1. Neukom Literary Arts Award
Deadline: May 1
Website:https://sites.dartmouth.edu/neukominstitutelitawards/ni-lit-award-for-playwriting/
The Neukom Institute for Computational Science at Dartmouth College – in collaboration with Northern Stage – is excited to announce the 2025 Neukom Institute Literary Arts Awards for Playwriting, for full-length plays and other full-length works for the theater addressing the question “What does it mean to be a human in a computerized world?”. The award comes with a $5,000 honorarium as well as a weeklong workshop and public reading produced by Northern Stage (https://northernstage.org/) in early 2026. Note that works that have received a full production are NOT eligible for the competition.
An anonymized (blinded) copy of the piece
Playwright resume/bio
Production history of the piece-page statement of purpose that answers the following questions:
- How does your piece address the theme of exploring humanity in our computerized, digital world?- The winning play will have a weeklong workshop and public reading at Northern Stage in White River Junction, VT in early 2026. What are your developmental goals for the play and how would this workshop serve those goals?
2. Barter Theatre Appalachian Festival of Plays
Deadline: May 1
website: bartertheatre.com/appalachian-festival-of-plays-and-playwrights/
Six new Appalachian plays are chosen from the submissions to be given public readings by Barter’s company. The playwrights are brought in at the beginning of the festival week to be a part of the rehearsal process. Each play is given about 8 hours of rehearsal time with the focus being on clarity of story. After each reading, there is a moderated discussion between a panel made up of three regional theatre professionals and, most importantly, the audience, for their feedback. That way, the playwright receives feedback from three separate groups: artists, panelists, and audience. Playwrights have found this to be a very useful step in developing their plays, as well as a wonderful opportunity to meet other artists, make new friends, and enjoy the beauty of Southwest Virginia!
Plays must be written by an Appalachian playwright (currently living in a state that contains the Appalachian Mountain Range— which, for our purposes, run from New York to Alabama.) OR The plays must be set in the Appalachian region. Plays must be unpublished and must not have had a full professional production. Plays must be full length. Plays must be submitted electronically.
3. Elliott Hayes Award
Deadline: May 1
Website: https://lmda.org/elliott-hayes-award-outstanding-achievement-dramaturgy
Named in honor of Elliott Hayes, the former dramaturg and literary manager at The Stratford Festival and a dual citizen of Canada and the USA, this award recognizes excellence in dramaturgical work on a specific project over the past two years. Eligible projects may include, but are not limited to, production, season planning and implementation, educational programming, or advocacy for the profession.
The recipient of the 2025 Elliott Hayes Award, presented at the annual LMDA conference, will receive $1000 USD and a $500 USD travel stipend to the LMDA conference held in San Diego, CA, USA/Tijuana, Mexico.
All applicants will be notified of the panel decision and the winner will be notified by May 16, 2025. However, the public announcement will be kept private until the presentation of the award at the LMDA Conference in Summer 2025.
For the purposes of this application, if you self-identify as a dramaturg, you are a dramaturg. If you come from a culture that does not view dramaturgy as separate from other parts of the creative process, or does not have a word for dramaturgy, and you feel your work fits within the rubric above, please contact us at admin@lmda.org to speak further.
Only one application per person.
Although we welcome applicants from anywhere in the world, the application must be in English.
The application must be a minimum of 500 and a maximum of 4000 words. There will be no reward for brevity nor punishment for length. Within the already stated boundaries, the essay should be exactly as long as it takes for you to make a strong, clear, and cogent argument for the nomination you are putting forth.
At this time, we do not have the capability to review secondary materials such as videos or slideshows. Although their inclusion will not disqualify an application, they will not be reviewed. No letters of reference are needed - nor will they be read if sent. As well, please do not include a resume in your application, as we are concerned with only the strength of your proposal and what currently engages you, not your history.
In order to facilitate the anonymous application process, you must provide two separate documents in PDF format:The first discussing the work with no identifying information (including the name of the work, your name or the name of the person you are nominating, or the city, state or country in which the event took place. In other words, nothing can be included which is searchable on Google or any other search engine. The phrases "the work", "the director", and "the process" are all fine substitutes.
The second document will include all of the identifying information not present in the first, including your name and contact info or the name and contact information of the person/work you are proposing. Your application will be reviewed by a panel of dramaturgs who represent the extraordinary talent and diversity found within our profession. Only the Executive Director, who collects applications, will see the identifying information. The panelists will not know the identity of the winner until after a decision has been reached.
Although you are welcome to propose the work of others, that other person must be known to you, you must have had a real-life interaction with said person, and you must be able to provide contact information for them.
Any project you propose cannot have been completed before July 1, 2024. It is fine if the project is still underway. Ideally, it should be completed by December 31, 2025, though exceptions may be made for extraordinary work.
Each project may only be proposed once for the Elliott Hayes Award. While there is no limit to the number of years in a row one can apply (see note below), each year must feature a new project.
The winner of the award must appear at two conferences, either in person or virtually (using an application such as Zoom.) The first appearance would be to accept the award, and the second to present it to the next year's winner. The winner of the Elliott Hayes Award is required to sit on the next year's adjudication panel.
Note: If you have won or received a special commendation for the Elliott Hayes Award, you may not reapply for three years.
