a bit more.' Bela nodded and then gave his Sphinx answer to this great mystery "you shouldn't like either one. All cheese is poison." Ah. I see. Trick question. He continued on about cheese and evils of cheese for the few remaining blocks. Apparently cheese had fucked up Bela's whole spirit. Maybe cheese killed his family, stole his wife, forced him to work as a taxi driver...cheese did something bad to Bela. I nodded as if to say 'yes...yes...this is perfectly normal. Ahh of course...cheese is poison. Thank you for the reminder.' He arrived at my place and then I had a special treat for him...cash. Well actually he couldn't figure out the credit card machine in the car, but fortunately I did have cash. I gave him a $20 tip for not killing me and he warned me again about cheese. 

This morning I preparing for my preproduction episode meeting and I quickly ordered a breakfast sandwich on Uber Eats. I unchecked the cheese option -in case Bela knows some shit about my future- and then waited. As I wrote this, the Uber delivery arrived: quick, silent, apolitical. There were no opinions expressed about cheese or life. There were no words of advice the delivery person offered. He just gave me my cheese-less breakfast sandwich and ran down the stairs. I wanted to ask the delivery person 'do you like American or Swiss-' but he was gone in the blink of an eye. 

Oh Bela...what a world.

Rest in Peace: Earl Simmons and DMX

 My next door neighbor started blasting "X Gon Give it To Ya" tonight. Instinctively I started bobbing my head and weaving like I was at a college party in the early 2000s. Some things are just muscle memory. 

I had a complex connection to Earl Simmons and his alter ego, DMX. I bought his first few albums and I pumped them in college, worked out to them in the gym, walked around reciting his songs. It wasn't until I watched the Source Awards one year that I snapped out of a trance. I just remember there were a lot of gangsta rappers on stage shouting incoherent threats into a microphone and I just thought 'WTF am I listening to?' It was like someone snapped their finger and I woke up and so much of the music I had collected in my teenage years just made me...angry, moody, confrontational, tribal, toxically masculine. It was the kind of music you worked out to because it was aural testosterone..."fuck you man, fuck you world, I'm the best, kill the rest, I'm the king, kiss my ring, etc etc..." And I looked at my towers of CD record and started dumping them into a garbage bag. The next day I went to a CD exchange store and handed in about 50 gangsta rap albums and all my DMX. 

I got the cash and purchased James Taylor. I purchased Paul Simon, Meshell Ndegeocello, Aphex Twin. I purchased albums that would make me less full of my ego and domination and shit talking. I regretted giving up my DMX albums. Even back then I knew he was talented, powerful, once-in-a-generation voice. I also knew that he was not what I needed in my life at that time. I knew that he was struggling with some demons that he seemed to be exorcizing in his albums. While admiring his search for redemption through art but I didn't want his demons to reignite my own. His work was like a good friend that you could no longer be around for your own sanity. 

Years and years passed. Now I can listen to his songs through a different prism. Earl Simmons had terrible asthma, too many kids, was in and out of jail, struggled with money, drugs, and the warrior myth of DARK MAN X. He couldn't escape the monster of his creation. I relate to that...but I still bob my head when I hear his song, recall the videos, think about all the drama, and the songs he left like the armor-plated suit of an imposing superhero. Dark Man X. 

The Chris Dodd of It All

 2007: I was driving around Miami and turned to NPR and found out there was a debate going on in the middle of the afternoon. It was the Dem primary's sole radio debate. The event was scheduled like it was an afternoon filler to eat up air time. Stumbling upon this oddity, I decided to listen. Up until this point the primary was a binary choice: Hillary or Obama. There was a smattering of attention thrown to John Edwards. Apparently he was Kennedy-esque because of his smile and hair; in retrospect Edwards was more Kennedy-esque than we knew, but for other reasons.  

As I drove around I listened to it for about an hour. I was surprised at how inept and flat most of the candidates sounded, particularly Hillary and Obama. The radio debate was a chance to open up and explain your actual policy in front of an audience of a freaks and geeks who would even deign to listen to serious policy debate on the radio. It was the chance to cut loose and try charm. But no such luck with most of the field. Obama and Hillary were running the clock out on this non-event by spouting broad, bland campaign slogans as policy platforms. It was like going to a master chef's house expecting a feast and getting bologna sandwiches on Wonder Bread. The other candidates sounded equally bored, uninterested, and a little dumb. Bill Richardson skipped the debate to go to a funeral instead because, hey...probably a larger crowd there than on the radio. I felt like I had tuned into an alternate universe where the C- version of each politician was running for president. There were only 2 candidates that stuck out like lightning. 

Two people I would have never expected: Joe Biden and Chris Dodd. When they spoke, everything they said was so clear and deeply rooted in big policy changes more aligned with old-school Dems of the 1940s and 1950s. On foreign policy they staked out clear lines. Several times I found myself muttering aloud 'CHRIS FUCKING DODD?! When did you become interesting?!? How is this possible that you sound so smart?' The debate ended with a big yawn, which I think is required according to NPR debate rules. It was like 'oh well, that was nice and didn't matter b/c we're on fucking radio. Thanks to the dozens of people who tuned in and will never remember this non-event...' and then it felt like the moderator just faded into oblivion. The only takeaways from the event I had were 'Joe Biden and Chris Dodd are some sort of policy maverick duo...and they will NEVER EVER EVER be president. Oh well. Ten years later, I'm in LA at the French Film Festival and the honorary president of the event was...Chris Dodd. 

