Showing posts with label competitions. Show all posts
Showing posts with label competitions. Show all posts

Thursday, 1 December 2011

Little pieces of love

Another interesting play writing opportunity, 15 minute pieces on the theme of love for a showcase as the Southwark Playhouse. Deadline is 20th December.

The link to their website is here

Monday, 7 November 2011

BBC Radio 4: Opening Lines

A new opportunity below, as per the BBC Writersroom site, on their opportunites page:

The BBC Radio Drama Readings Unit welcomes unsolicited submissions from writers new to radio for their annual series, Opening Lines which is broadcast on BBC Radio 4.

As well as broadcasting the three strongest stories in the summer of 2012 they will be publishing transcripts of the shortlisted stories on a new Opening Lines webpage.

The next window for sending in material is October 17th – December 2nd, 2011. Stories submitted outside this time-frame will be returned unread. Your story will be read and responded to within three months of the submission deadline.

Content and format:

They are looking for original short stories which work being read out loud i.e. with a strong emphasis on narrative and avoiding too much dialogue, character description and digression. Pay particular attention to how the story opens and closes. They’ll be looking to see whether the beginning of a story successfully links to how it ends.

The Readings Unit are interested in seeing stories which cover a broad range of subject-matter but material which explores particularly dark, harrowing themes is not best suited to Opening Lines.

The BBC has a rigorous taste and decency policy and cannot accept stories of a sexist or racist nature, or those which use the stronger swear words. The time allotted for each story is around 14 minutes, which means stories must be between 1,900 and 2,000 words in length.

Submissions must be typed and double-spaced on A4 paper and it is important to put your name and address on the script itself. Please do not send a recording of the text.


Submission details:

When submitting your work, please include a SAE and a brief covering letter giving your name, e-mail address (if applicable), the story’s title, word count and details of writing track record. We regret that we can only accept one submission per writer and if we intend to broadcast your story we shall contact you.

Stories that fall outside these guidelines will be returned unread.

Please send us a copy of your story, not your original work.

If you would like to submit work to the London office please send it to:

BBC Radio Drama Readings Unit
Room 807, South East Wing
Bush House
Aldwych
London
WC2B 4PH

Deadline: December 2nd 2011

Wednesday, 8 June 2011

Orange and Grazia writer's evening

In recent months, as you can probably tell from my heady mix of lack-lustre and barely there blog posts, I have fallen out of love with writing. There. I said it. When writing is good it’s amazing – getting excited over characters, striking gold with a lightning bolt of inspiration, and the lovely finished product filled with sweat and tears. But trying to make a living from the written word, whether it’s researching, editing or wiping the arse of the director general of the BBC it can be soul destroying. For legal reasons I’d like to point out the latter role does not exist (not since the cuts, anyway) but you get the gist. Writing is a hobby for so many people, and trying to turn it into a job only to be told over and over ‘no room at the inn’ or simply ‘you’re not good enough’ can make you forget why you don’t need to get paid to get satisfaction from what you create.

Last night I attended the Orange and Grazia sponsored writer’s evening at the Southbank Centre, London. Novelist Kate Mosse (who also founded the Orange prize for fiction) hosted a panel that included writer’s Sadie Jones (The Outcasts and Small Wars), Jean Kwok (Girl in Translation) and literary agent Claire Alexander. The panel were all encouraging, self-depracating and made for an enjoyable evening. Although much of their advice for wannabe writers was the usual: be patient, read like it’s going out of fashion, prepare for rejections but don’t give up, it is always inspiring to listen to people talk passionately about something they and you enjoy. A few nuggets stood out, and I’m beginning to understand more about the industry:

-When sending a manuscript to an agent always do a little research to find the name of someone to send it to. The personal touch can go a long way.
-When trying to choose an agent or a publisher read the author’s acknowledgements inside books you love. This will give you an idea of who is appropriate to submit your work to. If the same names are appearing again and again that should tell you something.
-Write a good letter to agents to go with your manuscript. Aim for something that stands out but doesn’t make you seem batty (my thought is that something like coloured paper might work. Try and link it with the manuscript you’re sending).
-In your letter you can include any details of a blog you keep, or your twitter/ facebook information. This can show you know how to self-promote using new media and social networking and thus potentially have a read-made audience.
-Saleability of an author has to be taken into account (although this never comes before the standard of the script) so if your personal story is something that resonates with the text don’t be afraid to include it.
-Claire Alexander claims she can tell if a writer is bad in less than a page. Bad dialogue, absence of craft and poorly constructed sentences are all immediate turn-offs.
-Most writers improve hugely by attending writer’s groups and having the input of other writers, not just friends and family. Although a friend may be able to identify a problem (if they’re brave enough to tell you) they won’t necessarily know how to fix it.
-Literary companies exist who, for a fee, will read and provide feedback on your work. (Nb, perhaps I could sign up with one of these for work? Just a thought.)
-Publishers and agents aren’t put off by length. Anything from 80,000 to 300,000 words is fine. Just make sure those words are carefully chosen and don’t submit your first draft.
-If you struggle with agents, Penguin Ireland accept unsolicited scripts though most publishers do not. Agents act as the first gatekeeper to getting published.

