THE

INSIDE
GUIDE TO
PLAY
WRITING
 Introduction by 02
Hannah Khalil
Playwriting 06
exercises by
Sonia Jalaly
Artist profile: 12

CONTENTS
GUIDE Isabel Hague
Guide compiled by
Euan Borland Artist profile: 16
Photography Credits Temi Wilkey
Ben Carpenter
Abby Dunlavy
Rachel Hague What your script 20
Manuel Harlan
Sarah Keeling should look like
Helen Murray
Richard Saker
Naomi Woddis Artist profile: 24
EDUCATION & COMMUNITY Sabrina Mahfouz
Director of Education & Community
Hannah Fosker Artist profile: 28
Education Manager
Euan Borland Vinay Patel
Young Person’s Programme Manager
Naomi McKenna Lawson
Education & Community Coordinator Further reading, 32
Kate Lawrence-Lunniss
Education & Community Intern watching & listening
Annys Whyatt

With generous thanks to Old Vic staff Glossary of terms 34

and associates

If you would like to learn more about our Opportunities 36

education programmes please contact
[email protected] & next steps
2 Back to Contents page 1
INTRODUCTION At what point can you
call yourself a writer?
Is it about how many
words you write a day?
Or if you’ve finished writing
on a date. He was nice but I wasn’t
interested. This someone told me if I kept
turning down offers of dates from nice
blokes, I’d end up old and alone. I was really
angry. But I couldn’t find the words or the
that play? Or does it have confidence to argue with her. So, I sat down
to have been produced? and wrote a little play. And that helped me
Or is it about if you’ve a lot. I mention this because writing for me
earned any money from has become what that first play was: a way
writing yet? Or the number to try and understand the world and other
of plays you’ve written? human beings and why they do the things
Or if you’ve won a prize? they do. A way to try and understand how
BY HANNAH
I feel about things that happen to me, and
These are just some of the questions that people I love, and come to terms with it.
used to make me feel rubbish about myself A kind of therapy I suppose. Which makes
and whether or not I could/should write it sound like my plays are probably really
when I started out. My advice now after lots boring, but I hope they’re not. And if they’re
of years of writing is none of these questions not it’s because I really think hard about
matter. All that matters is if you want to write, why something I’m writing is a play
then you must write; and if you fancy giving — as opposed to a short story or a film
it a go but you’re unsure — go on, try. or a novel or something else.

I’m a playwright, my name’s Hannah Khalil As I said above, I don’t believe in formulas
and I’m going to talk a little bit here about in writing. I think formulas are for maths.
my ideas about writing and why I write and I like maths. But playwriting is absolutely
how. One of the few things I am sure about not maths. Well not the kind of plays I want
in this world is that every writer is different, to write or see anyway. So, if anyone tells

PHOTO: RICHARD SAKER

KHALIL

and no one has the answer or the formula you they have the answer of how to write the
to how to write a good play. But more perfect play I’d be very suspicious indeed.
on that in a moment. Here are some things Because there is no perfect play, there’s
that should not stop you writing a play: only the play you want to write in the way
you want to write it, and anyone who wants
1. T
 here’s no one who writes the kind to help you create your play, like a director
of things you would (either in terms for example, should be helping you find out
of the story, or who it’s about, or the what and how that is rather than imposing
language, or the style) what they think you should be writing on you.
I’ve been lucky. This is going to sound mad,
2. S
 omeone tells you you don’t have the but I’ve had so much rejection and that has
right qualifications or you’re from the been — ultimately — a good thing, though
wrong background it didn’t feel like it at the time.

3. Because you are scared You see I couldn’t afford to do an

educational course in playwriting. After
On the contrary, these are absolutely my stint in acting, I knew I wanted to write,
reasons you should write. so I just did it. Evenings, weekends, after
work. I wrote lots of bad plays and gradually
I wrote my first play after a difficult they became less bad. I met a lot of people
conversation with someone who heard who were interested in my background and
I’d turned down this guy who asked me my writing, but who didn’t think I was a writer

2 Back to Contents page 3

for lots of reasons. I never got to the bottom All my plays are very different in style, A writer of Palestinian-Irish
of that — I suspected sometimes it was influenced by many other writers and plays/ heritage, Hannah was the
my age. Or my gender. Or my background. films/TV shows/books, however, in all recipient of the Arab British
Or that I wasn’t writing the kind of things of them I’ve asked myself two main things: Centre’s Award for Culture
or characters, that they were used to reading. in 2017.
Or that they expected someone who wrote 1. W
 hat’s the central question I want
my play to look differently from the way I look. to explore in this play? For example, Her stage plays include the
that first play I mentioned after the acclaimed Scenes from
There’s a huge amount of courage ‘you should go out with that guy’ 68* Years — shortlisted for
needed to be a writer. First you have nonsense, the question there was the James Tait Black Award —
to be brave to put pen to paper. Then you ‘Can humans survive alone?’ and Interference for National
have to be courageous to show it to anyone. Theatre of Scotland. Her new
2. W
 hy is it a play — what will make
Then you have to grit your teeth to hear play A Museum in Baghdad
it special and particular to theatre?
it read for the first time and once you are will open at the RSC in
sitting in an audience who have no idea October 2019.
(or care probably) that you are the writer I always feel if I can do those two things
— well, if you get through that you feel in anything I’m writing I’ll be on the way Hannah’s radio plays include
like Hercules. to making it work — for me. And if it works Last of the Pearl Fishers and
for me it might just work for an audience The Deportation Room for
Yet the most important first step (once — that is if it’s the right creative team, the BBC Radio 4.
your play is written) is to show it to people. right actors, directors and other creatives.
Plays are not written to sit in drawers. They Whether in a reading in my sitting room She has read scripts
need actors and a director to breathe life or sat in the audience of a theatre. And for The Bush Theatre,
into them. You can submit your plays for it’s in that moment when I think ‘YES! That’s Donmar Warehouse,
the many available playwriting competitions it — even better than I heard it in my head…’ Soho Theatre and Tinderbox
— though this can be a dangerous game. that those questions I mentioned at the start Northern Ireland. Hannah is
Some charge for entry (I’d advise against subside a little — because in truth they never currently under commission
entering any that do) and you can end entirely go away — and I really feel like to Shakespeare’s Globe in
up in a rollercoaster of hope and a writer. London.
misery living from deadline to shortlist
announcement, as I did for many years.

What I ended up doing was gradually

making friends with an ever growing and
changing group of actors and creatives,
(including a brilliant director) many of whom
share my cultural heritage so understood the
stories I wanted to tell and the way I wanted
to tell them. I’d invite them round for dinner
when I had a new play, then ask them
to read it out for me and we’d talk about
it. In time this wonderful group ended
up being involved in fringe productions
of my plays, and most of them I still work
with now. It was a long process but one that

PHOTO: BEN CARPENTER

helped me make the plays I wanted to write.

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 The hardest part of writing EXERCISE:

EXERCISES BY
a play can be making a TURNING A NEWSPAPER
start. INTO A PLAY

There are lots of places a playwright can 1. T

 ake the front page of a newspaper that
look for inspiration. Paintings, photographs, catches your eye
PLAYWRITING

SONIA JALALY
newspaper articles, conversations overheard
on the bus, dreams, memories, history books,
and anecdotes, anything that sparks your
imagination and makes you want to find out
more can be the source of your play.