Retired and unshackled from the burdens of being the most boring white politician in the universe, Dodd spoke at length about French cinema. Apparently he is a cinephile. I found myself shaking my head and smiling...'Mr. Dodd...you are full of interesting quirks.' I wouldn't be surprised if Dodd also does K-pop breakdancing under a pier on the weekend and hotwires cars for fun. You just never know what's going on inside someone. Chris Dodd and Joe Biden: too bad you suppressed all of that to be Senators. I think Biden and Dodd were of a certain age where that was expected if you ran for office: anything interesting about you? Good, bury that shit and lock it away, put on this blue suit, wear this simple tie, stay within the margins of what is acceptable in Connecticut and Delaware. They achieved their goals of being elected bores with an amazing internal monologue, rich spiritual life, and deep policy knowledge. And few were the wiser of what they were thinking. But then there Dodd was on stage with the directors, laughing it up, no tie...no fucking TIE...raw-shirting the event like a wild animal. I even think I spotted him wearing loafers with no socks. Playboy of the Western World. He was speaking in French. Mr. Dodd.. you finally did become president. Of the French Film Festival. And I guess Biden did okay too. 

Repetition Becomes Reputation

 Repetition becomes reputation. I don't know what to tell you if you want to be a non-reading, intermittently active, emerging writer. Most of my training was as a local reporter when I was in high school. I wrote quick, dirty, cheap, pulpy copy for a lot of local newspapers and magazines. Most of it was bad. I just continued. I kept writing until an editor got so fed up with my incompetence that they fired me or stopped returning my calls. And then I moved on to another editor until I wore out their patience with my typo-riddled, scattershot prose. After a while I wasn't getting fired as often by editors and newspapers. I figured either two things were happening 1) other writers were dropping like flies or 2) I was getting better. It was probably a combination of both. 

The writing continued as others dropped away, died, moved on. At certain point I had 'a voice' of some sort tonal cloud...mushy, overwrought, too many commas, too many addendums and disclaimers. But it was semblance of my worldview and pace. After that I consumed novels, magazines, short stories, scripts, plays. I read until I found similar voices that clicked. I kept writing even though the internal voice was saying 'this is stupid...you sound terrible...why don't you have a bigger vocabulary, you should just give up right now in the middle of this sentence…stop right here…ok stop at this next period and let me out of this crazy car.' You have to nod, acknowledge the voice, and continue banging away. Banging and clanging words together until you hit a smooth stretch where the words start gliding and skipping along over the stream of noise. You find yourself in the entrancing state of 'flow.' There is no guarantee you'll get there again. Once I’m there I will tell you to shut up or curse you out. I have cursed out family members wanting to gossip or talk about the weather when I’m in a zone. I have deleted phone numbers of friends who didn’t understand how precious and pernicious  I wish there was an easier way to get to flow. You don't know how many times I've been told that I was a terrible writer or that I should just stop. Strangely it was always white guys who would offer me the free advice that I should quit or be quiet. Some even gave additional advice of possible careers: I should join the military or become a physical therapist. It's not like they are wrong. Maybe I would be better as a scientist or a nurse or an accountant. I just kept banging away at this, despite the internal and external voices. You just shrug your shoulders at a certain point and go 'oh well...thank you' and keep it moving. Keep reading, keep writing. I don't know what to tell you if writing is a binary situation of homeruns or run homes. I rarely hit homeruns when I'm first at bat. But I also don't run home. 

You want to be a successful non-reading, intermittent writer? Good luck. Let me know if you find a stable and successful model for this unicorn, because I could use their magic fairy dust when it's 2am and I'm on my 20th rewrite of the same line. I could have used that magic when I was in the hospital and dictating script changes to a director while laying on my side. I could use that magic dust to get a solid 8 hours of sleep for the rest of my life, 2 hours a day in the gym, and turn my life into a moveable feast of colorful artists salons. I might even take up a few extra hobbies with all my new free time as a non-reading, sporadic writer...become a party host, start up a line of limoncello, learn how to build beautiful Swiss clocks to mark all my free time with elegant, empty chimes. The only  resource you have that is equal to everyone else is ...time. It is free and finite. It is the garden for our reputation. What do you plant in this soil? Insults? Gossip? Critiques of others? Or your craft?

So…

…you want to hit a homerun with no practice, no foul balls, no strikeouts, no studying. Good luck. Truly. Repetition makes reputation. A lack of reputation speaks to a lack rigor. For what it’s worth I’ve had dozens of plays produced and worked on multiple tv shows. I’m going to continue to write my errant, zig-zagging, typo-filled prose. 

Dream Journal

 Last night's dream: moving into a spacious 2 bedroom apt. I select the second bedroom. It's a nice cozy size and has books everywhere and a stained glass window of a lion. This was probably a Catholic Church library b/c of the stained glass. Then I notice that there's another elaborate window in another part of the bedroom and there's soft noise coming from the outside. And the beings on the other side have control over whether the window stays open or closed. It seems like the people on the other side are in a library or office of some sort. The business has a TV monitor on my side of the divide that's playing CNN for ppl waiting in their lobby. So I am forced to listen to the news in my bedroom when they are open for business. Annoying.