If you have any further questions, feel free to contact Lindsey R. Barr, Executive Director, at admin@lmda.org. If you don't receive an acknowledgement of your application within 72 hours, please contact awards@lmda.org.
4. Martin House
Deadline: May 9
Website: https://martinhouse.org/events/residency/
Residents will have wide-ranging access to our architectural campus composed of three Wright-designed homes set within a historic landscape, as well as an award-winning contemporary glass structure conceived by architect Toshiko Mori as an exhibition and visitor space.
Residents will receive a stipend of $5,000. 50% of the stipend will be provided upon arrival to Buffalo; the other 50% will be offered upon completion of the project. Travel expenses of up to $1,000 will also be provided to residents who are from outside the Buffalo-Niagara region.
Individuals selected to participate will room on campus at the Gardener’s Cottage as part of their residency.
Residents will have heightened access to Martin House collections and collections information. Other locally-accessible research resources are available through:The Martin House Creative Residency Program is a project-based residency that provides creative individuals a designated time and space to develop new works of the imagination inspired by one of the great examples of 20th century architecture.
The primary goals of the program are to:
Nurture creativity by offering individuals from multiple disciplines a thought-provoking environment in which to produce works and present them to our community.Expand interpretation of our site through active solicitation of diverse perspectives and voices.Provide audiences across racial, ethnic, and economic lines an opportunity to discover and engage more fully with the Martin House and the creative arts.Strengthen the Martin House and the region as a center for architecture, art, design, and culture.
The residency is a competitive program that is open to applicants who seek the resources to support ongoing projects or the creation of new work. Creative makers who are selected to participate will generally spend 2-4 weeks onsite either consecutively or incrementally within the specified residency term. Length of stay is project-based and determined by the needs of the applicant and in alignment with the Martin House schedule.
Residents are also expected to deliver a free public program, performance, exhibition, or other creative presentation in order to share their Martin House-inspired work with the larger public.
Residency proposal must relate directly to the Martin House. End-products may revolve around any of the themes central to the site. Subjects of inquiry may relate to architecture, art, art history, landscape, building and design, social history, state and local history, issues of gender, race and class, modernism, urbanism, housing and gentrification, business and industry, the history of technology, cultural studies, engineering and applied sciences, for example.
5. Sundance Development Track
Deadline: May 14
Website: https://apply.sundance.org/prog/2026_development_track/?utm_source=online&utm_medium=social&utm_campaign=fy25_devtrack
The development track has one open application that allows your fiction feature work-in-progress screenplay to be considered for the following programs, fellowships, and grants: Screenwriters Lab (held annually in January)Screenwriters Intensive (held annually in March, online)Sundance Institute Alfred P. Sloan Fellowship (includes participation in either the Screenwriters Lab or Intensive) and Commissioning GrantOur application includes questions to determine your eligibility for each program and fellowship, and you will automatically be considered for all programs and fellowships for which you are eligible. (There is no open application for the Directors Lab, which is typically populated by projects that have been supported through a previous development program.) For more information about each program and fellowship, please visit our website. What you need to complete online IN ORDER by MAY 14, 2025, at 4:59 p.m. PT:CONTACT INFO for the primary applicant, co-applicant if applicable (writers and directors only), and one additional member of the creative team, if applicable. (Please note that only the writer(s) and director(s) will attend the Screenwriters Lab.)ELIGIBILITY QUESTIONS — A series of questions about you and your project that will determine your eligibility for all of the development track programs and fellowships. SLOAN FELLOWSHIP AND GRANT QUESTIONS (Sloan applicants only) — If your project is eligible for the Sloan Fellowship and/or Commissioning Grant, you must complete follow-up questions regarding the scientific or technological content of the material. If your project does not contain scientific or technological content, please do not answer these questions — they are optional.BIOS (150 words max each) for the primary applicant, co-applicant if applicable, and additional creative team member if applicable.INTRODUCTORY STATEMENT (250 words max) — Briefly introduce yourself and your project. Let us know where you are in the creative process and why you think this is the right timing for a lab.SHORT ESSAY QUESTIONS (150 words max each):What are the key themes you’re exploring in your script?How do you describe the intended tone, feel, and visual style of your script? We encourage you to include examples of other work as references or inspirations.What do you most want to work on in your script? What needs the most attention creatively?Why are you passionate about telling this story now? What gives it urgency?Whom do you see as the audience for this film, and what do you want them to take away from it?What is your personal connection to the material?What steps are you taking to ensure that the characters and world of your film are authentically represented?If this is a resubmission of material we’ve previously considered, how has the material changed since we last read it? (optional)INTELLECTUAL PROPERTY/RIGHTS — Please give us any insight into the current rights status of the project. This is only required if your project is based on true events or characters. LOGLINE (75 words max) — a one- to two-sentence description of your story.SYNOPSIS (750 words max) — a brief summary of the plot of your script. Please include all major characters and story points, including the ending.FIRST 5 PAGES OF YOUR SCREENPLAY OR TREATMENT — You may submit a treatment for the Sloan Commissioning Grant ONLY. If a treatment is submitted and it is not eligible for the Sloan Commissioning Grant, the project will not be considered for any other development track programs or fellowships. Do not upload more than the first five pages.APPLICATION FEE OF $45 — You should not pay the submission fee until you have completed all other application tasks and are ready to submit your application.Next Steps
Applicants will be notified on a rolling basis as to whether their application has progressed to the next stage of the selection process. Please be prepared to submit the following materials should you advance to the second round. You will be given approximately 10 days to two weeks from the date of notification to submit these materials and will be notified sometime in August 2025.UPDATED SYNOPSIS — Since screenplays are often revised between the first and second rounds of our application, we request you submit an updated synopsis with the complete draft of your screenplay.FULL SCREENPLAY OR TREATMENT — Upload a PDF file of the most current draft of your screenplay or treatment. You may submit a treatment for the Sloan Commissioning Grant ONLY. If a treatment is submitted and it is not eligible for the Sloan Commissioning Grant, the project will not be considered for any other development track programs or fellowships.