A lot of writers spend their time listening

to and soaking up everything that goes
on around them. Try it next time you’re out
and about. Listen to people’s conversations
and the things they talk about, big and small.
Notice the way people speak, the rhythm
of it, the way they behave when they’re
angry, when they’re nervous, when they fancy
someone, when they’re sorry. Notice as much
as you can and write down the little bits
of gold that grab your interest. The more you
get to know the way people behave in real life,
the more real your characters will become.

In the meantime, while you’re hunting for your

PHOTO: SARAH KEELING

own ideas to explore, here’s an exercise you
can use to help find inspiration from a source. 2. S
 et a timer for three minutes and write
as many questions as you can about
anything and everything on that front
page. Ask about the who, the what, the
why, the where and how of everything.
For example, if I took the above front
page, I might ask the following questions
below:

— Who can buy a house?

— What did the moped mobsters do?
— Where does the term ‘girl next door’
come from?
— Why was Jeremy Kyle so popular?
— How did the ‘Iraq war boy’ find his
mum?

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3. F
 rom those questions, we already have EXERCISE: FREEWRITING To do this I like to start with a narrative to decide yes or no, it’s much more black and
five different starting points for five 1. Grab a piece of paper and a pen and find question, a difficult question with a yes white and so to find the answer the play will
different new plays. A play about the a comfortable spot you can write in. You or no answer that your play is trying to find have to search around in that murky grey area.
housing crisis, a play about mobsters can do this in silence or with some music the answer to.
on mopeds, a play about what it means on in the background. Everyone works Have a go at coming up with your own
to be the ‘girl next door’, a play about differently so get to know what’s best EXERCISE: narrative question. If it’s a tough question
reality TV and a play about reuniting for you NARRATIVE QUESTION to ask yourself then it’s worth trying to find
families. Look through all the questions Think about the subject of your play — the answer to.
you’ve come up with and choose one 2. S
 et a timer for four minutes on your what you want to write about.
that excites you the most phone CHARACTERS
For example, I started with the front page If your narrative question is tough to find
4. N
 ow get researching. Find out everything 3. W
 rite ‘I want to write about…’ at the top of a newspaper, I zoomed in on an article an answer to, then ultimately that’s your
you can. If something grabs your interest of your page and then just keep writing about homeowners and property buyers, characters’ problem, because they’re going
and takes you down another path, that’s without stopping until the timer runs out I researched who can buy a house and after to be the ones dealing with the fall out.
fine too. The idea is to look for something all that I decided I wanted to write a play
you are interested in and want to find Write quickly and messily, you can make about the housing crisis. But what makes an interesting character?
out more about spelling mistakes, don’t cross anything out,
don’t correct anything, don’t worry about full Now I need a narrative question. Remember: Flaws — real people are flawed, so your
5. C
 ollect all your research together in one sentences or punctuation and whatever you characters should be too. Take Hamlet.
place — quotes you found interesting, do don’t stop writing. If you get stuck just It has to be a difficult question to If he was just a perfect man who’d lost his
photographs that caught your eye, write ‘I want to write about I want to write answer. father, then the play would be very simple and
people you want to write about, etc about I want to write about’ until something we would always be on his side. But add
else comes out. For example, if I decided my narrative question in the fact he’s selfish and treats Ophelia
6. Now complete this sentence: was going to be ‘Should everyone have badly and our feelings towards Hamlet
‘I want to write about…’ It does not need to be good and it does a home?’ then I already know my answer become a lot more complicated.
not need to make sense. This is just for is yes, I think everyone should have a home.
7. Y
 ou have the subject for your play! you, so surprise yourself with what comes There’s nothing difficult about this so I’m not Wants — the thing your character wants
Now it’s time to get creative… out and let your brain wander. feeling particularly driven to write the play. is the thing that drives them throughout the
play. The want should be a tangible thing.
THE BLANK PAGE 4. Now you’ve made a start! Read through But what if I said, ‘Would you do anything In Hamlet’s case — I want to kill the king.
A blank page can be scary. Sometimes writers what you’ve got. Is there anything that for a house?’ Now I’m thinking about
feel pressure to write something ‘good’ surprised you? Is there anything you characters that are in a difficult situation. Needs — this is different to what the
and that pressure is absolutely rubbish for might want to explore further? Is it just Characters that want a house but have character wants and is defined by what
creativity. So, let’s get rid of it straight away. complete chaos on a page? Whether to do something they don’t want to do to get the character is lacking — what their flaw
your scribbles are useful or not, the best it. The question creates conflict, something is. Hamlet’s flaw is that he’s selfish so for him
Before a runner runs, they stretch; before thing about it is that you took a risk and every good play has in one way or another. to genuinely change and succeed, he doesn’t
a singer performs, they sing scales. This wrote something. The more often you need to kill the king; he needs to learn
is called warming up and even writers take that risk, the more chance you have It has to have a yes or no answer. to be selfless.
do it sometimes (although a writer’s warm of finding gold
up is a lot less physical!). While researching the housing crisis I might Obstacles — the things that get in the way
QUESTIONS, QUESTIONS, have started to ask myself, ‘how can there of your characters getting what they want.
The next exercise is a warmup that can QUESTIONS be homelessness when there is so much In Hamlet’s case there are lots of obstacles
get you started and get some words down Different playwrights have different techniques money in the world?’ But this doesn’t have that delay him from killing the king. When
on that scary blank page. for how they write plays. When I write a play, a yes or no answer, so it’s not making me, he first goes to do it, he finds the king praying,
I like to learn something. I like to start from or my characters, or my audience pick a side. then he mistakenly stabs Polonius instead,
a place of uncertainty and then try my best then he gets sent to England. All these
to find some answers by letting the characters But what if I said, ‘Would you give up your obstacles create conflict which makes
struggle with the questions. lifestyle if it meant someone else could have for an interesting play.
a house?’ This becomes trickier. We have