My mom and sister are coming to visit so I go to set up the first bedroom and I realize that I've actually never walked into this room. Opening the double doors, I walk into a massive room. It's built like a cathedral with huge gothic arches. It's big enough to fit an entire apartment. Now I'm definitely sure it's a catholic church. There are two very old beds and old furniture spread out in this giant hall. I immediately become worried about the main thing in a new apartment: mice. A place this big and old probably has tons of holes. My mom and sister show up I tell them there's a huge master bedroom. We walk in together and we notice it's not a church...it's a synagogue. Very clearly there's huge writing on the wall that's the Hebrew alphabet (how did I miss that before? Well it's a dream. Things shift, sweetie.) In fact there's huge mosaic of Jewish people around the world...and the mosaic becomes a sort of giant electronic GIF re-enacting scenes of Jewish communities fighting oppression, terrorists, and pogroms. It's around the world...in Sri Lanka, India, Australia, Eastern Europe. Thrown by a Jewish community in Sri Lanka, I keep saying 'Sri Lanka?'

We're also hole hunting and find some places where there's metal patches in the wall. I am really concerned about these old buildings having holes in them...so concerned that I completely overlook the fact that I bought an apartment in a very old stone synagogue. My mom goes to a huge closet door. I anticipate...vermin and all sort of scary things. She opens it and there's a curtain covering a HUGE NEON LIGHT. It's backward. It's the back of a neon sign facing the street that's for a Broadway Theatre. I bought a place in Midtown apparently. There's a musical advertised on the sign that's a Beatles musical or some sort of jukebox musical about a musicians in the 50s or 60s.

Learning more info as the dream unfolds/shifts: apparently I bought an apartment in an old synagogue and the other half of it has been converted into a Broadway theatre (what an odd steal.) We look through neon sign and can see people walking to their seats in the theatre. Now the closet window is actually to the mezzanine level of a theatre. And an audience is gathering. I realize that the window in the other bedroom isn't to a library. The ppl talking are probably in a theatre lobby.

Apparently I'm dreaming of having an apartment in a Broadway theatre and being able to peek into a cheesy jukebox musical while living in a very old stone synagogue with a moving mosaic of Jewish communities around the world.

My god!! I really miss theatre on some deep psychic, spiritual level. Also...would love to live in an old temple with books.

Get What You Want: April 2021

 1. ALPINE FELLOWSHIP (Sweden)

Deadline: April 1st

Website: https://alpinefellowship.com/writing-prize

The Alpine Fellowship is a group of writers, thinkers and artists who are passionate about learning and communicating with a view to better understanding themselves and others. We value a capacity for openness - being engaged in critically reflecting on firmly held beliefs; the courage to be vulnerable - speaking from a place of lived experience; the drive for curiosity - being truly able to receive and listen to others.

Awarded for the best piece of writing on the theme of the 2020 Alpine Fellowship Annual Symposium: Forgiveness and Retribution.

The winner receives a £10,000 cash prize and is presented with the award by the poet John Burnside. A £3,000 cash prize will go to the second place, and £2,000 to the third place runner up. The winner and two runners up are invited to attend the Fjällnäs symposium.

Rules: Open to all nationalities, aged 18 and above. All genres permitted. A maximum of 2500 words per entry. Limited to one entry per person. Text must not have been published, self-published or accepted for publication in print or online, or have won or been placed in another competition at any time (including the AF Academic Writing Prize). All entries are judged anonymously and no correspondence can be entered into.

2. EGG & SPOON 2021 INCUBATION SERIES

Deadline: April 1st

Website: https://www.eggandspoontheatre.org/incubation

Egg & Spoon’s 2021 Incubation Series provides developmental support for three BIPoC writers’ full-length plays over the summer of 2021. This expands previous Egg & Spoon programming by facilitating fifteen-hour workshops for playwrights. This program reflects our passion for developing new plays, and our commitment to building a more equitable and vibrant future for the American theatre.

This submission process is open to all Black writers, Indigenous writers, and writers of color. We are open to submissions from writers at any stage in their career, and from any geographical location. Strong preference will be given to writers who identify as non-binary or as women. The Incubation workshops are intended for full-length plays that are not yet ready for production. Scripts will be read by a culturally diverse (majority BIPoC) panel of readers. Ten semi-finalists will be notified by late April and three finalists will be selected in early May, after an interview process.

For each finalist, we will facilitate a fifteen-hour developmental workshop along with dramaturgical support, staff feedback, and an optional public reading. We will tailor the workshop – including its personnel and schedule – to the playwright’s stated needs.

Each writer will receive a stipend of $300, and all artists engaged in the workshop will be paid an equitable amount. A budget will be made available for all artists’ consideration before the workshop begins. We intend for the workshops to take place between early June and late August, according to the playwright’s availability. We are open, however, to later workshops if it would allow us to invest in a project that we feel passionately about. If there are collaborators the playwright would like to include – actors, directors, dramaturgs – we will hire them for the workshop. If the playwright wishes, we will find collaborators to work with them (strongly favoring BIPoC artists and artists from historically underrepresented communities).

Let us know if you have any questions by emailing us at incubation@eggandspoontheatre.org. 

3. FLORIDA THEATRICAL ASSOCIATION

Deadline: April 1st

Website: https://floridatheatrical.org/index.php/discovery/

Aspiring writers from around the country are encouraged to submit their new works, which will be reviewed by a panel of theatre professionals, including renowned directors, writers, producers and performers. The panel will select one work that will each receive a staged reading, and one final winner will receive a workshop presented of their piece featuring local directors and talent. The Discovery Series will also include talkbacks for students and audiences with the playwrights and directors.

All submissions must include: 

• A cover letter

• A history of the musical’s development

• A synopsis

• Full script

• A CD or flash drive with at least six songs from the production (it can be a very basic recording).

• Playwrights must be available for rehearsals and performances in the window of August 17th to August 25th. Travel, accommodation, and a per diem are provided. 

