How to Find Playwriting Competitions and Festivals: Discover Opportunities.

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The blank page, an electric surge of an idea, the meticulous crafting of dialogue and stage directions – it all culminates in a finished play. But for that play to truly live, it needs an audience, a production, a chance to bloom on a stage. This is where playwriting competitions and festivals become not just opportunities, but essential stepping stones in a playwright’s journey. However, the sheer volume and varied nature of these avenues can feel overwhelming. I’m going to demystify the process for you, providing a practical, actionable roadmap to pinpointing the perfect opportunities for your work.

Why You Need to Seek Competitions and Festivals

Before we dive into the “how,” it’s crucial to understand the “why.” Submitting to competitions and festivals isn’t merely about winning; it’s about strategically advancing your career.

  • Validation and Feedback: A win or even a finalist placement provides invaluable external validation, a stamp of approval that can be leveraged in queries and applications. So many opportunities also offer constructive feedback, which is so invaluable for refining your craft.
  • Networking Potential: Festivals, in particular, are vibrant hubs where playwrights connect with directors, producers, dramaturgs, and even other playwrights. These connections can lead to future collaborations, workshops, and readings. Imagine the possibilities!
  • Exposure and Production Opportunities: Performance opportunities, whether a staged reading or a full production, are the ultimate goal. Competitions often culminate in these, while festivals are designed around presenting new works. It’s truly exciting!
  • Financial Reimbursement: While it’s not the primary motivation, some competitions offer significant cash prizes, providing vital financial support for a struggling artist. Every little bit helps, right?
  • Resume Building: Every win, every selection, every honorable mention, adds gravitas to your artistic resume, making future submissions more impactful. It really builds your credibility!

Understanding these benefits fuels a more deliberate and motivated search, transforming a daunting task into a focused pursuit. You’ve got this!

Mastering the Initial Search: Where to Begin Your Digital Dig

The digital landscape is your primary hunting ground. Don’t just aimlessly browse. Employ targeted strategies to unearth relevant opportunities.

Leveraging Online Databases and Aggregators

Think of these as curated libraries for playwriting opportunities. They compile listings from various sources, saving you immense time and effort.

  • Google’s Advanced Search: Go beyond simple keywords. Utilize operators.
    • "playwriting competition" 2024 deadline
    • "new play festival" submissions open
    • site:.org "playwriting contest" (restricts search to organizational websites)
    • "theatre festival" call for submissions (one-act OR full-length)
    • For example: Let’s say you’re looking for opportunities specifically accepting one-act plays with a deadline in the latter half of the year. Try: "one-act play contest" deadline "fall 2024". See how specific you can get?
  • Specialized Play Opportunities Websites: These sites are specifically designed to list playwriting calls.
    • New Play Exchange (NPX): While primarily a script database, NPX has a robust “Opportunities” section. Members can post and browse calls. This is a crucial resource for many US-based playwrights. You can filter by play length, genre, deadline, and even whether a fee is required.
    • Playwrights’ Center (PWC): Another cornerstone organization, their website often lists competition and fellowship opportunities. While some opportunities are exclusive to members, many are open calls.
    • Dramatists Guild of America (DGA): The professional association for playwrights, their resources often include opportunities relevant to their members and the wider playwriting community.
    • Theater Communications Group (TCG): A national service organization for the professional not-for-profit American theatre, TCG’s website features a comprehensive “Job Board & Opportunities” section that frequently includes calls for new plays.
    • For example: On NPX, navigate to “Opportunities.” Filter by “Playwriting Contest,” “Full-Length,” and “No Fee” to quickly find free submission opportunities for your 90-minute drama. It’s so efficient!

Harnessing the Power of Social Media and Online Communities

Beyond static websites, dynamic online spaces are buzzing with announcements.

  • Facebook Groups: Search for groups dedicated to playwriting, new plays, and theatre opportunities.
    • Keywords: “Playwriting Opportunities,” “New Playwrights,” “Theatre Calls for Submissions.”
    • Strategy: Join these groups and set notifications. Just be mindful of group rules; avoid spamming your own work unless explicitly allowed.
    • For example: You join “Playwrights & Theatre Creators.” A member posts an announcement about a new festival seeking experimental works; this might not appear on traditional aggregators yet. You’re getting the inside scoop!
  • Twitter (Now X): Follow key organizations, literary managers, dramaturgs, and influential playwrights. Use relevant hashtags.
    • Keywords: #playwriting, #theatre, #newplays, #callforsubmissions, #playwrightsopportunity.
    • Strategy: Create a dedicated list of accounts to follow for opportunities. Check hashtags regularly.
    • For example: The literary manager of a regional theatre tweets about their annual new play competition, tagging it with #SubmissionsOpen. You’re plugged in!
  • LinkedIn: While often overlooked, LinkedIn can be valuable, especially for theatre companies and educational institutions announcing calls. Follow theatre companies and universities. Look for “jobs” or “opportunities” sections on their company pages.
  • Reddit: Subreddits like r/playwriting or r/theatre can sometimes feature user-posted opportunities. Just be discerning, as moderation varies.

