Playwright's Page
To self publish for free please go to Self Publish for Free
One Act Play Writing Competition First Prize $1,000 and open to any English language playwright. For more information on the contest please go to Bottle Tree Productions International One Act Competition for Writers
Results 2012 Competition
Winner of the 2012 playwriting competition
Evan Guilford-Blake with Eighty-Two
Second Place went to
Seth Freeman for Imperfectly Frank
Third Place went to
James Harmon Brown for Close Your Eyes
Results 2011 Competition
Winner of the 2011 playwriting competition
Greg Gasawski for The Vampire is a Strange and Wonderful Creature
Second Place went to
Sebastien Archibald for Chairs: A Parable
Third Place went to
Ellen Elizabeth Steves for Holy Smokes
Results 2010 Competition
Winner of the 2010 playwriting competition
Amanda Andrei with Every Night I Die
Second Place went to Josh Hartwell for The Rank and the Blood Rush
Third Place went to Charlene A. Donaghy for Gift of an Orange
Third Place went to Evan Guilford-Blake for Tio's Blues
Results 2009 Competition
Winner of the 2009 playwriting competition Evan Guilford-Blake with American Blues
Second Place went to Talia Pura for Demons in the Mind
Third Place went to Richard Rossi for Sister Aimee
A quick set of script contest guidelines in order to help the novice playwright. Read this
One Act Plays have a basic set of rules and a basic structure that have to be followed that have nothing to do with the writing. Great writing can be torpedoed in a one act play by a flaw in play construction. While a set might be held together by tacs and twine, a script needs solid construction. In this article we will look at scene changes. to read more
Dialogue The script is always the first measure of a play. And for all intents and purposes, the script is basically dialogue; two people talking. That sums up the simplicity and the complexity of theatre. Two people talking. to read more
Off Stage characters that never come on stage are dangerous to the health of your play. They are dangerous because your characters on stage have to talk about them to establish these non appearing character's existence. This sets up the possibility of boring exposition. The only way this really works is if the unseen character affects the characters on stage. to read more
How to Direct a Play For those writers that are also interested in directing please go to How to Direct a Play
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If you are interested in a critique of your play 500-800 words, but do not wish to enter the contest, send script to contest(at)bottletreeinc.com with critique only in the subject line. Cost is $50.
or mail script with a cheque to
Bottle Tree Productions
445 Southwood Drive
Kingston, Ontario
K7M 6K9
Contact:
Phone: 613-384-8433 info@bottletreeinc.comSEARCH THIS SITE:
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