It is preferred that the materials are sent by a link or invitation to either Google Drive or Dropbox via email to: KennyHoward@FloridaTheatrical.org Please have each of the items above as separate files. 

4. MA-YI THEATER CO NYC BIPOC MICRO-GRANT

Deadline: April 9th

Website: http://ma-yitheatre.org/microgrant2021/

In acknowledgment of the COVID-19 crisis and the prolonged shut-down of live theater and other events, the Ma-Yi Theater Company NYC BIPOC Micro-Grant was established to help those who have struggled through the pandemic.  This includes all types of artists, arts workers, and creatives – designers, actors, directors, playwrights, poets, musicians, choreographers, dancers, painters, sculptors, video artists, etc.). 

GRANT REQUIREMENT:

Creative focused, NYC BIPOC, Trans, and disabled applicants will be chosen to receive $500. This includes all creative outlets (designers, actors, directors, playwrights, poets, musicians, choreographers, dancers, painters, sculptors, video artists, and other craftspersons)

• Please describe your work in a few sentences.

• This micro grant is intended to support NYC Based  BIPOC, trans, and disabled artists in need. Do you identify with any of these groups?

• Please provide your social media/ website information.  Please choose “N/A” if this does not apply.

• How have you continued to express yourself creatively during the pandemic? Please be as detailed as possible.

• How the funding is used will be up to the discretion of the chosen applicant.

5. FESTIVAL OF 10 (at SUNY-Brockport)

Deadline: Rolling until April 15th

Website: https://www.brockport.edu/academics/theatre_music/festival_of_ten.html

The Department of Theatre and Music Studies at The College at Brockport is pleased to announce its 12th Biennial Festival of Ten-Minute Plays.

Brockport’s Festival of Ten began in 1999, and every two years since then audiences have enjoyed these performances consisting of 10 ten-minute plays. Our Festival of Ten has grown over the years and now has an international reputation, with playwrights from as far away as Australia. For each festival we accept 500 submissions, ultimately selecting ten to produce. Plays can be submitted beginning February 15, 2021 until April 15, 2021, or until we reach 500 submissions.

Submission Guidelines:

• All plays will be submitted online. Submitted plays should have the name of the playwright removed.

• Each script must have a running time of 7–14 minutes.

• Only original scripts allowed.

• Maximum of two scripts per playwright.

• Plays that have been read or performed in any manner for a paying audience prior to submission are not accepted.

• Plays written by current  Brockport Department of Theatre and Music Studies faculty and staff (full and part-time) are not accepted.

• Entries will be acknowledged via email.

• Only the first 500 scripts received will be considered.

• If you are unsure how to format your play, view this website for an example. If you have questions or need more information please email play-fest@brockport.edu.

6. THE CENTER AT WEST PARK RESIDENCIES

Deadline: APRIL 9th

Website: https://www.centeratwestpark.org/artist-residencies

In Fall 2021, six individual artists or companies will be offered residencies at CWP to produce and perform original works of theater, dance, music, and interdisciplinary performance as part of THE INTERRUPTION: A Curated Performance Series. Each Residency will culminate in a weekend of three ticketed public performances of an evening-length work at CWP. Fall 2021 Residencies are available between August 30 and December 19, 2021. 

Our goal is to make it easier for New York City performing artists to safely make and share their work. Each residency includes two weeks in our Sanctuary Space for rehearsals and performances, plus an additional 40 hours of free rehearsal space on site at CWP. The Sanctuary Space comes equipped with a repertory lighting plot and PA sound system. Resident Artists are responsible for all production costs for their projects, including personnel, materials, equipment (other than that supplied by CWP), and insurance. Artists must provide their own general liability insurance to cover their activities during the residency. 

Artists will receive a guaranteed fee of $500 or a 50% split of the net box office proceeds, whichever is greater, at the end of the residency.  While in residence at CWP, artists receive professional marketing support, including listing on our website, in our email newsletter, and on our social media platforms.  All artists working in the performing arts, including theater, dance, music, opera, puppetry, performance art, and multi- and interdisciplinary performance are eligible to apply.  Resident Artists are responsible for their own housing in the New York City area during the residency and any travel expenses related to the residency.  To apply, please submit an application through our online application form. The online form includes the following fields. Fields marked with an asterisk (*) are required. 

Project Title *; Artist Name * (May be a group/company name or an individual); Contact Person (If other than above); Contact Email *; Contact Phone *; Website; Team members * Please list all creative, technical, and administrative team members committed to this project, including names and roles. Be sure to let us know if you have any team members in a production support role, such as a producer, production manager, or stage manager.

Residency Dates: * Residencies will be offered in two-week slots from August 30 through December 19, 2021.

