JustA Theater & Production Company is a new Los Angeles-based company dedicated to fostering and employing diverse and emerging writers and actors.
We are seeking original work for our inaugural 2015 season: three staged play productions and two short films.
We would like to reach out to students in your prestigious program for play and short screenplay submissions. Our starting stipend for writers is $150.
Here are our submission guidelines:
Characters should primarily range between the ages of 15 and 30.
At least two characters must be women.
Diverse themes and characters are encouraged.
We welcome scripts of varied genres. Feel free to submit plays with elements of absurdism or magic-realism, as well as plays rooted in realism.
Staged plays should not exceed 115 pages total.
Screenplays should not exceed 15 pages.
Please submit the first 15 pages of your piece to:
infoATjustatheaterDOTcom (Change AT to @ and DOT to . )
.
For more information, visit our website.
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Blog: Jeanne's Writing Desk (Login to Add to MyJacketFlap)
JacketFlap tags: Writing Markets, Submissions, Drama, Plays, Screenplays, Scripts, Add a tag
Blog: Jeanne's Writing Desk (Login to Add to MyJacketFlap)
JacketFlap tags: Interviews, Reviews, Poetry, Fiction, Comics, Art, Photography, Flash Fiction, Submissions, Speculative Fiction, Creative Nonfiction, Screenplays, Scripts, Graphic Narratives, Slipstream, Add a tag
The Animal Becomes Us
Email submission deadline: September 30, 2014
Issue #14 of cahoodaloodaling—The Animal Becomes Us—is open for submissions. We’re leaving this wide open to interpretation. Consider this your open invitation to send anything from light verse about your animal companion to speculative were-animal stories.
Submissions due 9/30/14. Guest editor TBA. Issue live 10/31/14. See more information on submitting and read past issues here.
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By: Penny Dolan,
on 6/30/2014
Blog: An Awfully Big Blog Adventure (Login to Add to MyJacketFlap)
JacketFlap tags: characters, revision, soaps, scripts, Penny Dolan, The Archers, Add a tag
Confession time.
There is a lot to dismiss or dislike in the Archers, which makes the listening easy when you need to concentrate on cooking. I am not at all fond of those notoriously awful romantic scenes (complete with ghastly squelchy radio sound effects) or some of the characters (back when the series did offer a range of characters) or the fact that I share a birthday with Linda Snell. 
Sometimes (or once upon a time, as it now seems) the long- running threads could be poignant, especially if the subject echoed something you were dealing with in your own life too (and I don’t mean sheep) just because the thread developed over real time too.
All the big books on plotting, like Robert McKee’s Story, say that it is the balance between the character roles that holds a story together and, although these underlying mythic roles may overlap, each character should be fundamentally consistent. 
It did not feel like a big tragedy. It felt odd and strange, or a too-hurried exit for the actor or character in question. Who? Why? What? (And is it still impossible to contact people in Canada if you put your mind to it?) I wasn’t involved or moved. I was just wondering what the behind-the-scenes real-life reasons or reasoning were and I was cross, because the scripts hadn’t had the courage to explore that. They also assumed that all listeners really knew the “dead John” story but it was long ago The story concept was big in the scriptwriters heads, but did the readers/listeners accept and understand? I don't think so.
Then last week came another drastic character change. Loyal, hardworking conference-organiser Roy and snobby Lady of the Manor Lizzie had the worst-scripted “I’m at a music festival” fling imaginable. We all know that Roy is the kind of honest fool who will blab. Oh no. Too, too wearying a plot and too miserable the consequences. (Tempted to write “If I wanted to watch East Enders . . .”) 
Right now, I’m barely listening to the show when it airs. I am imagining the script meetings where all the “possibilities” are loudly brainstormed, scenes where all the writers are so entranced by all the twists and options that they forget that their story-world has to feel credible. Have the once-many characters been written out because of budget cuts or did the actors walk? I am sure that I glimpsed an item on BBC Writers Room inviting new writers to submit their thoughts. Are we now listening to someone's mish-mash of all the ideas sent in? It's a mystery.
Blog: Jeanne's Writing Desk (Login to Add to MyJacketFlap)
JacketFlap tags: Poetry, Fiction, Art, Submissions, Creative Nonfiction, Scripts, Writing Competitions, Graphic Narratives, Add a tag
River's Edge Literary Magazine will hold a poetry contest and fiction contest with a $1000.00 prize for each. There is no entry fee. All submissions in these two genres will automatically be entered in a contest. The deadline for the contest and fall issue is May 10th.
Please submit here. to riversedge.submittable.com
River's Edge is a national literary journal of the southwest edited by members of the MFA faculty at the University of Texas Pan American. We are seeking the best unpublished short fiction, poetry, scripts, art work, creative nonfiction and graphic literature. Our editors accept work in both Spanish and English and everything in-between.