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Voice — people speak in different ways. THE JOURNEY OF A SCENE A changing their tactic and asking ‘why?’ Sonia is a stage and screen
It’s not just the tone of voice that make A scene is the setting of an event. Something is the change. And B saying ‘ok’ and agreeing writer and practitioner from
people sound different, it’s the way they happens. A change occurs. Writers say that to jump is the resolution. Manchester.
speak as well — the things they say, the if a scene is not changing the course of a play,
words they use, the rhythm, the turns then it has not earned its place in your play. It’s not going to win an award, but this scene does tell She has devised, written
of phrase. You should be able to tell who This change gives you the journey of a scene. a story, and it does it in only six words. We can read and performed work with
is speaking from a line itself without having Your characters start somewhere, something all sorts of things into this scene — A has the power, companies including CBBC,
to look at the character’s name. Capturing happens, and they end up somewhere else. B doesn’t want to jump, A really wants B to jump, Kiln Theatre, Paines Plough,
the voice of character on the page is tricky As a result, they are changed. This is often etc. None of this is said explicitly. Instead I show the Company Three, Hull Truck
but will help the actor playing the part bring called the narrative arc or the story arc. audience what is happening, rather than telling them. Theatre and Battersea Arts
it to life. Centre. Her debut solo show,
Now it’s your turn. Keep in mind your narrative Happy Birthday Without
Every character in your play should have Change question, find the change and the resolution and You, toured to the Greater
all these things. Even the small ones. To get remember show don’t tell. Manchester Fringe Festival
you started, here’s an exercise that can help in 2014 (where it won the Best
you get to know your characters a little better. EXERCISE: WRITE A SCENE Newcomer Award), Edinburgh
Now it’s time to turn your mini scene into Fringe Festival and
EXERCISE: CHARACTER a bigger scene. Remember everything you’ve Kiln Theatre.
QUESTIONNAIRE already found out about your characters from the
Answer the following questions as each Set up Resolution questionnaire, their wants, their needs, their flaws, Sonia was selected for the
of your characters, in the first person. Try and etc. and write the scene again, this time in 12 lines, BBC Writersroom Comedy
be as detailed as you can, the more you write This shape of a scene is echoed in the shape six lines each, with as many words as you want. Room in 2018 and has since
the better you’ll get to know them. of a play. The story is set up > changes occur written on CBBC shows
> the characters have to find a resolution. TIME TO WRITE A PLAY including Class Dismissed
1. W
 hat is the trait you most dislike So, once you’ve cracked the structure You have your research, your narrative questions, your and The Amelia Gething
in yourself? of a scene, you’ve cracked the whole thing. characters and you even Complex.
have a bit of dialogue. You have all the ingredients for
2. W
 hat is the trait you most dislike in other EXERCISE: ONE WORD a great play. Make yourself Alongside her screenwriting,
people? DIALOGUE a plan, think about the arc of your story and then get she is also developing two
Take two of your characters and write a scene cracking. new works for stage, Bits,
3. What’s your most treasured possession? of six lines, one word per line. Here’s an with her company PaperMash
example: And remember, just like with the freewriting exercise, Theatre and the support
4. W
 hich word or phrase do you most it doesn’t have to be good, you’re just learning. But of the Wellcome Trust, and
overuse? Character A Jump Set up you’ll never know if you don’t give it a go, so take the one woman show, Oh We Do
risk and go can find that gold. Like To Be, with HighTide.
5. What is your greatest fear? Character B No

6. When were you happiest? Character A Why?

Change
7. What does love feel like? Character B Please

8. If you could edit your past, what would Character A Jump
you change?
Character B Ok Resolution
9. W
 hat single thing would improve the
quality of your life? I took the narrative question ‘Would you do
anything for a house?’ as my starting point for
10. How would you like to be remembered? this scene. A telling B to jump is the set up.

10 Back to Contents page 11

 HOW DID YOU GET I enjoy writing about struggles within
INVOLVED WITH NEW VIEWS? families. I find the structure of a family
I heard of New Views through my college rather inspiring when creating my work
when the head of the drama pathway and because they tend to involve a large amount
mentor of New Views, Katy James, first of depth and secrecy. Families often seem
mentioned this project. From this point so idealistic; however, every family has
it was explained that this was a competition complexities and unique struggles.
set by the National Theatre, which I was
stunned by because obviously it is such WHEN YOU WROTE
a well-respected theatre. Then it was YOUR FIRST PLAY WHAT
mentioned that the winning play would be CHALLENGES DID YOU
produced at the National Theatre in London FACE AND HOW DID YOU
and I was completely inspired and on board. OVERCOME THEM?
Initially I felt very overwhelmed that
WHAT DO YOU LIKE ABOUT I needed to ‘write a play’ because that
WRITING? statement, for me, seemed like an undeniably
I particularly enjoy using writing to take scary privilege. I wanted people to watch my
a seemingly insignificant moment in time and piece and hear the words like a conversation
magnifying and developing it. I find writing they could have overheard or remind them
very satisfying. People often ask me if I find of a situation that had once happened
PROFILE:

my own writing pleasurable to read and to them.

I do. The work I create is full of my memories,
my unique energy which is created from I overcame the issue of feeling my work was
my own passion and a storyline which false by basing a large amount of my work
I believe is significant. Now I have emerged on real life. I added depth to my writing and
into the world of playwriting, I find that found the development of my characters
ISABEL
HAGUE

I listen to the words differently when so essential to the credibility of my work.

ARTIST

PHOTO: RACHEL HAGUE

watching a play because I can truly I created character documents, added
appreciate the process, passion and pictures and wrote monologues to fully
personal drive behind them. I feel honoured evaluate the characters. It is so important
to be able to address all the topics I believe to look into how individuals interact with
need to be heard and present them each other and how true characters aren’t
in my own way. With playwriting, there simply defined by one personality. I also
is such a power as you give the listener, found it difficult to cut down my script
or reader, the journey with a design to an appropriate length because through
completely by you. People who watched the time you become attached to your work. It got
first play I wrote, If Not Now, When?, asked easier as I learnt cutting work isn’t getting rid
me questions about what happened next of pieces; it’s more like shaping the pieces.
and it was such a unique feeling. Writing
gives a great power because the writer WHAT WAS IT LIKE SEEING
can decide if you laugh or cry, decide what YOUR PLAY PERFORMED
conversations you have that day and either BY PROFESSIONAL
give you the ending you wanted or hoped ACTORS?
to avoid. Creating a production has so many stages
and technically, I’m just one of the early
WHAT DO YOU LIKE TO steps. I knew this meant my work would
WRITE ABOUT? be heavily shaped and that is something
Over time I’ve realised through reading other I was nervous about. Although I didn’t know
plays and developing my own work that what to expect every moment throughout the

12 Back to Contents page 13

process was amazing. Watching the Isabel Hague is 16 years old
talented actors perform my work and being and currently training at CAPA
able to connect with people who were (Creative and Performing Arts)
just as passionate about the industry College, Wakefield.
as I am can’t be put into words. Taking part
in New Views was a complete privilege and Isabel’s friends describe her
having the honour of listening to my own as spontaneous, a leader,
words, memories and thoughts spoken witty and an all-or-nothing kind
by those with so much experience and of person.
personal perspective behind each line
was mesmerising. Isabel won the National
Theatre’s New Views
WHAT ADVICE WOULD competition and her play,
YOU GIVE TO SOMEONE If Not Now, When?, was
STARTING OUT? staged at the National Theatre
I know it seems cliché, but honestly write in July 2019. She is currently
about what you care about; what you find working on her second play.
funny and what makes you cry. Don’t try
to emulate others. In a lot of pieces of work,
and good pieces of work in my opinion, you
should be able to hear a lot of the writer’s
voice. That way the writing is constantly
personalised and driven through passion.
Feel proud of what you write because every
word is valuable as it shows perspective,
and every perspective is unique.

IS THERE ANYTHING ELSE

YOU WOULD LIKE TO SAY?
As a young female living in a northern
working-class area, I am aware that I don’t
have the same opportunities available
to me as other individuals living in the south.
I don’t want to seem pessimistic and blame
all success of others on their postcode,
because everybody is worthy of a career.
However, it can’t go without mentioning that
it is obviously much harder for the leading
UK performing projects to hear a voice miles
away when there’s hundreds next door.
Having this opportunity was so refreshing
and a real triumph; not only for me, but
also for the community I’m proud to live
in. I feel honoured to be able to address
what I believe is relevant, and through

PHOTO: MANUEL HARLAN

my northern female voice.