Subscribing to Newsletters and Mailing Lists

Let opportunities come to you. This is a passive yet highly effective strategy.

  • Theatre Companies: Major regional theatres, developmental theatre companies, and even local community theatres often have newsletters announcing their season, educational programs, and, crucially, submission windows for new plays.
  • Playwriting Organizations: Organizations like the Playwrights’ Center, Dramatists Guild, and even smaller, local playwriting groups frequently send out newsletters with curated opportunity lists.
  • Literary Agents/Managers (less common for direct submissions, more for industry news): Some agents or literary management companies will occasionally share open calls from their network, though this is less frequent.
  • For example: You sign up for the “Opportunities Bulletin” from a well-known West Coast theatre. This email arrives monthly with a detailed list of local and national calls for submissions, saving you search time. How convenient is that?

Strategic Refinement: Filtering and Evaluating Opportunities

The sheer volume of listings can be overwhelming. Develop a rigorous filtering process to ensure you’re submitting to the most suitable and worthwhile opportunities.

Understanding the Call: Deconstructing the Submission Guidelines

Every single word in the guidelines matters. You absolutely cannot skim.

  • Play Length: Is it for a 10-minute play, a one-act, or a full-length? Submitting a full-length play to a 10-minute competition is an automatic disqualifier. Seriously, don’t do it.
  • Genre/Theme: Are they seeking specific genres (comedy, drama, musical, experimental) or plays adhering to a particular theme (social justice, historical, futuristic)?
  • Submission Period/Deadline: Note the exact opening and closing dates. Missing a deadline, even by an hour, means your play won’t be considered. That’s a hard truth.
  • Eligibility Criteria:
    • Residency: Are there geographical restrictions (e.g., California residents only, North American playwrights)?
    • Previous Productions: Can the play have had prior productions, readings, or workshops? Some competitions seek “unproduced” works, others are open.
    • Age/Experience: Are there playwright age limits (e.g., under 30)? Are they seeking emerging playwrights, or established ones?
    • Originality: Is the play an original work, or can it be an adaptation?
  • Submission Format: PDF preferred? Specific font/size/spacing? Blind submission (no identifying info on the script)?
  • Required Materials: Script, synopsis, character breakdown, playwright bio, artistic statement, resume, writing sample, references?
  • Submission Fee: Is there a fee? If so, what is it? Are waivers available?
  • Prizes/Benefits: What exactly is being offered? A cash prize, a staged reading, a full production, a development workshop, mentorship? Be wary of opportunities that offer little tangible benefit beyond “exposure.”

  • For instance: A competition states: “Seeking full-length dramas by playwrights born or residing in the Pacific Northwest. Plays must be unproduced and not have had more than two staged readings. $25 submission fee applies.”

    • Your Play: A full-length comedy (mismatch). You live in New York (mismatch). Your play had a full production in college (mismatch).
    • Conclusion: This is absolutely not for you. Move On. Don’t waste your time or money.

Assessing Legitimacy and Reputation: Red Flags and Green Lights

Not all opportunities are created equal. Protect your work and your time.

  • Who is running it?
    • Established Theatres/Organizations: Lincoln Center, Eugene O’Neill Theater Center, National New Play Network, reputable regional theatres (e.g., Actors Theatre of Louisville, La Jolla Playhouse). These are generally trustworthy, and their competitions are highly selective and prestigious.
    • Universities/Colleges: Many reputable university theatre departments run competitions.
    • Smaller, Independent Companies: Require more scrutiny. Do they have a website? A history of productions? Testimonials? News coverage?
    • New/Unknown Entities: Proceed with caution. Seriously.
  • What are others saying?
    • Online Reviews/Forums: Search for discussions about the competition or festival. Have past participants had positive experiences?
    • Industry Buzz: Is it mentioned in reputable playwriting circles or news articles?
  • Red Flags:
    • Exorbitant Fees: While some fees are standard ($10-$30), excessively high fees (e.g., $75+) without significant, clear benefits should raise a flag.
    • Rights Grab: Be extremely wary of language that demands a percentage of future earnings or takes ownership of your play’s intellectual property. Standard competition clauses will ask for production rights for anything resulting directly from the competition (e.g., a specific festival production), but not perpetual rights to your play. Read the fine print carefully.
    • Vague Benefits: “Great exposure” or “networking opportunities” without concrete details on how that will manifest.
    • Lack of Contact Information: No clear email address, phone number, or physical address.
    • Unusual Submission Processes: Asking for physical copies, or insecure online submission methods.
    • No Past Winners/Participants: A reputable competition will proudly display its past winners and often provide testimonials or photos from previous events. If they don’t, it’s a concern.
  • Green Lights:
    • Clear, detailed guidelines.
    • Reputable host organization.
    • Transparent judging process (if mentioned).
    • Clearly defined benefits (e.g., “staged reading at X theatre, $500 prize”).
    • Positive word-of-mouth.
  • For example: You find a competition advertising a “Grand Prize of $10,000!” but charges a $100 submission fee and has vague language about retaining a “portion of future royalties.” No reputable theatre is listed as the host, and a quick Google search reveals no past winners. This is highly suspicious. Avoid. Seriously, just walk away.