DIRECTING SAMPLE (optional) — If you are a writer-director or if a director is attached to the project, you will have an opportunity to submit a link to a directing sample or samples. Please include the title and run time for any sample submitted.VISUAL MATERIAL (optional) — If you have visual materials, such as a lookbook or project deck, you may upload a PDF of no more than 40 MB.All applicants will be notified about their status via email no later than August 29, 2025. If you have additional questions, please visit the Development Track FAQ.
6. Leeway Transformation Art
Deadline: May 15
Website: https://www.leeway.org/lta
The Transformation Award (LTA) provides unrestricted annual awards of $15,000 to women, trans*, and gender nonconforming artists and cultural producers living in Greater Philadelphia who create art for social change and have done so for the past five years or more, demonstrating a long-term commitment to social change work.
7. Studios of Key West
Deadline: May 15
Website: https://tskw.org/pear-program/
The Studios of Key West, the premier arts organization at the Southernmost Point of the United States, offers a residency program for emerging and established artists and writers from around the world. We provide residencies to visual artists, writers, composers, musicians, media artists, performers, and interdisciplinary artists.
The program grants nearly 40 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.$45 application fee
8. Kleban Musical Prize
Deadline: May 15
Website: https://newdramatists.org/kleban-prize-musical-theatre
Edward Kleban, the lyricist of A Chorus Line and other extraordinary works, created the Kleban Prize in his Will, which is given annually to writers of extraordinary promise – to a librettist and a lyricist, respectively. The prize is administered by New Dramatists on behalf of the Kleban Foundation, Inc. Board of Directors. To ensure a robust and equitable adjudication, applications(including work samples) are submitted and reviewed blindly by an independent panel of musical theatre artists and industry leaders. The Kleban Foundation Board sets the amount of the Prize annually. In recent years, a sum of $100,000 in each category has been paid in two annual installments to Prize recipients.
9. Sundance Development Track 2026
Deadline: May 14
Website: https://apply.sundance.org/prog/2026_development_track/
10. BabelFest: A Festival of New American Plays at Redhouse House Arts Center
Deadline: May 16
Website: https://theredhouse.org/about/auditions/
Redhouse Arts Center is seeking groundbreaking new plays and musicals that feature new voices and new perspectives. The festival will be curated by respected arts leaders in the Central New York area and around the country. One new play and one new musical will be selected for two public staged readings at Redhouse Arts Center in Syracuse. Submissions are free.
Winners Announced: July 7, 2025
Festival Dates: September 25 - September 28, 2025Scripts must be submitted in PDF format.Scripts must be completed drafts. No incomplete drafts or treatmentsScripts must be unproduced and unpublished. Readings and/or workshops are acceptable.Playwright (and collaborators if applicable) are the sole owners of script copyright.
Playwright must be 18 years of age or older by the scheduled dates of the festival. Playwright must be a citizen of the United States. Playwright may submit more than one script.Redhouse will choose 2 new works; 1 musical and 1 play. Winners notified by email in mid June. Winners must be available to participate in the festival.
Winning playwrights will have access to Redhouse Arts Center facilities to continue to develop their work during business hours. Top level local actors and top level local directors will be chosen to rehearse in the evening for one week, culminating in two public staged readings of each chosen new work. Playwrights will have the opportunity to edit their work between readings.
Chosen playwrights will receive a $1,000 commission for their work.
Out of town playwrights will be given travel and accommodations at Redhouse’s expense.
A playwright and cast talkback will follow each staged reading
Redhouse will market and advertise each new work chosen
Semi finalists, and finalists will be announced in each category. Feedback available upon request.
Please visit theredhouse.org audition and submissions page for submission links
Email babelfest@theredhouse.org with questions
11. 1497 Features Lab
Deadline: May 26
Website: https://1497.org/features-lab
The 1497 Features Lab consists of a Retreat, Pitch Day, and additional professional development opportunities all intentionally designed to elevate develop screenplays by writers who will further 1497's mission to change South Asian representation in the American entertainment market, while providing career support. We want to empower writers in our community to write whatever stories they feel compelled to tell, unbounded by genre, cultural content, geographic location, or any other stereotypical expectation. Then we want to challenge the gatekeepers in the American film and television industry to bring those stories to light.