Artist Statement: * Please tell us about your mission, vision, goals, purpose, and/or artistic intent as an individual artist or company. Describe your existing body of work and how it reflects that mission. What work do you make and why do you make it? What questions, subjects, or themes are you engaged in? How does your style, subject matter, and/or process make a unique contribution to the performing arts in New York? Who is the core audience for your work? (max 300 words)

Project Description: * Please describe the project you will develop and perform during this residency. What discipline(s), subject matter, story, themes, and/or questions will you explore with this project? How will you engage the audience through your piece? How does this project relate to your mission/goals, prior work, and core audience? What is uniquely compelling and exciting about this project for you? How far are you in the creative process, and what progress do you intend to make during the residency? How will this residency make it possible for you to do this project? (max 300 words)

Overcoming Obstacles: * Please describe any obstacles, challenges, or barriers you experience or have experienced in making your work. Would a residency at The Center at West Park make a difference for you in overcoming any of these obstacles? If so, how? (max 150 words)

Technical Needs: * What will your project need with respect to set, costumes, lighting, sound, projections, materials, and other technical equipment? The Center provides a repertory lighting plot with 32 instruments and a PA sound system. You would be responsible for all other production elements of the project. (max 150 words)

Paying People * Will you pay the people who work on your project during your residency (including yourself)? If so, how much do you plan to pay each person and what is your total budget for paying people? (max 150 words)

Production Expenses * Will you spend money on non-personnel production expenses, such as materials and equipment for the set, lights, costumes, audio, and video? Will you rent additional rehearsal space in advance of your residency? Will you spend money on other expenses such as advertising and insurance? If so, please let us know how much you plan to spend on these items and what your total non-personnel production budget is. (max 150 words)

Engaging Audiences * This residency includes three live performances with a maximum capacity of 99 audience members per performance. How do you plan on engaging audiences before, during, and after your performances? What is your strategy for outreach to potential audience members? How many people attended your last live performance? How many people do you expect will attend this one? (max 150 words)

Raising Funds * This residency includes a guaranteed artist fee ("earned income") of $500 or 50% of the box office, whichever is greater. Based on an average ticket price of $20, what is your expected earned income for this residency? If this is less than your total residency project budget (personnel + non-personnel expenses), how do you plan to make up the difference? Will you raise funds through grants or individual donations ("contributed income")? If so, how much do you expect to raise, and who do you expect to raise it from? Have you received or been promised any of these donations already? If so, how much? (max 150 words)

Project Budget (optional) You can upload a one page budget for your project. Use the budget template provided and fill in the numbers in the highlighted fields only. Please do not make any other changes to the template. Photo or Text Work Sample Upload: * Upload a work sample from this project or another project that best represents your work. Up to 10 pages of text or 10 images, one image per page. PDF format only.  Photo or Text Work Sample Upload Description: Describe this sample of your work. Put it in context for us. Video Work Sample (optional): Link to a video sample of your work. Video Work Sample Description (optional): Describe this sample of your work. Put it in context for us. Please provide the password for the video if one is required. 

THE INTERRUPTION * The title of our Fall 2021 season is THE INTERRUPTION. What does this mean to you? (max 100 words)

7. BOGLIASCO FELLOWSHIPS

DEADLINE: April 15th

WEBSITE: https://bfny.org/en/apply/requirements

Bogliasco Fellowships are awarded to gifted individuals working in all the disciplines of the Arts and Humanities without regard to nationality, age, race, religion or gender.

To be eligible for the award of a Fellowship, applicants should demonstrate significant achievement in their disciplines, commensurate with their age and experience. Please note that Bogliasco Fellowships are not awarded to students currently in a degree-granting program. The Foundation gives preference to those whose applications suggest that they would be comfortable working in an intimate, international, multilingual community of scholars and artists. We are pleased to offer Special Fellowship awards, many of which include travel stipends to recipients.

The Foundation only accepts applications submitted through the online application system. To access the system, you must first register for an account here, where you will also find a list of requirements that we strongly encourage you to read before beginning your application. Once registered, you may login as needed to work on your application by clicking on the "login" button indicated to the left.

8. THE 54TH JOHN GASSNER MEMORIAL PLAYWRITING AWARD

Deadline: April 15th

Website: https://www.netconline.org/54th-john-gassner-memorial-playwriting-award

The John Gassner Memorial Playwriting Award Competition fosters new playwrights and scripts through this important competition established by Molly Gassner, wife of theatre historian John Gassner. The Award was created in 1967 to honor the late John Gassner (1903-1967) for his lifetime dedication to all aspects of professional and academic theatre.

This award will be administered by a panel of judges named by the NETC Executive Board. A staged reading of the award-winning scripts will be given at the NETC annual awards ceremony.

The competition is open to all playwrights. Submissions must be new full-length plays. Musicals WILL NOT be considered. Plays submitted to the competition must not have been published as of April 15, 2021, must not have been produced by a professional or Equity company as of April 15, 2021, must not be under option for publication or professional production as of April 15, 2021

The play must be submitted, along with:

A statement that the play will not have been published or professionally produced as of April 15, 2021, and that it is not under option for publication or professional production and will not be under such option as of April 15, 2021.

A list of the play’s workshop and non-professional productions, if any, and awards received, if any.

Only manuscripts submitted electronically will be considered. Only winners will be notified. Plays that do not meet the above requirements will not be considered. Playwrights may submit only one play to this or other NETC competitions in one year.

The manuscript and enclosures must be emailed to: gassner-award@netconline.org

9. LIGHTHOUSE WORKS FELLOWSHIP

Deadline: April 27th

Website: http://www.thelighthouseworks.com/apply/

The Lighthouse Works’ Fellowship is an artist-in-residence program that strives to support artists and writers working in the vanguard of their creative fields. We are proud to have supported these artists, writers, and composers with the time and space to focus on their creative work.

The program accepts artists working in a wide range of disciplines, but we are best able to accommodate visual artists and writers. Fellowships are six weeks in length, occur year round and provide fellows with housing, food, studio space, a $250 travel allowance and a $1,500 stipend. Artistic excellence is the primary criteria for acceptance as a Lighthouse Works fellow.

While in residence, our fellows’ primary obligation is to the solitary pursuit of their work but we do ask every fellow to participate in an artist talk on the first weekend of the fellowship and to open their studio for an afternoon at the session’s conclusion.