By: scriberess,
on 5/15/2012
Blog: A. PLAYWRIGHT'S RAMBLINGS (Login to Add to MyJacketFlap)
JacketFlap tags: play, playwriting, John Irving, scripts, screenwriter, BBC International Radio Playwriting Competition, BBC International Playwriting Competition 2012, Add a tag
Perhaps a solution to my dilemma is at hand and it's thanks to John Irving.
As a subscriber to playwriting discussion forums, it's interesting and informative to read other playwright's opinions on the craft. Subjects that focus on how they overcome barriers when working out plots and endings is of particular interest to me, at least at this point.
I've shared...make that bemoaned my 'ending' problem ad nauseum here in this blog, attempting to convert a what was written as a short play into an hour radio play in order to enter the BBC International Playwriting Competition. The beginning moves along nicely until reaching the middle stage, at which point one arrives at the realization that there is no ending. This is the point where I question whether to continue pursuing playwriting especially since none of my plays have been produced.
Reading through one of the forums, there was one of those "eureka!!" moments upon reading the opinion (and advice) of novelist and Academy Award winning screenwriter, John Irving, who shared his philosophy on starting a new writing project:
"I begin with endings, with last sentences -- usually more than one sentence, often a last paragraph (or two). I compose an ending and write toward it, as if the ending were a piece of music I could hear -- no matter how many years ahead of me it is waiting."
This got me excited thinking that perhaps this could be a solution to my"never-ending" dilemma or at least something worth trying. There are two possible plays that I'm toying with submitting to the competition. As aside my two-act plays wrote themselves as did my one and only film script. In my wedding play, it ended with a wedding in an unusual setting but I knew exactly the direction the play should go and how it should get there. Does this make sense? My "Gin..." play on the other hand, had a few changes along the way, while my children"s script wrote itself since it was based on a personal childhood experience.
Perhaps I should put aside what has been written and focus on producing sentences that could lead to moving in a new direction or even a new play. Look - if it's good enough for John Irving, it's certainly good enough for me.
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By: Jill,
on 3/29/2010
Blog: WOW! Women on Writing Blog (The Muffin) (Login to Add to MyJacketFlap)
JacketFlap tags: Jill Earl, Script Frenzy, scripts, scriptwriting, Add a tag
by Jill Earl
Novelists have NaNoWriMo, National Novel Writing Month. Bloggers have NaBloPoMo, National Blog Posting Month. The start of April later this week brings the fourth annual Script Frenzy for the aspiring scriptwriter.
Script Frenzy is a free international writing event where participants are challenged to write 100 pages of scripted material in the month of April, experience not required. No prizes are offered, but every writer that finishes receives a winner's certificate and accompanying web icon to proclaim your achievement. Any type of script is eligible: screenplays, stage plays, TV shows, short films, comic book and graphic novel scripts, adaptations of novels, radio scripts, whatever gets you scribbling.
Like its siblings above, entrants won’t be left adrift. Start with the ‘Writer’s Resources’ page to begin your pre-Frenzy prep with how-to guides and worksheets to map out your writing. Move on to the the ‘Writing Software’ page for advice on selecting the proper one for your needs. Peruse ‘Cameos’ for articles by industry experts. To get the juices flowing, hit the Plot Machine for script ideas like this one: “After waiting in line for a Wii, a near-sighted chemist must stop the space-time continuum.”
And when the Frenzy begins, don’t forget checking out the forums to network, ask questions, offer answers, see what’s up in your specific genre, discuss the latest tools of the trade, and many other activities.
There's still time to sign up. The festivities begin 12:00:01 a.m. April 1 and end no later than 11:59:59 p.m. April 30.
Script Frenzy’s tagline asks, “30 days. 100 pages. April. Are you in?”
I sure am. Let’s see how this baby turns out.
By: Ginger Nielson,
on 2/11/2010
Blog: Ginger Pixels (Login to Add to MyJacketFlap)
JacketFlap tags: errors, scripts, data map entries, Painter IX, Ginger Nielson, Add a tag
This image is pretty much 1/6 of a larger painting I was working on when I began having a problem with Painter IX.
Some of you may be using Painter IX or X and having this problem, so I have a solution.
and wouldn't you know it, there was my little script library window with several little boxes (scripts in progress) showing. 
Once that was showing I could select "SCRIPT MOVER" from the drop down arrow . Next all I had to do was delete all those little boxes, close and quit and I was back in the business of creating.
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By: BookEnds, LLC,
on 10/8/2009
Blog: BookEnds, LLC - A Literary Agency (Login to Add to MyJacketFlap)
JacketFlap tags: scripts, writing style, Add a tag
I know that most agents don't represent scripts for movies or TV, but how about if someone wanted to use script format as their novel's written format? For example, there are some novels that are written in diary or letter format. Could you use script format for a novel as well and make it sellable? Or would agents not want to represent a novel in that format.