We believe in a holistic approach to foster writers' creative and career journeys. As a result, three selected Mentees move through a multi-tiered process during the 1497 Features Lab. Mentees' scripts undergo a rigorous development cycle before and during the Lab Retreat, consisting of feedback from multiple perspectives and guidance from a Script Consultant who focuses on the emotional and psychological journey of the screenplay. Mentees are each assigned a Mentor pod (comprised of an established filmmaker, producer, industry rep, and 1497 Features Lab Alum) with whom they meet 1:1 during the Lab Retreat to continue interrogating their scripts and receive advice/insight to launch or further their careers. Mentees' scripts undergo a rigorous development cycle before and during the Lab Retreat, consisting of feedback from multiple perspectives and guidance from a Script Consultant who focuses on the emotional and psychological journey of the screenplay.
Must be 18 or older at the time of application.Must be eligible to be in the United States for the duration of the Lab.Must have a completed draft of a narrative feature screenplay that furthers 1497’s mission to change South Asian representation in the American entertainment market with an anticipated budget less than $5 million.
12. Austin Film Festival Script Competition
Deadline: May 28
Website: https://austinfilmfestival.com/about-aff-script-competitions/?gad_source=1&gbraid=0AAAAADlu45d-YJ6lhw53S0WiGC2TgjTXY&gclid=Cj0KCQjwt8zABhDKARIsAHXuD7Y-XIozdkCtFjgB690GNPxPEGq690bnNUsNG88BPCr7jYh0Z1TdfxoaAmEAEALw_wcB#1732940867447-cf59fa95-b5cc
AFF’s Script Competitions identify emerging, new writers of unparalleled talent each year. With a reputation as the premiere script competition in the world, AFF is trusted by studios, agents, and executives all across the industry to identify the storytellers of tomorrow. With all script submissions evaluated blindly and carefully by our panel of industry judges, AFF winners annually reflect a vast diversity of talent and tend to combat the industry’s trends of exclusivity. To put it simply, AFF values a great story above all else. As a bonus, AFF winners receive much more than our coveted bronze typewriter award, as our Festival team works hard to curate opportunities and experiences to catapult writers into life-changing careers. But it’s not just about winning…at Austin Film Festival we want to support every writer’s story on its journey from script to screen. All entrants can opt in to receive free reader comments from our trained readers and all competition entrants receive Festival and Conference registration discounts as well. Second Rounders, Semifinalists, and Finalists receive additional discounts on registration and get access to exclusive panels, workshops, and networking events during the Writers Conference. Submitting to AFF is so much more than simply entering a competition, It’s an investment in your career.
Our Foundation and ProcessAt Austin Film Festival, story comes first and foremost above all else. We fully acknowledge the hard work and passion you put into your script, and rest assured, your story is in good hands. By submitting to our script competitions, you’re joining a community of story lovers who want to help you succeed; a community that was found at Austin Film Festival’s inception in 1994, which is incredibly generous and committed to helping fellow storytellers get their foot in the door. We find that same spirit of generosity among our readers, panelists, and partners, and it is what allows us to offer opportunities to those who place in our competition.
AFF is a nonprofit and as such, volunteerism is a significant part of our ability to fulfill our mission. Our team of readers are an integral group who volunteer their time each year to help launch the careers of many aspiring writers. Our readers are recruited through referrals from individuals closely associated with AFF, MFA programs, and writers groups throughout the country. Each reader undergoes a rigorous screening and evaluation process. Once approved, readers are given strict guidelines and closely monitored throughout the duration of their participation. All readers are required to provide constructive notes for each script. Most importantly, they are also required to read each script in its entirety in order to give the full consideration that each writer deserves.
Screenplay Competition Rules
All screenplays/teleplays (collectively, “Scripts”) submitted must be in English.
Scripts must not have been optioned, have a shopping agreement, or sold prior to October 23, 2025.
Scripts that have reached the Semifinalist level or above in previous years within the Austin Film Festival Screenplay Competition or Digital Series Competition are not eligible for resubmission.
Scripts must be the original work of the applicant(s). If based upon another person’s life or upon a book or other underlying work, applicant(s) must secure any necessary rights to make such adaptations.
If a submission involves two or more writers as applicants, the monetary prize and any reimbursements will be divided equally among them and only one Typewriter Award will be provided. The Typewriter Award is not offered to Fellowship or Development deal winners.
FEATURE SCREENPLAY AWARD RULES
All General Rules listed above apply.
The Feature Screenplay Competition is only open to writers who do not currently earn a living writing for film or television and/or received WGA writing credits. If you are entering a feature script into both Comedy AND Drama categories, please include two copies of your script along with two entry fees and two completed entry forms.
SHORT SCREENPLAY AWARD RULES
All General Rules listed above apply.
The Short Screenplay Competition is only open to writers who do not currently earn a living writing for film or television and/or received WGA writing credits. Short scripts that have already been produced are ineligible. Short scripts are open to any narrative short script in all genres but are not eligible to be entered in any of the sponsored award categories.
TELEPLAY AWARD RULES
All General Rules listed above apply.
The Teleplay Competition is only open to writers who do not currently earn a living writing for film or television and/or received WGA writing credits.
The Teleplay Competition welcomes spec scripts for any past or currently airing network or cable program AND original pilot scripts.
No show bibles, treatments, or reality show formats will be accepted for the teleplay competition. Screenplays/teleplays should be formatted according to current industry standards. Font size must be 12 point and in Courier type.
Feature Screenplays must be approximately 90-120 pages in length.
Short Screenplays must be 5 – 40 pages in length.