Artists at any stage of their career are encouraged to apply for a fellowship through our online application system. Applicants are required to fill out an application form, submit work samples, attach a CV and work sample statement, and remit a $25 application fee.

Each session cohort is made up of 5 individuals provided with a $250.00 travel budget $1,500.00 stipend (one-time).

Each fellow has a private bedroom and shares bathrooms, a kitchen and living space at our residential facility with their cohort of 4 other fellows. They will have a private studio located adjacent to Silver Eel Cove where our ferry arrives and departs the island. The studios are private, flooded with light and face the ocean. Additionally, Lighthouse Works maintains a wood and metal shop, and a Paragon kiln for our fellow’s use.

10. PLAYMAKERS REP

Deadline: APRIL 30th

Website: https://playmakersrep.org/about-us/employment/submissions/

PlayMakers accepts new plays by request or by agent-submission only. We are specifically interested in unproduced full-length plays that provide substantive opportunities for our world-class intergenerational acting company.  As a way to get to know new and undiscovered voices, we invite blind submissions during the months of March and April; please reach out to us then at playmakersliterary@gmail.com if you have a new work you’d like us to consider.

11. CARLO ANNONI PRIZE

Deadline: April 30th

Website: http://premiocarloannoni.eu/

The Carlo Annoni Award is for theatre plays on gay themes and on diversity in love. The plays can be written in Italian or in English. The prize is € 1000 for texts for each language (Italian and English).

Two plays (one in English and one in Italian) will be awarded the amount of 1.000 Euros each.

Special Mentions:

• BEST COMEDY: for a play on relationships

• BEST SHORT PLAY: a special mention will be given to a short play or video of a maximum of 10 minutes length

• BEST MUSICAL: must be submitted in audio+ score version

• BEST WORK ON ASYLUM SEEKERS: for a play on the topic of asylum-seeking for those persecuted for their sexual orientation.  

• Plays, Audios and/or Videos must be submitted via email at info@premiocarloannoni.eu by 30th April 2020

Carlo Annoni Prize is dedicated to the promotion of LGBTQ topics, with a particular interest on ‘love and diversity’

12. WRITERS ON THE VERGE

Deadline: May 10th

Website: www.nbcunitips.com/writers-on-the-verge/?fbclid=IwAR18vTILosMOKagV4-xGcJ654bZNTbUQSYtMOuQEjaBM1XQkyuEQKUx6Clk

Writers on the Verge is a program focused on polishing writers and readying them for a staff writer position on a television series. We are looking for writers who are “almost there” but need that final bit of preparation with their writing and personal presentation skills. We particularly encourage writers of diverse backgrounds to apply.

The program will consist of weekly evening classes at NBCUniversal in Universal City, CA. Once accepted, students must attend all classes and turn in all written assignments.

Classes concentrate on creating exceptional material to enhance their portfolio, and understanding the dynamics of pitching oneself in the television industry. Writers are given the chance to interact with industry players ranging from network executives to show runners to agents and receive valuable feedback on their work and pitch style. Writing assignments on a NBCUniversal television show may be available after successful completion of the program but are not a guarantee. Past participants have gone on to series including “The Blacklist,” “Indebted,” “Community”, “Council of Dads”, “Brooklyn Nine-Nine”, “Lincoln Rhyme: Hunt for the Bone Collector”, “Chicago Fire” and “Parenthood.”

 

How to Submit

The submission window is open MAY 1,2020- MAY 10, 2020

APPLY HERE: Apply Here

SUBMISSION INSTRUCTIONS – please read thoroughly:

1. We do not accept email or mail submissions. You must complete the online application before the deadline. Please complete all sections of the application. Only ONE APPLICATION per writer or writing team will be accepted.

2. We will accept submissions from individual writers and from writing teams of two. We will not accept writing teams of more than two.

3. This year, we are asking for two original scripts, both submitted when applying.

4. Both scripts must be live-action tv pilots

5. Both scripts must be in the same genre as each other. Both must either be ½ hour comedies or hour-long dramas.

6. Include a title page with no name(s) of the writer or writing team. Do NOT include the writer’s or writing team’s name or contact information on any page of the script.

7. Please title your file names appropriately for upload, and only upload files as .PDF

• Resume: RESUME – FIRST NAME LAST NAME.pdf

• Example: RESUME – JIMMY FALLON.pdf

• Legal release form: LEGAL RELEASE – FIRST NAME LAST NAME.pdf

• Example: LEGAL RELEASE – JIMMY FALLON.pdf

• Script submission: SHOW NAME – FIRST INITIAL LAST INITIAL.pdf (If you have a writing partner, include their initials in the file name.)

• Example: GAME OF THRONES – JF.pdf

• Example with writing partner: THIS IS US – JF and SM.pdf

8. We will not be requesting any further material after your initial application

9. Applicants must be able to provide their own housing and transportation in the Los Angeles area for the duration of the program.

13. STUDIOS OF KEY WEST RESIDENCY

Deadline: May 17th

Website: https://tskw.org/residency-about/

The Studios offers a residency program for emerging and established artists and writers designed to encourage creative, intellectual and personal growth. The program grants nearly 35 artists each year the time and space to imagine new artistic work, engage in valuable dialogue and explore island connections.

The Studios’ residency program is community-based and built upon the hope that visiting artists will take inspiration from Key West’s rich artistic past and present, and will engage with — and be inspired by — the remarkable people and culture that surrounds them.