Of course you have to know that there’s no answer to this question. It’s all going to depend on the execution. I think using some stylistic techniques from scriptwriting might be interesting in a novel, but in the end it is still going to need to read like a novel and not like a script. Scripts are difficult things to read for those who do not read them regularly. Unlike a novel, a script tells you what’s going on and what characters are doing, and while I’m not saying you can’t do that in a novel there is a reason scripts are novelized when a movie is made and not just published as is. Readers of novels like to become one with the story and feel the characters' movements and actions and not be told they are moving or acting.
All I can say is that if you think you have a unique idea for creating a different novel go ahead and give it a shot. If you’ve written a script and want to have it published as a novel without going through the effort of novelizing it, I wouldn’t bother. I strongly believe that wouldn’t work.
Jessica
Check out chapter 15 of Ulysses. That's the kind of novel most agents are looking for, right?
Anon 8:20
That the part with the vampires and the continual angst over teenage romances right?....hehe
Word verification - proasm: The bit about a spasm that feels oddly good.
It might be cool to have a protagonist going through a total cluster&%$& of an existence, and then show how he writes it into a screenplay, bit by bit? Definitely comedy/tragedy. But no, I couldn't read an entire book as screenplay.
Isn't MONSTER by Walter Dean Myers written partially in screenplay format? Won awards, too. I suggest that whoever asked this question have a look.
Slightly different, it wasn't a whole novel, but Richard Russo-his newest book-pulled it off geniusly. Mostly because his MC ( a former screenwriter) uses the script format in a scene to twist what really happened and what was really said btwn him and his wife. And then he comments how of course it didn't happen like that because life and novels are not like scripts.
Although I can appreciate the idea of using different formats w/in a book ie., the journal, the blog, poetry, pictures, etc., the screenplay format seems like the least effective form to chose.
Jessica hints at this in her explanation of what a screenplay is and I'll elaborate on that: nothing more, nothing less, it's an architectural rendering of a story. Every element in a script ie., INT. (tells you the scene is interior or inside - the location manager will need to know this, the light people, etc. ) to costume notes, to everything that is relevant to each department.
I suspect the question conceives of a screenplay more along the lines of what an audience sees in a theater ie., the actor, the lines, all that.
Bottom line: screenplays, even a very good one (they can have voice actually) still must fulfill very basic requirements for various movie making departments. There isn't much one can do with the screenplay format: its inherently inelastic (if that's a word) and resistant to creative impulses. I mean, would you want you builder to get "creative" with architectural blueprints for your home? No.
I was at a screenwriting conference in LA a few years ago, and one of the guest speakers David O Russell (director/writer) and he did his whole speech reading from a script, a script of his life. It was brilliant and funny.
I say dare to be different, if you can pull it off why not?
Stephen King's Storm of the Century was written as a screenplay.
I read it years ago and then used the book to compare with the movie. It was interesting to see but I'd not want to read all my books like that.
Actually, a well-written script is very minimal on what the characters are doing. There's just enough to understand the scene. Telling too much is a sign of a novice screenwriter -- or one who wrote novels first! Rule of thumb: Don't do the directing for the director, nor the acting for the actors. You're giving them a guide, and it's up to them to interpret it. If you want more control, write a novel. :-)
I think it would be an interesting format, but I'd have to read it to be really convinced. I feel as though scripts should be for the screen only because they're the bare skeleton of a story that's fleshed out by the director and the actors. It might be too bland for a novel.
I think it sounds like an interesting format, if it's done really well. I agree that screenplays are hard to read for those not used to their specific format. But done right, I do think it could be good.
Perfect answer, Jessica.
It would take real genius to pull it off, but it might be fascinating.
I remember reading a R.M. Koster's novel, The Dissertation, and being utterly intrigued. The novel takes place in the extensive footnotes of a passable, actual disseration.
As someone who has been paid to write screenplays and is now writing novels, I think this idea is really weak. So many people think that writing screenplays is easier because there are fewer words and they've seen so many movies, that they can just "see" the story in their head.
But in fact it's a separate art in itself. It is not a shortcut to a novel.
Don't get tricky with yourself, said one who has done this too many times. Just write a good novel.
i really dont think it would work either. i dnt really understand the whole concept of doing that to make the novel better but i mean i really dont think it would work out well
Don't alter the format of the manuscript to try to save it.
Either make it a better manuscript by doing what everyone else does: rewrite, rewrite, rewrite. Or start a new one. This sounds too much like an excuse.
Don't alter the format of the manuscript to try to save it.
Either make it a better manuscript by doing what everyone else does: rewrite, rewrite, rewrite. Or start a new one. This sounds too much like an excuse.
I like your answer here, Jessica.
This format, in particular, strikes me as a hard one to pull off. It's hard on the reader to have constant breaks in the reading trance. Also, the reader here would have to do alot of work visualizing things that are usually described...But if an author could do it - it could be really fun.
Having spent a whole college quarter attempting to turn a novel into a screenplay - my recommendation is - don't try it. Two different mediums. Two different ways of presenting a story. Two different audiences.
Again - TOO different mediums.
Please focus on the story then present it in the right medium to reach the audience most interested in the story.