Teleplays should be the appropriate length depending on the format. The recommended length for single camera sitcoms is approximately 22-40 pages and 45-70 pages for single camera one-hour programs. The recommended length for multi-camera sitcom pilots is approximately 52-58 pages. Pages must be numbered in the top right-hand corner.
MAILED-IN SUBMISSIONS FORMAT:
Pages should be two or three-hole-punched, bound between cardstock covers and fastened by two or three metal brads. Pages may be double-sided. Only the TITLE of the screenplay should appear on the front stock cover (legibly written or typed). A second title page with all contact information (TITLE, AUTHOR, AUTHOR’S ADDRESS, PHONE NUMBER, E-MAIL ADDRESS, and a BRIEF SYNOPSIS) should be included but kept separate from the script. The author’s name must not appear elsewhere in the script in order to preserve anonymity in the judging process. Only the TITLE of the screenplay should appear on the front cover page. The author’s name, contact information, or any other information that may reveal the identity of the writer(s) must not appear anywhere in the script in order to preserve anonymity in the judging process.
Playwriting Competition Rules
All plays submitted must be in English. The play must not have been optioned, sold, had a professional production, or be scheduled to have a professional production prior to October 23, 2025. A “professional production” is defined as a staged production where the playwrights involved were or will be compensated for their intellectual property or work. Applicants may submit more than one play.
13. Tulsa Artist Fellowship
Deadline: May 29
Website: https://www.tulsaartistfellowship.org/award
Tulsa Artist Fellowship award will begin accepting applications on Wednesday, April 2, 2025, and close on Thursday, May 29, 2025.
Tulsa Artist Fellowship annually appoints arts experts working across the United States who represent a wide spectrum of artistic disciplines to join the application review process. Reviewers, including art world key players, visionary artists and arts workers, award alum, and essential Tulsa Artist Fellowship stakeholders, evaluate submissions independently and identify top candidates to interview.
Individuals with outreach-specific roles support the open call submission by leveraging their network of experienced creatives to help identify eligible candidates. This structure deepens the Tulsa Artist Fellowship’s connection to the expansive communities and practices that constitute the field of art.
A highly competitive application will exemplify the following criteria:
Applicant has established a rigorous and innovative arts practice
Making art in Tulsa feels meaningful to the applicant
Proposed project is forward-thinking, demonstrates impactful community engagement, appears achievable, and will significantly contribute to Tulsa’s arts identity
Award Structure
$150,000 stipend paid over three-years for awarded project deliverables and general artistic practice costs
$36,000 housing stipend over three-years
$1,500 one-time studio move-in stipend
Fully subsidized independent studio space with access to shared facilities including a ceramics studio with kilns, woodshop, metal shop, media lab, roof terrace, performance rehearsal space, podcast recording studio, and meeting rooms with video/audio capabilities - estimated resource value of $36,000 over 3 years
$3,600 studio assistant stipend over three years
$3,600 health and wellness stipend over three years
YMCA memberships to access fitness facilities
Facilitated cohort gatherings & meals
Open studio events
Childcare reimbursements coinciding with key Fellowship activities
14. NASHVILLE REP INGRAM NEW WORKS PROJECT
Deadline: May 30
Website: https://nashvillerep.org/
Looking for exciting and inspiring plays with a dynamic voice, an interesting point of view, and a strong sense of narrative momentum. We are looking for a play script that is in progress. That progress can be an early unfinished draft, a few pages written with an outline and synopsis, or a fully completed first draft. Overall, we must comprehend the concept of the play and where the playwright intends to take the piece.
We will only accept one submission per person.
We will accept a play already in very early development. However, we highly encourage brand new plays and early drafts to be submitted.
The Ingram New Works Lab is not designed for plays that have already received development with other programs. We highly encourage brand new plays and early drafts to be submitted.
Housing, travel, and hospitality are provided to all Lab playwrights. Local playwrights are also strongly encouraged to apply.
Do I have to be in Nashville for the entire 2025-2026 season?No. Each playwright selected will be chosen for one (1) on-site lab week.
The 2024-2025 Lab Weeks are as follows:
Lab 1: October 6-11, 2025
Lab 2: January 12-17, 2026
Lab 3: March 9-14, 2026
Do playwrights have to attend all dates?
No. We will focus on one play for each lab week. Playwrights will attend the lab week for their play. In addition, some Zoom/online workshops will take place.What can I expect if I’m selected for the Ingram New Works lab?
Each playwright will be given the resources needed to work on their script and take it to the next level. Each play will be staffed with a director and dramaturg, and each play will be cast with actors. Before attending an in-person lab week, the playwright will take part in 1-2 Zoom readings and workshops. This will give the playwright time to make changes and re-writes before coming onsite for their lab week.
For lab week, playwrights arrive early in the week. There will be 3 to 5 lab sessions throughout the week catered to the needs of the playwright. We realize each play has specific needs, so time will be allowed for playwrights to do readings, work sessions, re-writes, dramaturgical work, and discussions. These sessions will include work with a director and dramaturg as well as professional actors from the Nashville region. The week will culminate in a reading.
In addition to Lab sessions, weeks in Nashville also include opportunities to experience our great city and connect with the larger community of artists in Nashville.What materials do I need to send to apply?