Key West’s official motto, “One Human Family” reflects our commitment to living together as caring, sharing neighbors dedicated to making our home as close to paradise as we can. To that end, we encourage artists of all races, nationalities, gender identities, sexual orientations, and abilities to apply.

Residencies are almost a full month, and run from the 16th of the month through the 14th of the next. There is a $40 application fee.

14. The Theater J Trish Vradenburg Jewish Play Prize

DEADLINE: May 31st

WEBSITE: https://theaterj.org/new-play-prizes2/

The Theater J Trish Vradenburg Jewish Play Prize will award $15,000 to an established playwright in honor of a new play that celebrates, explores, and/or struggles with the complexities and nuances of the Jewish experience. The Prize is dedicated to the memory of philanthropist, playwright, and Alzheimer’s research advocate Trish Vradenburg, who served on Theater J’s Council for 13 years.

Plays must be submitted by a theatrical agent or artistic staff members of a professional theater company. We expect established playwrights to have had productions of their plays on Broadway, at major off-Broadway theaters, and/or at multiple LORT theaters, or other markers of attaining significant accomplishments and/or national attention as a playwright. Unproduced plays are eligible, as are plays professionally produced after July 2018 or currently scheduled for an NYC premiere.

15. THEATRE J’S PATTY ABRAMSON JEWISH PLAY PRIZE

DEADLINE: May 31st

WEBSITE: https://theaterj.org/new-play-prizes/#1578333239264-518a200e-71f3

The Theater J Patty Abramson Jewish Play Prize will award $3,000 and a stage reading to a promising emerging woman, trans, or non-binary playwright in honor of a new play that celebrates, explores, and/or struggles with the complexities and nuances of the Jewish experience.

The Prize is dedicated to the memory of philanthropist and venture capitalist Patty Abramson. Plays must not have been produced, but a future professional production (outside of the DC metro region) may be scheduled. Eligible playwrights must not have had more than two productions at LORT or off-Broadway theaters (multiple productions of the same play will be counted) but may have been produced at other professional theaters. Submitted plays will be read by a committee of Theater J staff and collaborators. 

16. AUDIBLE EMERGING PLAYWRIGHTS

Deadline: Year round

Website: https://www.audible.com/ep/audible-theater

In 2017, Audible launched a theater initiative, intended to radically increase access to exceptional plays and performances. A core pillar of the initiative is the Emerging Playwrights Fund, a program that invests in and nurtures self-identifying emerging playwrights, some of our most inventive, delightful, and provocative storytellers. Through the Fund, Audible aims to connect extraordinary performers with remarkable original work, amplifying new voices and harnessing the power and potential of audio to reach millions of listeners. The Fund specifically supports the creation of original dramatic work, written with audio in mind, but theatrical in spirit. If you are looking to submit an idea for an audio project that is not a play, please visit www.audible.com/pitch.

Audible is dedicated to commissioning, developing, and producing work that reflects the diversity of our members and our world. To accomplish this, Audible is committed to granting at least 50% of emerging playwright commissions to artists of color and women.

Submission Guidelines: To be considered as an applicant for a commission, please submit all of the following to AudibleTheater@audible.com:

1. One full-length script for an original or adapted play (in English language only) that represents your voice ("Script"). The Script can be in any genre and may include one-acts and solo pieces;

2. A short biography; and A brief statement about why audio plays appeal to you.

If you have an idea for an original audio play, you are welcome to include a pitch or summary along with your statement (this is encouraged, but not required).

Any applicant over the age of 18 may submit a Script. Employees or independent contractors, or immediate family members (spouses, domestic partners, parents, grandparents, siblings, children, and grandchildren) or those living in the same household of employees or independent contractors of Audible Inc., Amazon or any entity involved in any aspect of the Theater Fund may not submit a Script for consideration, unless it is determined by Audible in its sole discretion in accordance with Audible’s then current policies and procedures that no conflict of interest exists in connection with accepting the relevant submission for consideration.

Submissions are accepted year-round. Due to the number of Scripts that Audible receives, Audible will only consider one Script at a time from each applicant and will not consider resubmissions, including those that have been significantly revised. The Audible team evaluates submissions on a rolling basis, and applicants will be notified regarding the status of their submissions via email. Thanks in advance for your patience while we process your Script; our typical response time is 6-8 months.

17. CAPITAL THEATRE 

Deadline: Open

Website: https://www.capitaltheatre.net/submissions

Capital Theatre in Frankfort, Kentucky is now accepting submissions from new and established Black playwrights and musical writers/composers for the 2021-2022 season and future seasons. Visit www.capitaltheatre.net for more information about submissions. Submissions are open year round. 

Capital Theatre is a Black-owned theatre company located in the heart of Downtown Frankfort, Kentucky. Our goal is to tell the stories of the Black experience through live theatre. Our shows will not only feature works of prominent Black playwrights, but of up and coming writers as well. We strive to create a space in which anybody can come and enjoy live theatre.  

All Submissions are treated as confidential. Due to the number of submissions we are not able to respond to every submission and will only respond to ones that we are interested in.

18. ARTIST RESCUE TRUST

Deadline: Ongoing

Website: https://artistrescue.org/

The mission of Artist Rescue Trust is to provide relief funding to musicians and artists totaling $1,500 over three months and amplify their stories, performances and art to the world. We invite eligible artists and musicians who are facing financial complications from cancelled events and bookings to fill out the application form to be considered. Qualifying applicants who meet the eligibility requirements will be entered into a pool. A new fund recipient will be randomly selected from the qualified pool each time $1500 is donated to A.R.T. We are continuing to accept applications, so if you feel you would be eligible, please apply! The longevity of this effort will be assessed by, 1) the status of COVID-19 and its economic effects. 2) The impact of this program to date. The need is great. So we will continue our work and help as many as possible.