Aligning Your Play with the Opportunity

This is the most crucial step. Don’t waste time on ill-suited submissions.

  • Read the Mission Statement: What is the company’s artistic vision? Do they specialize in new works, classic plays, social justice theatre, experimental pieces?
  • Review Past Winners/Productions: Look at the plays that have won previously, or the types of shows the festival typically produces. Does your play fit that aesthetic or subject matter?
  • Consider Your Play’s Strengths: Is your play character-driven, plot-heavy, experimental, socially conscious, a traditional narrative? Find opportunities that value those strengths.
  • Self-Assessment of Your Play: Be brutally honest. Is your play truly ready? Is it polished, revised, and structurally sound? A festival is not a workshop for a first draft.

  • For example: Your play is a dark, absurd comedy. You see a festival whose past winning plays are all earnest, realistic dramas with strong social messages. While your play might be excellent, it’s unlikely to resonate with this particular festival’s curatorial taste. Prioritize festivals that align with your play’s unique voice. It’s like finding the perfect pair of shoes for your outfit!

Beyond the Digital: Cultivating a Network and Local Presence

Not all opportunities are found online. Some are built through relationships and engagement.

Attending Festivals and Readings: Being Present

  • Observation and Learning: Witness the range of new plays being produced. Understand what kinds of plays different festivals program. This informs your future submissions.
  • Networking: This is paramount. Introduce yourself to playwrights, directors, literary managers, and artistic directors. Exchange contact information. Follow up thoughtfully. Don’t just hand out business cards; have genuine conversations about the work.
  • Community Immersion: Understand the local theatre scene if you’re targeting local opportunities.

  • For example: You attend the National Playwrights Conference at the O’Neill. You’re not just watching readings; you’re observing how the O’Neill develops work, meeting playwrights whose work you admire, and engaging with literary staff during breaks. This firsthand experience informs your understanding of their selection process. It’s real-world learning!

Engaging with Local Theatre Communities

Your immediate vicinity often holds hidden gems.

  • Community Theatres & Small Indie Venues: Many local theatres have annual new play readings, 10-minute play festivals, or even full production slots for local playwrights. These are excellent starting points for emerging playwrights to get their first public exposure.
  • Playwriting Groups/Workshops: Join local playwriting groups. They often share information about local calls, organize readings, and provide a supportive environment for feedback.
  • University Theatre Programs: Universities frequently host their own playwriting competitions, often open to non-students, and their faculty are deeply connected to the theatre world. Attend their productions, ask about their new play initiatives.
  • For example: You join the “Denver Playwrights Collective.” Through them, you learn about a regional theatre’s annual “Colorado Voices” competition, which is only lightly advertised outside the state, but ideal for your local-themed play. Local connections are amazing!

Connecting with Literary Managers and Dramaturgs

These are the gatekeepers and advocates for new work within theatre companies.

  • Follow Them on Social Media: Many share insights into their company’s submission processes or general advice for playwrights.
  • Attend Post-Show Q&As: If a literary manager is participating, it’s an opportunity to hear their perspective on new work.
  • Thoughtful Cold Emails (Rare, and with caution): Do not send unsolicited scripts. A very brief, professional email expressing admiration for their work and asking if they have any general advice or if their company has open submission periods (after you’ve already checked their website) can sometimes lead to a helpful response. This is a very low-percentage play; focus on official channels first.
  • For example: You attend a virtual panel on play development where a literary manager from a theatre you admire speaks. Afterwards, you send a polite email thanking them for their insights, mentioning a play of theirs you particularly enjoyed, and subtly inquiring about their general submission process for unrepresented playwrights. This respectful approach can sometimes open a door, but persistence without respect is detrimental. Be smart about it.