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 HOW DID YOU GET INTO I then met this amazing person called
WRITING? Tom Wright (Head of Artist Development,
I always wanted to write. I applied to lots The Old Vic). Tom did a call out for LGBTQ+
of universities and one of the courses writers for these rehearsed readings
I really wanted to get on to was English he was producing. Tom encouraged
and Creative Writing but when I didn’t get me, helped me re-draft my play and put
in, I went and did English and let the creative on a rehearsed reading. From there, the play
writing part of myself go. I became an actor was programmed by the Bush Theatre.
after university, and I think I still wanted
to write but I wasn’t listening to that part WHAT IS YOUR PROCESS
of myself. LIKE?
When I start on a scene, I’ll write it in pen
I found out about the Royal Court Writers and paper first and it’ll be terrible. But that’s
Group through Twitter. The Royal Court OK. I’ll make sure it’s not in a nice book,
have a writer’s group for people who are so it can look scruffy and rough, and
‘playwriting big dogs’ but they also have an no one will ever see it. I’ll then type that
intro group. So, when applications opened, up and as I am typing, I’ll make small edits
I thought ‘let’s do it’. They only asked for to improve it. I’ll then edit the scene
ten pages for your submission to get into in more detail in its own document and then
the group; that could be ten pages from a eventually when it’s starting to take shape,
PROFILE:

script you’d already written, or it could be I’ll put all the scenes into one document.
ten pages that you’d written just for the
application. That was really encouraging and For my first play I researched as I went.
felt manageable. I sent off my ten pages and A lot of it came from my own experience and
I got in. It’s a ten-week course with weekly my relationship with my family. I was thinking
sessions. At the end you write a play which a lot about queer lineage and what it means
WILKEY

you submit, and they give you feedback. to have another group of people who you
ARTIST

PHOTO: ABBY DUNLAVY

call family. Some of the ideas that gave birth
It was really amazing having other writers, to the play came from a book I read ages
or people who are trying to write, around ago as research for something else. I’d been
you. I learnt a lot from the course leader but looking at what people believed before
actually so much of what I learnt was from colonialism in Nigeria, the Yoruba Gods and
the other people in the group. One of the the cosmology. The play came out of the
things I found really useful came from my marrying of those two things.
TEMI

friend John King — he used to talk about

how he writes loads of stuff that he knows WHAT DO YOU LIKE TO
won’t go into the play. He calls it ‘writing WRITE ABOUT?
into nothing’. It opens you up and you learn I’m interested in queer stories, forgotten
more about your play. I found that so useful histories, and feminist stories. But I don’t
because I’m a different kind of writer and I’m sit down thinking I want to write a particular
ruled by structure. Just hearing how others type of story. It’s more like something
write really helped to release me. Having will strike me; I might see someone and
networks of writers is really important. Every be interested in what they’re going through.
time I speak to a writer, I feel really excited Or I might be struck by the way someone’s
and empowered. phrased something when they speak.
It’s hard to pinpoint because it’s quite
organic.

16 Back to Contents page 17

WHAT WAS HELPFUL TO WHAT ADVICE WOULD Temi Wilkey is an actor and
YOU IN YOUR JOURNEY YOU GIVE TO SOMEONE writer from North London.
AS A WRITER? STARTING OUT?
The Royal Court Writers Group was really, Look out for where you can submit your She was a member of one
really helpful. I don’t think I would have written work. The Bush Theatre, Royal Court of the Royal Court’s
my first play without it because there were and Hampstead Theatre all have regular Introductory Writer’s Groups
nine other people going through the open submissions. There are also loads in 2017 and is a current
same thing and we could all message of scratch nights and short play nights going recipient of the High-End
each other on WhatsApp and freak out on, so look out for those. You can use Television Levy Writer’s
about our deadlines! Also, people being a short scene from your play rather than the Bursary Scheme, developing
really encouraging. I submitted my play whole thing. People who watch that kind her first TV pilot under the
to Theatre503 and someone I bumped into of thing are more likely to chat to you after mentorship of Lucy Prebble.
had read my play and told me he thought they watch it and see if they can help you.
it was really good. You spend so much time Literary departments want you to email Her debut play, The High
thinking on your own, thinking what you’re them and ask to meet up. A literary Table, will be performed at the
writing is rubbish, so it’s so nice when department’s whole job is to look for new Bush Theatre and Birmingham
someone encourages you. It keeps writers so contact them and ask for advice Rep in 2020.
you going. or ask to meet up with them. It takes
a lot of confidence but it’s a useful thing
HOW DO YOU STAY to do. Try and meet producers or get
MOTIVATED? to know producers who can help you
I try to remember why I started writing fundraise or get a rehearsed reading
in the first place. Some writers will stick together.
a sentence about why they are writing this
play on their laptop to motivate them. When I finished the Royal Court Writers
Also, it’s important to give yourself breaks. Group, they encouraged us not to jump
Sometimes I’ll do ‘quick writes’ where I’ll into another writers group. They said that
write solidly for 45 minutes to an hour and ‘the most important thing for a writer to
then have a ten-minute break and go back do is write’. No matter how scary that blank
to it. It helps having a mini deadline. page is you just have to start. No matter how
grueling it is or how rubbish you think
WHAT CHALLENGES HAVE it is, it’s important to keep going. And it’s
YOU FACED AND HOW DID really important to know that it’s an exciting
YOU OVERCOME THEM? time to be a playwright. You are stepping into
I think facing rejection has been a challenge, something that’s really exciting and if you’re
especially because I get enough of that good it will give you lots of opportunities.
as an actor. Not hearing back from things
is hard but you get used to it. When I first Often, we see the same kind of people and
started sending out my script I thought, the same kind of stories on stage but for
‘Oh no, I’ve just opened myself up for another me the best kind of theatre makes me feel
type of rejection!’ I think it’s about recognising like my life is important. And that everyone’s
that you might not be at the stage in your life means something. Remember, your story
writing career to get the opportunity that is worthy of sharing. It’s worthy of being
you’ve applied for and that’s OK. Everything is elevated to a platform that everyone can
a journey and it’s building you towards better see, whether you are working class,

PHOTO: BEN CARPENTER

things that will come around eventually. or queer, a person of colour, disabled,
or trans. Whatever perspective you have on
life, people and stories, it’s more than worthy
of being watched, seen and listened to.

18 Back to Contents page 19

 There is no definitive way
to format your script but On your title page make sure to include the title of your play and who it has been
the following is an example written by:
of a standard format. Play

SHOULD LOOK
around with the format
to best suit the story you
want to tell. Example Format
The most important thing by A. Writer
is that your script is clear
and legible to other people.
WHAT YOUR

If you are submitting your play for a competition or to a literary department you
may also want to include contact information on this page. For example:

Contact Address:
Email:
Phone Number:

Characters
SCRIPT

CHARACTER ONE Here is where you can give your director

and actors a short description of each
character.

CHARACTER TWO Think about the key information you

need to include here that may not be
obvious from the text. That could be the
characters age, ethnicity, occupation
or relationship to another character.
LIKE

CHARACTER THREE Keep it to the basics and don’t overload

this section with too much information.
Leave room for interpretation.

20 Back to Contents page 21

 Setting ACT 01
Scene 01
You can open your play with a description of where your play is set to help the
reader visualise what they would see on stage. It’s up to you how specific you
want to be.
You may want to break your play down into scenes and acts. This is useful
You could leave it entirely up to the reader’s imagination or be specific, depending if the action takes place in more than one location or time period or if you want
on how naturalistic your story is. to include an interval in the middle.