Applicants must send the following:
A cover letter of intent introducing yourself and telling us why you would be a good fit for this program. You should also pitch your play in this letter, detailing why you want to develop this play now and your connection to the material.A draft of the proposed play. Please keep in mind this can be any of the following:An early, unfinished draftA few pages written with an outline or synopsisA completed first draft.Overall, we must comprehend the overall concept of the play and where the playwright intends to take the piece.A professional resumeA full-length sample play that best represents your work. Materials must be sent by using the form on our Applications page.Yes, we are now accepting musical submissions for the 2025-2026 Season. If you are submitting a musical proposal, you should also include links to any early audio reference demos or recordings of your work.
Who reads the submissions?
Submissions are read by a combination of professional readers, community stakeholders, Ingram Lab alumni, and Nashville Rep artistic staff.
What happens after I submit?
You will be notified by email that we have received your application. Finalists will be notified by email, and many finalists will be asked to take part in Zoom interviews. A public announcement of the 2025/26 Lab playwrights will be made in late July/early August.What is the deadline for submissions?The submission deadline is Friday, May 30 at 5pm CST.What if my question isn’t answered in this FAQ?
Additional questions can be sent to Yolanda Treece, Artistic Associate at yolanda@nashvillerep.org
15. The Eliza Moore Fellowship for Artistic Excellence
Deadline: May 31
Website: https://www.osgf.org/fellowships/eliza-moore-artistic-excellence
The Eliza Moore Fellowship for Artistic Excellence is awarded annually to one outstanding, early-career artist who is developing new works that address plants, gardens, or landscapes in the broad sense. This award is open to visual artists, literary artists, dancers, and musicians. The award includes a $10,000 individual grant and requires a 2 - 5 week stay at Oak Spring. While at OSGF, the Fellow will be able to meet with staff, explore our 700-acre landscape and our efforts in sustainable land management, and visit our rare book library that holds over 19,000 objects, including many examples of botanical art.
OSGF intends to award the Fellowship to an exceptional artist whose works show remarkable promise to contribute to a deeper understanding of the natural world, and humankind’s place in it. The Fellow will be scheduled to visit when there are other Interdisciplinary Residents or Fellows on-site. This scheduling will allow the Fellow to join in communal meals, and optional activities and field trips with other artists, ecologists, researchers, or scholars working on projects related to OSGF’s mission. Beyond time devoted to their projects, a Fellow’s typical day at Oak Spring might include a walk to enjoy the landscape or birds; an appointment to visit the Oak Spring Library; and/or a morning spent volunteering at the BCCF or in the formal garden. These optional activities provide Fellows time to learn from, and interact with our staff. None of these activities are required, and we understand that some Fellows might want to spend most of their time in their writing or working independently. We support and enable Fellows to use their time as they best see fit.
At the culmination of their stay, we encourage, but don’t require, Fellows to give a 20 – 30 minute presentation with time for questions, to Oak Spring staff and any other Fellows, Residents, or program participants who might be on site.Please note that there is one application for all of our 2026 Residency and Fellowship programs, and you will be prompted to select which programs you would like to be considered for. You will be asked to submit:
a resume/curriculum vitae (not to exceed two pages),
a 200 - 300-word statement on your artistic practice,
a statement of 200 - 300 words stating how your work relates to Oak Spring Garden Foundation’s mission to “perpetuate and share the gifts of Rachel (“Bunny”) Lambert Mellon, including her residence, garden, estate and the Oak Spring Garden Library, to serve the public interest. OSGF is dedicated to inspiring and facilitating scholarship and public dialogue on the history and future of plants, including the culture of gardens and landscapes and the importance of plants for human well-being,”
For poets and playwrights: you may submit 7 - 10 pages total. Poetry may be spaced as needed, and scripts should follow standard script formatting.
NOTE: When applying to this Fellowship, you will be asked if you are interested in being considered for one of our other residencies, if you are not selected for the Fellowship. To learn more about our residencies, visit www.osgf.org/residencies.
Eligible applicants must be early-career artists not enrolled in an undergraduate degree program in 2026. We will consider individuals with a proven track-record of professionalism, but who are yet under-recognized, as early-career. Eligible early-career applicants will have some recognition in the form of exhibitions, commissions, performances, grant awards, residencies, Fellowships and/or publications.
Individuals who have participated in an extensive number of solo exhibitions, or who have published a significant number of books will be considered established or late career, and are not eligible for the Eliza Moore Fellowship. We encourage those who are not eligible for this Fellowship to apply to the Interdisciplinary Residency.
The successful Fellow must be self-directed and able to work independently while on site. Applicants are expected to show dedication to their artistic practice, clear connection to the natural world in their work, exceptional promise, and good communication skills.The $10,000 individual grant associated with this award can be put towards travel to and from OSGF, materials and supplies purchased for their residency, and other items that will support their work, before or after their stay at OSGF.
The selected Fellow should make travel arrangements to Dulles International Airport, where Oak Spring will arrange ground transportation for them to our estate in Upperville, VA. The Fellow will be housed in nicely appointed shared accommodations. The Fellow will have a private bedroom and bathroom, and share a living room and kitchen with 1 – 3 other Residents or Fellows.