The Art of the Application: Presenting Your Best Self

Once you’ve identified the right opportunities, the submission itself requires meticulous attention to detail.

Preparing Your Materials: Flawless Execution is Key

  • The Script:
    • Blind Submission: Crucial for many. Absolutely no identifying information (name, contact info, agent name) on the script itself, including headers/footers. Use a title page that only includes the play title. This is super important.
    • Formatting: Adhere to standard play script formatting (e.g., Dramatists Guild standard, though variations exist). Consistent font, character names centered, dialogue indented. Readability is paramount.
    • Proofread: Typos, grammatical errors, and formatting inconsistencies signal unprofessionalism. Use grammar checkers, but also have trusted readers proofread. Seriously, have someone else read it.
    • Page Numbers: Consistently numbered.
    • PDF Conversion: Convert your final script to PDF to lock formatting unless otherwise specified.
  • Synopsis: A concise, engaging summary (typically 150-250 words) that captures the essence of your play without giving away major spoilers. Focus on the central conflict, key characters, and the stakes.
  • Character Breakdown: List of characters with brief descriptions (age range, key traits).
  • Playwright Bio: A brief, third-person summary of your relevant writing experience, education, and any significant awards or productions. Focus on the accomplishments that are most relevant to playwriting.
  • Artistic Statement/Statement of Intent: (If requested) A paragraph or two about your artistic philosophy, what you aim to achieve with this play, or your unique voice as a playwright. Be authentic and concise.
  • Resume/CV: Tailor it to highlight your playwriting-specific experience.
  • Logistics:
    • File Naming: Use clear, professional file names (e.g., “PlayTitle_Script.pdf,” “PlaywrightName_Bio.pdf”).
    • Online Portals: Familiarize yourself with the submission platform well before the deadline. Some require creating an account, which takes time. Don’t wait until the last minute!
  • For example: The guidelines state: “Blind PDF submission, 12pt Times New Roman, Character names centered, dialogue indented. Include a one-page synopsis and a 150-word bio.” Before uploading, you double-check your script: no name on it, perfectly formatted. Your synopsis is precisely 200 words, gripping. Your bio is 148 words, highlighting your last regional workshop. You’re nailing it!

The Follow-Up: Patience and Professionalism

  • Confirm Submission: Most online platforms confirm receipt via email. File that confirmation.
  • Do Not Pester: Unless explicitly stated in the guidelines that they will provide updates by a certain date, avoid emailing to “check in.” These organizations receive hundreds, if not thousands, of submissions.
  • Response Timelines: Be prepared for long waits. Some competitions take 6-12 months to announce finalists or winners. Festivals often announce selections closer to the event date.

  • Maintain Records: Keep a spreadsheet of every competition/festival you submit to:

    • Name of Opportunity
    • Play Submitted
    • Date Submitted
    • Deadline
    • Fee (Y/N, amount)
    • Date of Notification (anticipated if known)
    • Result (Accepted, Finalist, Denied, etc.)
    • Notes (e.g., “Feedback received,” “Met Literary Manager at X event”)
  • For example: You submit your play to “The Phoenix New Play Festival” on March 1st. Their website states “Notifications will go out by August 15th.” You record this. On August 16th, if you haven’t heard, it’s generally acceptable to send one polite email asking for a status update. Just one!

The Long Game: Persistence and Learning

Finding and successfully navigating playwriting competitions and festivals is a marathon, not a sprint.

  • Embrace Rejection: Rejection is an inherent part of this journey. Every “no” brings you closer to a “yes.” It’s rarely a judgment on your worth as a playwright, but rather a reflection of fit, timing, or the sheer volume of submissions. Learn from it, don’t dwell.
  • Seek Feedback (When Offered): If a competition offers feedback, take it seriously. It’s a valuable, often rare, opportunity for professional growth. Analyze it objectively, but understand that it’s one perspective among many.
  • Continuous Improvement: Use insights from feedback, observations from festivals, and your own critical self-assessment to continually refine your craft and revise your plays.
  • Diversify Your Submissions: Don’t put all your eggs in one basket. Apply to a range of opportunities – local, national, short play, full-length, different genres.
  • Celebrate Small Wins: A semi-finalist placement, an honorable mention, a kind email from a literary manager – these are all milestones worth acknowledging. They fuel your persistence.

The journey of a playwright is one of creation, perseverance, and strategic engagement. By systematically identifying, evaluating, and applying to the right playwriting competitions and festivals, you dramatically increase your chances of seeing your words brought to life on stage, connecting with the theatre community, and advancing your pivotal role in the vibrant world of new drama. You can absolutely do this!