Things to consider might be: the location of the play or first scene, important items CHARACTER ONE: Make sure you start each line of dialogue with
of scenery, what year the play is set in, what time of day it is, if anyone is already the character’s name on the left hand side of the
on stage when the play begins and what they are doing. page so we know exactly who says what

CHARACTER TWO: Put each new line of dialogue on a new line

If you are including stage directions make sure to separate them from the dialogue.
You could put them in italics to make it clear these lines are not to be spoken.
Keep stage directions short and only include key information.

CHARACTER THREE: T
 hink about ways in which your formatting can
aid an actor in performance. For example if two
characters speak at the same time, you can
use a /

CHARACTER ONE: / To indicate that these lines should overlap

CHARACTER TWO: If a character is interrupted when they’re

speaking you could use a —

CHARACTER ONE: Or if a character is unsure what to say next

you could end their line with…

CHARACTER THREE: Don’t be afraid to experiment with your layout.

If you are unsure if something is clear or not ask
someone to read your script to see if it makes
sense to them

Make sure to highlight when a scene has ended. A common way to do that is with
a…blackout.

Remember to include page numbers to help your reader.

22 Back to Contents page 23

 HOW DID YOU GET INTO and within that, I personally am all for the
WRITING? so-called ‘preaching to the converted’.
Short answer is — through reading. From It can be isolating holding opinions that seem
the moment I could read I was rarely without to be derided in mainstream media and
a book and that carried on through my life. if people read or watch work which shows
Even when I was out raving, I’d have a book those opinions are held by others which fosters
for the morning train, tube or bus ride home! a sense of solidarity, however tenuous and
I think that whatever form of art you want momentary, that is incredibly important
to create and put out into the world, it’s to me; writing is not only a form of activism
essential to be consuming that form yourself, when it is changing minds. It also does
experiencing it in all its different levels and not need to be activism to be important.
genres, knowing what you like and what you Writing is one of the only tools we have
don’t, what you’re not seeing that you that is still available to us no matter what
want to see. our backgrounds, even though obstacles
to being able to do it, especially professionally
WHAT DO YOU ENJOY or publicly, of course do exist and those who
MAHFOUZ ABOUT WRITING? wish to maintain the status quo have long seen
I enjoy having an outlet for the build-up the power of writing as both a threat and a tool,
of thoughts and concerns and anger and so it is not always used in a positive way, even
fear and hope and joy that accumulate over within the creative arts.
PROFILE:

a day, a year, a life. I feel privileged to be able

SABRINA

to give other people that outlet if they don’t WHAT DO YOU LIKE TO

PHOTO: NAOMI WODDIS

enjoy writing themselves, that they can feel WRITE ABOUT?
empowered by telling their stories through I mean, really, anything that falls into the
my writing which then in turn gets told through context of what we’ve been talking about.
other people and so it goes. I like having Liking something isn’t a prerequisite for writing
access to imaginative recovery — in that about it. I don’t like football, for example, but
ARTIST

I can rewrite things which have historically I loved writing about Emma Clark, the first
been represented in a way I am furious about, known black British footballer from the 1880s,
or not been culturally documented at all. and women’s football from then to the present
That is certainly one of my biggest motivating day. It’s easier to say I don’t like to write things
factors in wanting to keep writing — you that feel like a distruth; there’s enough of that
do need a few of those strong motivating outside the arts, why bother?
factors to push you through the terrible pay
and atrocious work/life balance if you become HOW DOES YOUR POETRY
a full-time writer. INFLUENCE YOUR
PLAYWRITING?
WHY IS WRITING It’s inextricable I suppose. Most of my plays
IMPORTANT? have started off as a poem in some way
For me, a huge part of its importance is the or another. The rhythmic, lyrical way I like
rewriting of life stories and events that have to write is my version of planning — I let the
been misrepresented, ignored, side-lined, rhythm lead the way through the plot much
silenced. It is in being able to document of the time and then have to go back to make
cultural movements and moments in creative it a bit more sensible!
ways that sometimes can have more impact
than if they are only documented academically WHAT IS YOUR WRITING
or journalistically. In these highly divisive times, PROCESS?
it also feels important to share experiences and Completely dependent on time, money and
encourage genuine connection between us all childcare! If a project has enough of a fee

24 Back to Contents page 25

to allow me to plan, plot, research, ponder helped. I became pretty militant with but always be open to the fact that they are Sabrina Mahfouz has
— then I will. If it doesn’t, then it has to get an hourly day schedule of what I had to do from there and you need them. Join a writer’s group recently been elected
done in bursts on my phone, on voice notes, morning til night. I had to see my friends less, — locally, at a theatre, a library. Wherever a Fellow of the Royal
on post-it notes, to the soundtrack of Peppa be less spontaneous, take little time off, and whatever the aims of it are, I think they’re Society of Literature and
Pig — there is no way a working class writer be constantly lining up new projects once one essential at the start. is the recipient of the 2018
mum who is yet to make a fortune can just started, juggle around six to ten projects King's Alumni Arts and
be precious about process! I generally think at different stages at any one time. I hope that Go to see as much free or discounted Culture Award.
of this as a positive, but I’m not going to lie isn’t a permanent scenario, but it’s the only way theatre as possible. Most places have good
— one day I would love my process to involve I’ve been able to make it a financially viable deals and lots of organisations give out free She has won a Sky Arts
impeccable interior design, integrated Sonos career. Finding the confidence to consider tickets to young creatives. Read all the scripts Academy Award for Poetry,
speakers and a sea view! myself a writer, to push myself to put my — the Bush Theatre and National Theatre have a Westminster Prize for New
writing out in the world, came mainly through shelves of them, and most libraries at least Playwrights and a Fringe
HOW DO YOU STAY anger and frustration. The first time I did have a few contemporary scripts in stock First Award for her play
MOTIVATED? it I was desperate to write my way through — if they don’t you can request some. Chef. Her play With a Little
By taking on projects I care about. This my experience of working in strip clubs If you are specifically thinking about writing- Bit of Luck won the 2019
is a luxury that has come with experience and for five years and to challenge what performing, I’d say don’t even bother with Best Drama Production
higher wages. When I started out, it was less I was seeing written about them at that time. anything that you are not completely obsessed at the BBC Radio and
of a choice — if they were paying, I was taking. Focusing on something outside of myself, with, because the energy, the effort, the time Music Awards. She also
But I realised I’d rather work other jobs and whilst also a part of my experience, was really and life it takes from you to do, if it is going writes for children and
only do the writing I care about, because helpful and once I realised how supportive to work, it has to be able to sustain all of that, her play Zeraffa Giraffa
to do writing I didn’t care about was other writers were, it became less and less you can’t be half-hearted about the subject won a 2018 Off West End
soul-crushing in a way that other jobs weren’t of an issue. matter. So be honest with yourself, really, Award.
because they were just jobs — not that they really honest.
didn’t have those moments too, but it became WHAT HAS BEEN HELPFUL Sabrina is the editor
a balancing act. Financially, it still can be one, TO YOU IN YOUR JOURNEY Don’t be scared of DIY. Almost every theatre of The Things I Would Tell
but creatively, it’s such an exciting time in terms AS A WRITER? writer I know started out doing everything You: British Muslim Women
of things getting made that I previously couldn’t Other writers, constantly, and mainly women themselves with their friends they met Write, a 2017 Guardian
have imagined would get a look-in, so I am writers and men and women writers of colour, at various workshops and groups if they didn’t Book of the Year and the
motivated by that and what the future holds, whether just starting out or super famous, study it. Turning someone’s living room into the forthcoming Smashing It:
building an industry that will be more open their encouragement, support, advice and help theatre for the night, reading scripts out loud, Working Class Artists
and accessible and wider-reaching. has been absolutely essential to my journey getting feedback, partying afterwards. Building on Life, Art and Making
continuing to be that and it’s one of the things it up as you go. I think it’s so much better than It Happen.
WHAT CHALLENGES HAVE I love about this job; there is always someone getting venue support straight away as you can
YOU FACED AND HOW DID to learn so much from no matter what stage hone your own style and write what you really She's an essay contributor
YOU OVERCOME THEM? you or they are at in their career. want to write without the pressure or concern to the multi award-winning
Mainly money and gaining the confidence of what expectations from others might The Good Immigrant and
to position myself as someone who had WHAT ADVICE WOULD be. It is difficult to manage financially, but is currently writing a biopic
something to say which others might want YOU GIVE TO SOMEONE payment from venues at that stage wouldn’t of the rapper and producer
to listen to. Money is a challenge I have yet STARTING OUT? DO YOU cover much anyway, so never think something Wiley for Pulse Films.
to overcome, but I have always had to HAVE ANY TIPS ON HOW is only validated, that your talent is only
be open to work outside of the arts in order TO GET STARTED? validated, once a venue or organisation
to pay bills — whether admin, advertising There’s the obvious ones — read, write, always. gives you an opportunity. Eventually of course
or waitressing and this is something I wouldn’t Get in touch with writers you admire and if you it helps, but try not to let it be the only thing
expect to ever disappear. So, the ‘overcoming’ have a specific question for them, ask. Find you aim towards. If you run a few things
becomes about time management skills your tribe — they may not all be writers, but successfully yourself, you could apply for
— how do you manage to write when you have they are out there, and they will enable you funding or ask for contributions towards it
to spend your time doing something entirely to do what it is you are supposed to be doing. so it can at least cover your time. Basically, this
different to get paid? I filled out many funding Events, talks, raves, gigs, festivals, libraries — is all a long-winded way of saying don’t wait for
applications and eventually got some — these you never know where you might meet them anyone to tell you that you are allowed to do it!