The evening was also in conjunction with the Grazia and Orange new writers competition, which I read the winning entry to in this week’s Grazia magazine. I don’t know if this is just sour grapes, but it’s absolute dross. Honestly. Any number of the writers I know (almost all unpublished) would be able to produce something infinitely better. I’m not sure whether the result makes me more confident in that writing is clearly such a subjective art, or if it depresses me to think that my piece is not even as good as this unstructured nonsense. I’ll try and go with my half full cup this time.

I once said two of my aims in life are to get a play produced and to publish a novel. These are goals with no time limits. Take a deep breath and keep going.

Monday, 9 May 2011

Grazia and Orange fiction prize The Deadline

The first paragraph was begun by author Kate Mosse, and entrants were invited to complete the chapter in max. 1000 words.

I really enjoyed writing it, spurred on by the May 10th entry date.

The Deadline

She stood looking up at the house. At the blank grey walls, the shuttered windows with empty boxes on the concrete sills, the stern front door. The house said nothing about what it was or what took place inside, it was unassuming and nondescript and uninviting. She'd come here several times before, but never got the courage to go in. Now, there was no choice. The deadline was today, no last chance of a reprieve or change of heart. If she was going to do it, it had to be now. She shivered, chill from the sudden drop in temperature now the light was fading, or from excitement or from fear, she didn't know. Also, the sense of possibility that, by pressing this suburban doorbell, her life could - would - alter for good. But still she lingered on the unwashed step, picking at a thread of wool come loose from her glove, caught between the girl she was and the woman she might be. A deadline she never thought she would face.

She was unable to push the bell. Her finger hovered over it with almost magnetic repulsion. Before she had the chance to change her mind and head back to the conference, no harm done, a shadow appeared behind the yellow-tinted glass of the door.
“Who’s there?” a voice hollered, and the shadow loomed larger.
“We don’t want nothin’ from you.” A face, distorted by the frosting, leered through the window. Angela stood silently on the doorstep, outwardly composed but inwardly repeating OhGodOhGodOhGod over and over like white noise. Finally the door opened with a reluctant groan to reveal a humungous woman clad only in a nightgown. It would have been impossible to place the woman’s age, had Angela not already known, as this was a great beast of a woman. The worn cotton of the nightgown stretched out over rolls of stomach and back and ass, sagging over each other in lumps like a burst armchair. Dried spittle and the remains of meals covered her front, and large crescent moons of old sweat darkened her underarms. Peering with black pebble eyes she swayed backwards and forwards with the effort of standing and watching. Their meeting seemed to be happening in slow motion. Angela was unsure if this was a trick of time, leaving her in nervous suspense, or if the woman moved at half speed with thoughts and words fighting their way to the surface like swimming through treacle. Looking Angela up and down there was definite recognition.
“What you doin’ here?” The woman reached for the doorframe to steady herself. Her large uncradled breasts undulated as she wheezed and coughed with the effort.
“I came to see you…to see how you are.”
“I can’t stand here all day.” The woman turned to walk away, leaving the door wide open. After a moment’s pause Angela took this as an invitation to follow and entered the house.

The first thing to hit Angela was the smell and the heat. It was an early autumn evening but the windows had clearly stayed shut all summer. In the lounge a two bar gas-heater burned orange and released an odour of melted plastic. The house was a time warp. Nothing had changed since the seventies and the furniture was faded in green and beige; a life lived in sepia. Unless she checked the dates on the front of the mail and freesheet newspapers piled up in the hall there would be no way of guessing the year, or even the decade. She selected a seat as far from the heater as possible and leaned forward to avoid the halo of grease that clung to the headrest. The woman heaved her gargantuan frame onto the sofa, settling into the pronounced grooves where buttocks had ploughed ridges into the fabric. They sat, not speaking, while the woman gulped for breath. Angela gazed at the old statue of Jesus on the cross that was silhouetted on the mantelpiece. It sat, as it always had, lit from behind with a candle. Puddles of melted wax sat in rivulets, almost as tall as the figurine itself. Angela folded her hands and fiddled with the beads on her bracelet in mock penance. After huffing and puffing the woman was settled, ass firmly planted in the sofa’s indent. She looked at Angela, with either a single solitary tear or an oozing bead of perspiration snaking down the side of her cheek.
“Where you been, baby?”
“Illinois. I’ve been in Illinois.” Angela was unsure what else to add. It was hard to sum up seventeen years in a simple ‘where’ or ‘what.’
The woman hauled herself forward on the sofa and fixed those black eyes on her guest.
“Your daddy been missin’ you.” She hissed breathlessly.
“Momma.” Angela started, then hesitated, “He hasn’t missed me.”
“Sure he has. I visit him in that hospital and all he does is ask for you. He barely notice I’m there.” She paused for breath. “He’s so skinny now. They don’t feed him right, I swear. But nobody listens to me. Could you go talk to them?”
“Talk to the hospital?” Angela asked.
“Sure. And tell them your daddy need feedin’ up.”
“Maybe, Momma, maybe.”
“Please, Angel. That place is worse than the last, and the one before.”
Angela found it uncomfortable to think of her father passed round the system the same way she had been. It was four years for her, before the trial and before they could find a proper home. Even that was hazy, the interviews and questions. They gave her dolls. ‘He touched you here?’ they would say, and she agreed. Memory is a strange thing.

