Should I submit unsolicted scripts?
This depends on the theatre. The information in the database gives details of a wide range of British theatre companies' policies towards new writing. A great diversity of companies are represented, including those which programme work for specific communities, such as Black, Asian or young people. The aim of the guide is to help writers make more informed decisions about where and how to send work and approach theatre companies.
It has been calculated that there are 25,000 scripts in circulation annually in the UK - frequently copies of the same ones. Theatres want to produce the best quality new plays possible and writers must be clear that unsolicited material rarely makes it through to production. It is perhaps wiser to view the script as a calling card to demonstrate potential and individual style, towards developing a relationship with a theatre company.
Although theatres may therefore be justified in not diverting too great a proportion of their development resources towards the reading of scripts which they are extremely unlikely to produce, theatre managements do use the process of having scripts read to identify writers of promise with whom they may subsequently wish to develop a relationship. There is also the responsibility to the wider profession which some theatres take seriously and the recognition that feedback on scripts can be a contribution to writers' development.
Writernet has an active policy to encourage theatre managements to be clear which approach they take to the reading of scripts, but if a theatre rejects your play it does not necessarily mean that it is not good - it may just be that they do not feel it is appropriate for their programme. Conversely a bland letter which is mildly encouraging may in reality mask the problems of quality in a script which the theatre company has no intention of producing, but about which they are equally disinclined to appear insensitive.
How does the database help me learn about the theatre and what to send?
The database endeavours to include with each entry:
- information about commissioning policy and previous commissions, attitude to unsolicited scripts
- the person to whom the work should be sent (where a number of names are given, address work to the Literary Manager)
- the system for reading and reporting on scripts and how long it will generally take to respond
- writer development programmes run by the companies.
We have also tried to give an idea of the new writing policy and specific interests of the organisation. However, it is advantageous to explore this further yourself by seeing productions and reading reviews.
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