26 Back to Contents page 27

 HOW DID YOU GET INTO The year before I put the play on, I realised
WRITING? I didn’t know any directors and I didn’t know
I came to writing for theatre relatively any actors really, apart from a couple I knew
late. I grew up watching telly on the edge from Central, so I applied for every scratch
of my dad’s bed and I just assumed night I could find. I think I did ten scratch
that if I was going to do anything creative nights over the course of a year. Every time
it would be in TV and film as it seemed I wrote a short play, I gave myself a new
more accessible to me. I grew up in one challenge to try and push my writing. It helped
of the two London boroughs that doesn’t me to figure out what sort of writing I liked but
have a permanent, professional theatre also helped me to push my ability. Through

VINAY PATEL building. I never really went to see plays

except in the later part of school. I went
to university to study English but didn’t
do any theatre. I remember I was
that I met lots of people and that was really
helpful when making my first full length piece.

I took True Brits up to the Edinburgh Fringe

about to turn 25 and thought I’ve got in 2014 with HighTide. It wasn’t a mega hit
to do something. If I want to be a writer, at the Fringe, but enough people saw it that
or be in the arts somewhere, I have liked it. The Bush Theatre came to see it and
to actually put something out in the world. took it back to London for the Radar Festival
So, I applied to do a Masters at The Royal and then the play headlined the VAULT
Central School of Speech and Drama and Festival for three weeks.
PROFILE:

I thought, if I get in, I’ll do it but if not I’ll

do something else with my life. Luckily, WHAT DO YOU LIKE ABOUT

PHOTO: HELEN MURRAY

I got in. WRITING?
When I was a kid writing short stories
On that course we did television, radio, film on the kitchen table it was like an escape
and playwriting and that’s when I properly into another world. Over time it became
discovered theatre. A lot of people had come a way of having a bit of agency in the world.
ARTIST

from uni straight onto that, but I was actually The idea that you can create your own world
really grateful that I had taken some time I found quite empowering.
out because it meant I knew exactly why
I was there, and I really cared about With True Brits, I didn’t realise this at the
it. Instead of writing a film script at the time, but I got to create something I hadn’t
end of my MA I wrote a play which I really seen before but that I really wanted to exist.
liked. When I left Central, I got a job and I remember being at the Edinburgh Fringe
had some stability, but I didn’t do any writing and realising there were only two posters
again until 2012. My old tutor encouraged with a brown man’s face on it. And one
me to apply for an attachment to a theatre of them was my play. That felt really
company called HighTide. I was 26 at that meaningful to me. That play encompasses
point and I wrote a play called True Brits. a lot of my experiences of being a young
It took me two years to write it. I applied Asian man around 7/7, the terrorist suicide
for funding to help write it. I didn’t get it the bombings in London. I remember going
first time I applied, nor the second but the to a party and a guy asked me, ‘Why do you
third time I was successful. My work let want to write something about the bombings
me take three months off to focus on my play. when Simon Stephens nailed it with his
I realised in writing it that this was the best play Pornography?’. I didn’t have any critical
thing I’d written and that I had to get thinking on theatre at the time, but I was like,
it put on. it’s the most significant event that’s happened
to British Asians in a long time and there’s
no British Asian perspective on that. That’s