Seeing Angela’s reluctance her mother pushed on. “It’s the least you could do.” Her mother said, sadly. And there it was: the thing Angela came to speak about, and yet was hoping would never come up. How can you tell the truth when you don’t know what that is?
“I’ll do it.” She replied. There was no admission of guilt, but no protestations of innocence either.
“Why’d you come? Why’d you come if you don’t wanna help?” Her mother asked.
“I do want to help.” Angela replied. And the real question came.
“Why’d you come now then? Your daddy needed your help ten years ago.” Her mother was angry underneath.
Resisting the urge to say and I needed your help, momma Angela just sat, sweltering.
“Why did I come now?” She repeated the question to buy herself time as she removed her jacket in the heat.
“I came now…” Leaning backwards awkwardly on the sticky chair Angela shrugged off her coat to reveal a loose blouse, and under that a perfectly rounded bump, five months grown.
“I came now.” The question needed no further explanation.

Wednesday, 27 April 2011

More short story competitions

Flash 500
Quarterly competition
http://www.flash500.com/index.htm
£5 entry fee, 500 word limit

Lightship
http://www.lightshippublishing.co.uk/
Deadline 30th June 2011-04-27 Entry fee £12, 5000 word limit for short story comp, 600 word limit for flash fiction

Fish short story prize 2011/12
http://www.fishpublishing.com/short-story-competition-contest.php
Opens June 1st, closes Nov 30th 2011
Entry fee 20 euro, prize 3,000 euro
5,000 word limit

Manchester Fiction Prize
http://www.manchesterwritingcompetition.co.uk/fiction/online_entry.php
Deadline 12th August
Entry fee £15, prize £10,000
3,000 word limit

It’s worth noting that the Manchester Fiction Prize guidelines say you cannot enter that story in any other competition at that time. Some of the others may state the same, so worth checking before entering.

Wednesday, 16 March 2011

Targets: the next six months

What do I want to achieve in the next six months? I have a completed TV script (sent back with a nice Thanks-but-no-thanks letter from the BBC)which I would like to adapt into a stage play. I started this, but think I was sticking too strictly to the original. I discussed it in my writing class and can see it needs a big rewrite in sections, with amends to characters and order of events (eg, instead of Elise remaining off-stage throughout we need to see what's happening to her), so that's number one on the list.

There's also some great competitions I should be entering short stories into. But first I need to prune, adapt and edit a short story up to competition standard. My attention span is usually too short for that sort of thing!

1) The Manchester Fiction Prize:
First prize: £10,000*

Deadline for entries: 12th August 2011
Entry fee: £15
Judges: Heather Beck, John Burnside, Alison MacLeod and Nicholas Royle

Under the direction of Poet Laureate Carol Ann Duffy, the Manchester
Writing School at Manchester Metropolitan University is launching the
second Manchester Fiction Prize. The competition will award a cash prize
of £10,000* to the writer of the best short story submitted, and is open
internationally to both new and established writers aged 16 or over; there
is no upper age limit.

All entrants are asked to submit a story of up to 3,000 words in length.
The story can be on any subject, and written in any style, but must be
fiction and new work, not published or submitted for consideration
elsewhere during this competition.

The Manchester Fiction Prize celebrates the substantial literary
achievements of Manchester, building on the work of the Manchester Writing
School and enhancing the city's reputation as one of Europe's most
adventurous creative spaces. The prizes will be awarded at a gala ceremony
hosted as part of the 2011 Manchester Literature Festival.


2) The Asham Award:

I mentioned this last year but (no surprises) never got round to completing an entry. It was themed, which I found difficult to get excited about. Must keep an eye out for an update on the website for this year's competition details. It's only for female unpublished writers and gets very good PR.