16. Disney Entertainment Television (DET) Writing Program
Deadline: June 1 (Opens May 6)
Website: https://sites.disney.com/ctdi/writingprogram/
The Disney Entertainment Television (DET) Writing Program is a highly selective, annual TV staffing program. The goal is to staff emerging and diverse television writers on DET scripted series. Program Writers are contract employees of Disney for one year (or until they staff on a show), and receive mentorship, professional development, and unprecedented access to the company and its creative executives, producers, showrunners, and program alumni. In 2020, the Eunetta T. Boone Comedy Writers Scholarship was created to provide a dedicated writer within the program with special staffing consideration on a Disney Branded Television series. In 2024, the FX John Singleton Scholarship was created, providing one writer special staffing consideration on an FX Networks series. Established in 1990, the one-year writing program is widely recognized as one of the entertainment industry’s most successful of its type. It has kickstarted the careers of many established and award-winning writers, producers and showrunners, including Saladin Patterson, Raamla Mohammed, Peter Saji, Zahir McGhee, Dailyn Rodriguez, Luvh Rakhe, Sierra Ornelas, and Claudia Forestieri, among many others. The Program has had a nearly 100% staffing rate each year. It also has a long history of being the only staffing/writing initiative in the entertainment industry to employ its writers contractually as full-time employees prior to staffing.
17. Blacklist Annual Labs
Deadline: June 1
Website:blcklst.com/programs/2025-annual-labs
The Black List is looking for the strongest screenplays for the Labs–material with strong characters and a strong concept–as well as writers who are looking to build long-term careers in the entertainment industry. The goal of the Labs is for all twelve writers to emerge with the strongest possible script and with greater knowledge of how to move forward in their careers.
The Labs are in-person, weeklong intensive writers workshops. Writers in both cohorts will workshop their feature screenplay through one-on-one sessions with professional screenwriting mentors and through peer workshops. The Labs will also include several story- and industry-related training sessions with executives, producers, lit agents, and managers.
When submitting your script, you must select only one Lab cohort for which you would like to be considered. If selected, you will be workshopping the script you submitted and no other. You may submit multiple scripts, but you must choose which cohort you would like to be considered for, per script.
The Writers LabThose in the Writers Lab will further develop feature scripts that they intend to sell and/or use as voice samples. Writers in this cohort will have strong interest in working within the studio system. The Writers Lab cohort will meet the week of October 13th (TBC) in Ojai, CA.
The Projects LabThose in the Project Lab will further develop feature projects which they intend to direct. Directing samples are required for this cohort and you must include a working link to such samples at the time of your submission. The Projects Lab will meet the week of November 10th (TBC) in Ojai, CA. THE SELECTION PROCESSThe selection process will work like this:
The Writers LabUp to 40 writers will be invited, based on the strength of their scripts, as determined by the Black List, to submit a one-page personal statement and a professional resume. From those submissions, up to 20 writers will be shortlisted and asked to submit additional materials. From the short list, select writers will be chosen to interview, via Zoom, and six writers will be selected by the Black List to participate in the Writers Lab.
The Projects LabUp to 40 writers will be invited, based on the strength of their scripts, as determined by the Black List, to submit a one-page personal statement, a professional resume, and a link to a previous directing sample. From those submissions, up to 20 writers will be shortlisted and asked to submit additional materials. From the short list, select writers will be chosen to interview, via Zoom, and six writers will be selected by the Black List to participate in the Projects Lab.
IMPORTANT DEADLINES AND DATESLong List Writers Notified - July 1, 2025Personal Statements Due - July 7, 2025Short List Writers Notified - July 28, 2024Additional Materials Due - August 4, 2024Interview Candidates Notified - September 3, 2025Interviews - September 10-12, 2025Final Participants Notified - September 15, 2025
Writers Lab - October 13-17, 2025 (TBC)Projects Lab - November 10-14, 2025 (TBC)
TRAVEL AND ACCOMMODATIONS
The Labs are residential programs. If you are accepted into the Labs, you will be required to board in the provided accommodations for the duration of the program and, if air travel is required, you must be available to be flown to Los Angeles from a major airport within the continental United States.
Air Travel (coach class round-trip flights within the continental United States (if available and if used)), ground transport to and from the airport in Los Angeles and all Lab events, and accommodations (room and tax only)* will be provided by the Black List. Meals will also be provided.
Participants must be able to provide proof of vaccination (including boosters per current CDC guidelines) and must be willing to test for COVID-19 infection prior to arriving at the in-person portion of the program.
SLOAN FOUNDATION FELLOWSHIP
Writers in both cohorts are also available for consideration for the 2025 Sloan Foundation Fellowship.
The Black List’s Sloan Foundation Fellow at the Annual Black List Feature Lab will be a science- and technology-focused writer with a science-rooted feature screenplay. Mentoring opportunities for the Sloan Fellow will continue throughout the year following the Lab. Writers will have the opportunity to be considered for this fellowship by selecting the “Sloan Foundation Fellow” option during the opt-in process.
The Alfred P. Sloan Foundation is a New York based, philanthropic, not-for-profit institution that makes grants in three areas: research in science, technology, and economics; quality and diversity of scientific institutions; and public engagement with science. Sloan's program in Public Understanding of Science and Technology supports books, radio, film, television, theater, and new media to reach a wide, non-specialized audience and to bridge the two cultures of science and the humanities.