28 Back to Contents page 29

when things changed for me and I realised in it more than anything because it is difficult who is worth telling a story about and who Vinay’s debut play, True Brits,
writing is about what you can put into the to make a life just as a playwright unless you does an audience connect with. So, one opened at the Edinburgh
world. The first TV project I worked on was are incredibly prolific. of the big challenges for me is when I look Fringe 2014, before
called Murdered by My Father and it was at my own work how I make this familiar transferring to the Bush
explicitly a piece of advocacy drama about Beyond that I think you need to see as many to someone who is unfamiliar with it and Theatre and VAULT Festival.
honour killings. After that came out there was things as you can in different mediums. unfamiliar to someone who is familiar with His latest play, An Adventure,
an uptake in calls to charities from people When I was first starting out, I made myself it. That’s a weird emotional challenge ran at the Bush Theatre
who felt threatened or felt like they were start reading comic books to help me think for me. in late 2018. His first piece
in a situation where something like that might about how narrative works and to expose for television, Murdered
happen to them. I realised writing really does myself to a different range of artists. I also Money is a challenge. My advice: don’t rush by My Father, won the Royal
have the ability to change people’s lives and made myself go to the ballet which was to give up your day job. I loved having a day Television Society award for
that felt really exciting. Now what I really like humbling and useful. So, anything that job because it took the pressure off writing Best Single Drama and was
about writing is asking myself, what will this broadens your perspective is good. and it gave me the freedom to choose the nominated for three BAFTAs.
do for people? projects I wanted to do. It’s not a mark Vinay was named a BAFTA
Finally — get an internet blocker. I’m allowed of validity to be writing full time. Breakthrough Brit for his work.
WHAT DO YOU LIKE TO on Twitter for 15 minutes every day. Being
WRITE ABOUT? able to put your arse on the chair and focus WHAT ADVICE WOULD He has since written
All writers have their own myth, whether they is the thing that makes me different. I wasn’t YOU GIVE TO SOMEONE for Paines Plough, ITV,
realise it or not, and I think everything I write the best writer on my Central course, but STARTING OUT? Channel 4 and the BFI,
is about love and home. I grew up writing I worked the hardest and that was a really Let yourself be really bad. When I was as well as contributing
lots of sci-fi. I was obsessed with science useful thing for me to learn. You don’t starting out, I didn’t have any confidence, to the bestselling collection
fiction. After 7/7 I realised the things I wanted have to be a genius; you just have to trust so I thought I had to be really good straight of essays, The Good
to write about became more traditionally in process and process is just doing a little away. But actually, everyone starts off bad. Immigrant. Most recently,
dramatic. Everything I wanted to do was right bit every day. That takes the pressure off and I keep the first draft of every script I have Vinay wrote for series eleven
now and in the moment. But I’m sort of in this is really doable, but you do have to do it. ever written in a drawer and anytime I start of Doctor Who and is working
moment now where everything I’m writing feeling cocky and like I know what I’m doing on further projects for TV,
is science fiction again which feels like a nice WHAT CHALLENGES HAVE I get them out. First drafts are always awful theatre and film.
return to where I was. I like writing science YOU FACED AND HOW DID and if I stopped for that reason, I wouldn’t
fiction because it’s about possibility. Theatre YOU OVERCOME THEM? have a job.
is also about possibility. I look at an empty The biggest challenge as a writer is that
stage and anything could happen there. it’s actually a lot of different jobs rolled Be curious about the world. Push yourself
I find that really exciting. into one. When you’re pitching you have to try new experiences. Try your hand
to be a bit of a salesman. When you’re at every medium like theatre, TV, radio,
WHAT WAS HELPFUL TO writing you have to stop being a social podcasts, etc. I wouldn’t have ever thought
YOU IN YOUR JOURNEY animal and ignore the world for a while. of writing for theatre if I hadn’t given
AS A WRITER? When you’re editing your own work, you it a go.
The most helpful thing has been finding other have to be a different person to the one that
writers or other creatives in the theatre. What wrote it. You also need to know how to be When you are approaching work don’t
you want to find are people who understand a good person in a rehearsal room and not categorise it as that’s good or that’s bad.
what you are trying to do but won’t tell you be precious around your work. With everything you see ask yourself, what
how to do it like they would. When I found about this do I like? What about it don’t
a couple of people like that my writing came When I was at Central, I was given the main I like? What about this would I steal? I did
on significantly because it meant I had people character in a sitcom to work on. It was this with everything I saw, even stuff I really
I could trust to send my work to when I didn’t about a musician who sets up a karaoke hated because I might like one line or the
know how to take it further. They weren’t bar. I made him a black guy who was really way they did that moment. Always bring
trying to make something their own taste; into the Delta Blues heritage and was generosity to other people’s work.
they were listening to what my intention was from Essex. I remember my tutor saying
and were giving me better notes. It’s the to me that he didn’t see him as black.
community around theatre that’s kept me I realised there is an inherent bias around

30 Back to Contents page 31

 If you want to find out more about playwriting check out
the following recommendations.

THINGS TO READ THINGS TO THINGS TO

WATCH LISTEN TO
Playwriting: Structure,
Character, How and The Bruntwood Prize BBC Writersroom
What to Write by Podcast
Stephen Jeffreys writeaplay.co.uk

& LISTENING
bbc.co.uk/programmes/
‘I really recommend this ‘There are lots of New Writing p05bbnlq/episodes/
book for anyone interested prizes in the UK which can downloads
in playwriting. I thought reward a lucky few with
that it'd be really dense a full production of their ‘This podcast is billed
and intimidating but it's play. Although these are very as being with the UK’s
WATCHING
not at all! Stephen's tone competitive — and I would leading TV drama writers,
is conversational and it's encourage all writers to find but also features a few
READING,

really readable. I got through their own ways to get their playwrights. They’re
FURTHER

it surprisingly quickly, but work on — these prizes can interviewed in the place
it's broken up into helpful provide useful deadlines, where they write and
subheadings so you can motivation and sometimes somehow that leads to a very
read it over a long time feedback! In particular, honest and open chat about
in little chunks’ the Bruntwood Prize create their working habits and
Temi Wilkey, Playwright lots of digital content full some great advice’
of advice and practical Hannah Khalil, Playwright
On Film-making by support which you access
Alexander MacKendrick wherever you are’ Makin It with Temi Wilkey
Tom Wright, Playwright
‘What I really liked about this bushtheatre.co.uk/
book is that it has a section artists/podcast-making-
on writing and a section it-with-temi-wilkey/
on directing and how those
two things work together. ‘Makin It is a weekly
Working in theatre you need podcast featuring emerging
to manage your relationship playwrights, theatremakers
with your director so it’s and theatre companies
useful to know a little bit discussing how they got
about that. It’s written started, how they make work
in a really accessible way. and how they pay their bills.
He’s a really gentle and Temi is a brilliant host and
playful tutor’ Vinay Patel, her guests offer an honest
Playwright and insightful look into life
as an artist.’ Euan Borland,
Education Manager

32 Back to Contents page 33

 ACT EVENT NATURALISTIC
An Act is a way of dividing Something that happens in When the style of the play
up a play into different a play, usually of importance emulates real life. It will also
parts. Acts are comprised have a linear narrative and
of different scenes which the set will be as true to life
combined make up an FIRST DRAFT as possible
important part of the story. The first version of your play,
A play could have one, three from beginning to end. A play
or five acts. A simple way to usually goes through more PLAYWRIGHT
think about three acts could than one draft before A person who writes plays
be, beginning, middle and end it is considered finished

SCENE
COMMISSION FORM A part of a play where the
GLOSSARY

A request to write something Form is the way you choose action takes place in the
(i.e. a play) in exchange for to tell your story. Examples same location
OF TERMS

money of different forms you might

choose include monologue,
musical or dance. This is the SCRATCH NIGHT
DIALOGUE framework which you build A platform for artists to test
A conversation featuring two your play around. You may out an unfinished piece of
or more characters choose to combine different work in front of an audience
forms to create something

DRAMATURGY STRUCTURE
A person who can help LITERARY AGENT The framework of your play.
a playwright realise their A professional agent who For example, you could
play by asking the writer acts as a representative choose to structure it in one,
questions, offering notes for a writer who deals with three or five acts, or you
on their script and acting theatres, producers, etc, could choose to structure
as a sounding board for the on behalf of a writer it as a series of episodes
writer’s ideas. Dramaturgs or create a circular structure
have a strong understanding that brings you back to the
of the way stories work. LITERARY beginning. Whatever structure
They can act as a substitute DEPARTMENT you choose it should help you
for an audience and offer A person or group of people to tell your story and themes
an outside eye who work for a theatre and
are responsible for reading
scripts and finding plays SUBTEXT
DUOLOGUE to put on stage. They usually A hidden meaning in the text
A part of a play between two play some role in nurturing that is understood by the
characters new writers reader but is not explicitly
stated by the characters

