The fine folks at Audio Drama Production Podcast have announced a script writing competition.
First prize is readings at Vault Fest in London and Edinburgh Podfest. And in case that wasn’t tempting enough, there are literally dozens of audio drama producers planning to choose a script from submissions as well. (This might be a first for scriptwriting opportunities the world over, with more chances of production than of a reading.) The entry fee is a slim six dollars for multiple scripts, which also might be a record low these days.
They’re asking for 10, 15, or 30 minute scripts, and I’m cleaning up two long ones to send them. But wait, you say. Why bother with submission if you’re going to produce the scripts yourself? Isn’t that just inviting production delays into your own process, not to mention the crushing weight of rejection*, when your 36-minute “30-minute” script is turned down, maybe because it’s just not working for the judges, but maybe because it literally won’t fit properly into the slot reserved for the whole reading? Can you afford to wait two months to hear if someone else wants to produce your scripts? They’re good questions, but if you’re asking them, you’re not super familiar with my best writing coach: deadlines.
If I’m producing (and truly that is the plan), these scripts are due literally any time I feel like it. Um, no.
But now scripts are due January 21, so I’ve got to get writing! (As should you–seriously, this sounds like a great opportunity!)
* On the crushing weight of rejection: if I haven’t figured out how to be okay with not winning a particular competition or not being produced by a particular company by now, I have learned nothing from years of playwriting. (I know you hear me, fellow playwrights!) Most people think the movie business is rough, but theater? Brutal. As one friend put it, “At least in film, they’re fighting over money.”