3) And of course, the Bridport Prize. I cover the details of this in a previous blog entry.

Tuesday, 1 February 2011

Greenlight script award

Excellent opportunity to have your script read and potentially produced. Must try and enter this one, as it's only a ten-pager so definitely worth a go.
Full details and entry requirements here, with the initial deadline May 2011 and a second deadline in October - but it's cheaper to enter sooner!
Will add this to the list.

Thursday, 13 January 2011

Bridport Prize

"International Creative Writing Competition for Poems, Short Stories and Flash Fiction - the Bridport Prize 2011 website is now open for entries.

The Bridport Prize is the richest open writing competition in the English language - with £5000 first prize for a short story (of up to 5000 words); and £5000 first prize for a poem (of up to 42 lines).
The new category of Flash Fiction attracts £1,000 to be won for the best short, short story of under 250 words.

The Bridport is also known as a tremendous literary stepping stone - the first step n the careers of writers such as: Kate Atkinson, Tobias Hill, Carol Ann Duffy and Helen Dunmore.

Anyone can enter - so long as the work is previously unpublished. It costs £7 per story, £6 per poem or £5 per flash fiction and the closing date is 30th June 2011

Each year the prize is judged by well known writers - this year we are delighted to announce that Carol Ann Duffy will be judging the poetry, and AL Kennedy, the short stories and flash fiction

The 2010 anthology of winning entries is available for just £12 or £15 overseas (including postage and packing). The 2009 and 2008 anthologies are available in limited numbers for £7 and £5 (£10 and £8 overseas)

Enter online at: www.bridportprize.org.ukOr download an entry form: www.bridportprize.org.uk/entryform.pdf
Or email for a pdf entry form: frances@bridportprize.org.uk
Or send an SAE for an entry form to be posted to you

The Bridport Prize
PO Box 6910
Dorset
DT6 9BQ
UK"

Definitely something I'll be doing. Just need to get writing!

Tuesday, 26 October 2010

Late night tales

I feel like I'm back at uni. After weeks of festering inactivity on the writing front I'm getting involved with the BBC In the Red rapid response short script competition.

I worked on my script, which is about military cuts, for much of yesterday but there's still plenty to do on it. Came home from work and cracked on with the script pretty much straight away. It's now twenty to one and I've got the old style Essay Crisis feeling of 'oh god, this is twaddle but getting something on the page is the main thing.'

I'm off to bed now, with time for one last quick edit tomorrow lunch and off it goes. I'm not 100% happy with quite a few scenes, but I suppose that's the point of a rapid response piece. The brief was to take a few risks and write outside your comfort zone, which I definitely feel I have.

Sunday, 23 May 2010

This week's tasks

Hooray – I have found a flat to move into and am no longer going to be homeless in 2 weeks time! I’m also hoping things calm down a little more at work. Both these factors mean I’ll hopefully be able to pay my second ‘job’ a little more attention. I have two days off this week (Monday and Wednesday) and intend to make the most of them. My aims for the next couple of weeks are:

-After providing feedback on two books for The Artists’ Studio I have a new brief to work on from them.
-Write report on the latest script I received through the Feedback Exchange.
-Try a first round of editing on my as yet unnamed script. I still haven’t decided if it feels like a radio or television script, so need to immerse myself in it tomorrow.
-I have also begun working on a second script, which will be a stage play or radio play.
-I also need to re-write the work I did for my writing group but am going to try from the first person.

There are also a few writing competitions I should try my hand at. One is the Guardian short story competition http://www.guardian.co.uk/books/2010/may/15/guardian-weekend-short-story-competition closing date 18th June 2,000 words on the theme Summer. The other is the Asham Award http://www.ashamaward.com/ for unpublished women writers. The deadline for this is a bit later, 30th September, to write maximum 4,000 word ghost story or gothic tale. I have a little idea brewing for this one, after hearing recently how Alan Ayckbourn greeted a burglar in his house thinking it to be a visitor. I like the idea of a ‘visitor’ in a house greeting a child night after night only for the child to be told they don’t exist.

Here’s an excerpt from last year’s winner Because it is Running By, written by Jo Lloyd:

She would take a book and go walking, along the river, up the hill, nearly as far as the sea sometimes. She would find herself a quiet place in the bracken, and lie there, the book unopened, breathing green bracken, gorse flowers, worm-turned earth, things pushing into life, things dying, things rotting down into the darkness. Insects busied themselves around her. Further away she could hear the sudden panic of lost lambs, the despondent bleat of those that had been lost a while. Further away still, the hum of cars heading for the coast.


I really like that paragraph, and in particular the phrase “worm-turned earth” and the way it conjures the smell of wet wood and damp grass.