MONOLOGUE
A speech performed
by one performer

34 Back to Contents page 35

 Interested in taking your plot through a mixture Royal Court, Soho Theatre, to develop a new play over
writing further? Whether it’s of practical workshops London — London — the course of the project with
training, open submissions, and masterclasses. Writers’ Groups Writer’s Lab support from the theatre.
competitions or online
resources, we’ve got you Oxford Playhouse royalcourttheatre.com sohotheatre.com
covered. The following — Playhouse OPEN
opportunities are completely Playmaker The Introductory Group A nine-month programme SUBMISSIONS
free. This is not an exhaustive is open to writers who designed to support
list but a good place to start. oxfordplayhouse.com are aged 18+ and are writers to write a new play. Bush Theatre,
Talk to your local theatre based in the UK or Ireland. Participants meet up once London
NEXT STEPS
to see what opportunities A writer attachment No experience is necessary. a month and the programme
they offer for writers. programme for new and They are generally able offers workshops led by bushtheatre.co.uk
emerging playwrights. to help with travel costs leading playwrights. This
Each year, up to six writers from outside of London. is a paid programme, but Unsolicited scripts are
TRAINING are selected and meet Each year, they run three bursary places are available. accepted once a year.
one Saturday a month groups across the year and All are read and considered
Bush Theatre, (10am–6pm) between each group runs for eight Tamasha, London for production and
London — January and October. weeks with each session — Tamsha Writers development at the
Emerging Writers’ These sessions are lasting 2 hours. At the end Bush Theatre.
Group used to work on writing of the group, writers are tamasha.org.uk
techniques, with individual invited to submit a play Hampstead
bushtheatre.co.uk mentoring and feedback they have worked over A writer-led collective aimed Theatre, London
on their scripts. the course of the group, at supporting writers from
Each year, six early career on which they can receive diverse cultural backgrounds. hampsteadtheatre.com
writers are selected Playwrights’ detailed feedback based Participants meet weekly
to be part of the Bush’s Studio, Scotland on the notes from the and the content of the Hampstead Theatre accepts
Emerging Writers’ Group — Mentoring playwright leading the programme is determined scripts all year round from
(EWG). The group aims Programme group, the literary by the collective. writers who are based in the
to support writers over department and UK. They only accept one
a sustained period and playwrightsstudio.co.uk Royal Court readers. The Old Vic, play per writer per year
help encourage work London — and all plays must be full
on a new full-length play. Every year, Playwrights' Sherman The Old Vic 12 length.
Studio, Scotland Theatre, Cardiff
Live Theatre, selects six aspiring — Introduction oldvictheatre.com National Theatre,
Newcastle — or emerging playwrights to Playwriting London
Introduction to for an eight-month The Old Vic 12 aims
Playwriting Course programme of mentoring. shermantheatre.co.uk to nurture and develop the nationaltheatre.org.uk
The programme includes next generation of theatre
live.org.uk a two-hour mentoring A new initiative aiming practitioners through offering Script submissions are open
session each month to introduce young people access and insights into all year round. The New
A free programme aimed for six months, skills aged 15–18 to writing theatre-making, mentoring Work Department aims
at writers (16+) at an workshops, a read through for the stage, supported from industry experts, to respond to all submissions
early stage in their career. of your play with professional by leading Welsh delivering masterclasses within three months, but they
The programme runs director and actors, or Wales-based writers to other emerging artists, are not able to offer feedback
for 10 sessions. Participants and a public sharing and directors. and collaborating with each to all submissions.
will learn key aspects of your work. other to create brand new
of writing a play for the work. Each year the project
stage, including theatricality, works with three playwrights
character, dialogue and and offers the opportunity

36 Back to Contents page Website links correct at time of publication 37

National Theatre 100 plays receives individual StageWrite Verity Bargate
of Scotland — COMPETITIONS feedback from the Royal Award ONLINE
Script Reading Exchange Theatre’s creative stagewrite.org.uk
Programme Bread & Roses, team. sohotheatre.com BBC Writers Room
London — StageWrite is an annual
nationaltheatrescotland Playwrights Papatango New festival in partnership Winners receive a cash bbc.co.uk
.com Circle Writing Prize with The Place Theatre. prize and their play
It is a platform for emerging is produced by Soho An online platform
A script submission breadandrosestheatre papatango.co.uk and published writers, who Theatre, London. The prize for writers with a range
opportunity for writers .co.uk are UK residents, to see their is open to playwrights of resources and
to send their work to the The Papatango New Writing work in performed script-in- in the UK or Ireland. development opportunities,
National Theatre of Scotland. A monthly opportunity Prize is an annual playwriting hand by professional actors including tips on how
for writers to share award which guarantees in front of an audience. to format your script.
Theatre503, up to 10 minutes an emerging playwright a full It allows the writer to gain SCRIPT
London of a new play, which can production on a professional perspective and feedback DEVELOPMENT Bush Green
be a short play in its entirety stage. Feedback is given from actors, director and
theatre503.com or an extract from a longer to all entries. It is open audience members. ScriptSpace bushtheatre.co.uk
piece, and receive feedback to all residents of the UK
Theatre503 accepts script from one another. It is also or Ireland and is assessed Theatre503, space.org.uk An online platform featuring
submissions all year round. an opportunity for the Bread anonymously. London — interviews and resources
& Roses Theatre team to 503Award ScriptSpace is for playwrights.
Traverse Theatre look out for new short plays Playwrights’ a development service
— Open Script for future instalments of their Studio, Scotland theatre503.com for playwrights developing London
Submissions scratch night The Platform. — New Playwrights ‘early draft’ work. Each play Playwrights’ Blog
Awards Theatre503 accepts submitted will be read
traverse.co.uk The Bruntwood script submission all by their team of readers londonplaywrightsblog
Prize for playwrightsstudio.co.uk year round. They also and provided with a written .com
A script submission Playwriting run regular Rapid Write feedback report. Selected
opportunity that only opens The yearly New Playwrights Response (RWR) nights. plays are offered a prepared A blog for emerging
for a short window per year writeaplay.co.uk Award provides a professional It is an opportunity open reading at the Space, giving playwrights with weekly
for writers based in the development opportunity for to writers of all levels writers the opportunity round-up opportunities
UK or Ireland. The Bruntwood Prize three early career playwrights of experience. Writers to hear their early drafts read and online resources.
for Playwriting is the UK’s living in Scotland. It provides will attend a full-run show aloud by professional actors.
Yard Theatre, biggest national competition writers with time, space and in its first weeks and write The readings are followed by New Views
London for playwriting for great new financial support to develop a 10-minute play inspired an informal feedback session
plays and great writers their work by focusing by it. The 503 team and networking opportunity. new-views.tv
theyardtheatre.co.uk of any experience. on a particular script. The will select between
A partnership between the Award includes a £2,000 six to eight scripts Talawa New Views is the National
The Yard Theatre opens script Royal Exchange Theatre, cash bursary, dramaturgical to be staged at 503 Theatre’s playwriting
submissions twice a year. Manchester, and property sessions, a week-long retreat, theatre two weeks later. talawa.com competition for 14–19 year
In the first instance they will company Bruntwood, the skills workshops and a day olds. Schools have to sign
ask for a short extract from prize is open to anyone aged of script development with Talawa’s free Script Reading up to take part but there
your play and a one-page 16+ in the UK, Ireland and a professional director Service provides feedback are a range of online videos
document about your play. the British Territories with and actors. and support to emerging and activities which can
a story to tell. There are Black writers across the UK. be accessed for free.
various types of awards
for the shortlist to win part
of a prize fund totaling
£40,000. Each of the top

38 Back to Contents page Website links correct at time of publication 39

The Old Vic
The Cut, London SE1 8NB
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The Old Vic Theatre Trust 2000 Charity No. 1072590

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