Basic requirements to be eligible for our grants are:

• Be 18+

• Be a U.S. citizen or permanent resident in the United States, District of Columbia, or U.S. Territories (e.g. citizen, green card holder, and/or permanent resident who can provide a W9 and SSN or ITIN).

• Be a professional, actively practicing musician or artist whose primary source of income is made through live performances, tours, gallery openings, book tours/readings, or other bookings/events and not working on a regular salary basis for one employer.

• Demonstrate a commitment to current and ongoing activity in their artistic discipline/s.

• Show a demonstrated need for emergency relief to recover the immediate loss of income through cancellations and bookings due to COVID19.

• Not be enrolled in unemployment benefits.

• Not a full-time employee, board member, director, officer, or immediate family member of any of the coalition partners.

• Not previously awarded a relief grant from this fund.

19. REPERTORY THEATRE ST LOUIS

Deadline: Rolling

Website: http://www.repstl.org/play-submissions

Currently, we accept full-length play submissions for season consideration and our upcoming New Works Festival.

Please email plays to the Artistic team with the subject line: “Submission: TITLE OF PLAY.” 

In the body of the email, please include:

• A brief synopsis of the play

• The development history of the play 

• A brief, personal bio

Submissions made under these guidelines may be sent to The Rep by email.

20. CLEVELAND PUBLIC THEATRE

Deadline: Rolling

Website: https://www.cptonline.org/artist-opportunities/general-submissions/

CPT is dedicated to producing bold, adventurous, new work. We champion creators of new performance-devising ensembles, directors, playwrights, choreographers, performance artists, etc. Though we seek projects from national and international artists, we also make a special investment in local creators.

CPT receives proposals in three ways:

• Request For Proposal process exclusively for local artists open to directors, choreographers, performance artists, and playwrights for consideration for our season of full productions.

• Request For Proposal application process exclusively for local artists to submit work for our New Play Development Series.

• The General Proposal process for our season of full productions (see below) for non-local artists.

The General Proposal process requires more from submitting playwrights, but through this process we can better guarantee that each application receives more attention from Associate Artistic Director & Director of Production Beth Wood or Executive Artistic Director Raymond Bobgan. This process also reduces our response time which used to be as long as 18 months. The whole purpose of these guidelines is to increase the chance of us selecting work from general proposals.

• Step One: Familiarize yourself with CPT’s past seasons by clicking here. If you can see a show at CPT this would also help.

• Step Two: Honestly assess whether your project fits well in CPT’s aesthetics and at our level of productions.

• Step Three: You must have a writers profile with NPX (New Play Exchange) for us to accept your proposal. If you do not currently have a profile with NPX, you can sign up for one here. Please include your profile information along with your proposal.

• Step Four: Fill out the following application and submit via email as a word doc or pdf to artistic@cptonline.org. Please note that CPT will only accept proposals electronically.

• Step Five: You will receive an email notification within 9-12 months. The email notification will be a standard rejection notice or a request for a full script proposal. Playwrights who are offended by standard rejections or do not have complete scripts for proposal should not submit.

• CPT will not review general proposals that do not utilize this application process.

Please send the following materials in an email as a single attachment – Word or PDF. Send email to artistic@cptonline.org. The three questions must be answered in no more than two pages. Your resume is not counted in the page count and can be as long as you feel is appropriate. Above all, please be frank and honest. We at CPT apply for many grants and as artists we have all submitted work to other festivals and theatres. We understand that it’s difficult to assemble this material and to answer these questions without becoming either over-the-top conceptual or snide and ironic.

1. Describe why your project fits well in CPT’s programming agenda.

Use specific examples of past CPT projects that you feel are parallel to your proposal in some way. Explain how your work is particularly bold or adventurous, by noting its unique aesthetic, manner of connecting to audiences, or path of investigation of a particular theme. Note why you feel the themes/aesthetics will be important to CPT audiences and how you feel it will challenge artists and audiences alike

2. Summarize your project.

3. Please explain how you hope a CPT production will be of service to you in your ongoing growth as an artist. Do you hope to develop the script further, or is it pretty much finished? How will it impact you as an artist? Do you have resources to travel to CPT for a production or do you think that you would use royalties from the CPT production to travel to CPT (not necessary for selection)? Please note if your proposal is for a world-premiere, or second/third production. Also, please note if you have any other artists already attached to the project (director, actors, etc.) and any potential partnerships (theatres or interested organizations).

Please include an appropriate resume or bio. Only list scripts that have been produced at some level or published. Summarize: production level (staged reading, workshop, full production), location, producer, director, publication. List other relevant experiences in theatre or film. If you choose the “bio” format also include a list of plays as noted above.

21. STOCHASTIC LABS

Deadline: Rolling

Website: https://stochasticlabs.org

Stochastic Labs awards fully sponsored residencies to exceptional engineers, artists, scientists, and entrepreneurs from around the world. Residencies in San Francisco are of variable length and include a private apartment at the mansion, co-working and/or dedicated work space, shop access (laser cutter, 3D printer etc), a $1k monthly stipend and a budget for materials. Residents become part of Stochastic’s creative community, participating in weekly dinners and invitation events. Residents may apply as individuals or as teams. While applicants may be at any stage in their career, the selection is highly competitive.