Sloan’s Film Program encourages filmmakers to create more realistic and compelling stories about science and technology and to challenge existing stereotypes about scientists and engineers in the popular imagination. Over the past two decades, Sloan has partnered with top film schools in the country, supported screenplay development programs, and has helped develop over 30 feature films including Michael Almereyda’s TESLA, Lydia Dean Pilcher and Ginny Mohler’s RADIUM GIRLS, Thor Klein’s ADVENTURES OF A MATHEMATICIAN, Jessica Oreck’s ONE MAN DIES A MILLION TIMES, Logan Kibens and Sharon Greene’s OPERATOR, Morten Tyldum’s THE IMITATION GAME, and Matthew Brown‘s THE MAN WHO KNEW INFINITY. The Foundation’s book program includes support for Margot Lee Shetterly’s Hidden Figures, which became the highest grossing Oscar-nominated film of 2017 and a social and cultural milestone.
For more information about the Alfred P. Sloan Foundation, please visit www.sloan.org or follow the Foundation at @SloanPublic on Twitter and Facebook.
RequirementsYou are the sole and exclusive author of the feature screenplay submitted for consideration.You have not received more than $100K in aggregate to date as compensation for film or television writing work.
If selected as one of the writers invited to submit a professional resume and personal statement for additional consideration, you will deliver those materials by the stated deadline.If selected as one of the writers invited to submit further materials for the Projects Lab, you will deliver a director's sample by the stated deadline.
If selected for participation in the Labs, you are available to participate in the Lab cohort for which you are selected: for the Writers Lab, that is in person in Ojai, CA from October 13-17, 2025; for the Projects Lab, that is in person in Ojai, CA from November 10-14, 2025.
18. The SOUL Producing Residency Program
Deadline: June 6
Website: nationalblacktheatre.org/producing-residency/
The SOUL Producing Residency Program is a 10-month program designed to provide hands-on experience in the administrative requirements of producing a theatrical season in New York City. The resident is given the opportunity to take the lead in producing a project within that season to widen their professional training, skill sets, and confidence.
THE SOUL SERIES LAB (Liberating Artistic Bravery) is a contemporary laboratory for accelerating and creating innovative new work by cutting-edge artists rooted in NBT’s pedagogy.
Residency Begins – Sept 8, 2025
19. Florida Studio Theatre
Deadline: on-going
Website: https://www.floridastudiotheatre.org/work-with-us/submit-a-play
Florida Studio Theatre is currently looking for submissions of full-length plays, musicals, and musical revues to be considered for possible inclusion in future Mainstage, Cabaret, and Stage III Series. Plays may also be considered for FST’s Burdick Play Reading Series. FST is especially interested in plays that present diverse perspectives on current social and political themes.
How to Submit Your Work for Consideration:Please submit your plays through a literary agent or accompanied by a letter of recommendation by a theatre professional (i.e. – an Artistic Director or Literary Manager at a professional theatre). Submit a full script along with a character breakdown. If you are submitting a musical, please include shareable mp3 files.
Florida-based writers without representation, please introduce your work to FST by submitting a query letter, a brief synopsis (including cast requirements), and a 10-page dialogue sample.
All materials may be submitted either electronically (Word or PDF format) or via regular mail. Electronic submissions are strongly preferred.
Submit Your Play:Plays may be submitted electronically to FST’s Literary Team by emailing Catherine Randazzo, Associate Artist and Literary Manager at newplays@floridastudiotheatre.org
To send your submission by mail, please send your materials to the address below. If submitting by mail, please also include a self-addressed, stamped envelope if you would like your materials returned. Regarding any playwrights outside the state of Florida, FST is unable to accept unrepresented samples at this time.
Attn: New Play Development Catherine Randazzo Florida Studio Theatre1241 North Palm AvenueSarasota, FL 34236
20. JOB
OHIO STATE UNIVERSITY
Deadline: June 1
Website: https://osu.wd1.myworkdayjobs.com/OSUCareers/job/Columbus-Campus/Post-MFA-Scholar-in-Playwriting-and-New-Work-Creation_R126960-1
The Department of Theatre, Film, and Media Arts, within the College of Arts and Sciences at The Ohio State University, seeks a full-time, Post-MFA Artist and Scholar specializing in playwriting and the creation of new work for a two-year appointment beginning August 2025.
We invite applications from emerging playwrights and theatre-makers who have earned an MFA in playwriting or a related discipline within the last three years.
Performance Objectives
The successful candidate will:
Teach graduate and undergraduate courses in playwriting and new work creation.Mentor undergraduate and graduate students, fostering their creative and academic growth.Maintain an active practice of new work creation, including public presentations or performances.Participate actively in the university and department community.Develop curriculum and course content that reflects innovative and contemporary approaches to playwriting.Present work to the department communityParticipate as an active member of the department communityEducation and Experience Requirements
Required:
MFA in Playwriting or a related discipline.Demonstrated commitment to new work creation and student mentorship.Desired:
Experience in screenwriting.Experience teaching in a higher education settingExperience in curriculum development.Candidates should demonstrate a commitment to Ohio State’s Shared ValuesHow to Apply
To be considered, please submit your application electronically via Workday.
Application materials must include a cover letter, curriculum vitae, separate artist statement, and teaching statements, and samples of your creative work. Review of applications will begin on June 1, 2025.
