Where Should I Submit My First Play?

Finishing your first play is a big deal. Then comes the question that can feel even more intimidating:

Where should I submit it?

If you’re a new playwright, the tempting answer is: everywhere.

After all, the more theaters you submit to, the more chances you have of getting produced… right?

Not necessarily.

A better approach is to submit to the right theaters, rather than as many theaters as possible.

START BY ASKING: "Is my play a fit?"

Before submitting anywhere, look at the theater’s submission requirements and, more importantly, the kind of work they actually produce.

Consider:

• Length: Do they accept full-length plays, one-acts, short plays, or all of the above?
• Genre: Are they looking for comedy, drama, experimental work, musicals, or something specific?
• Cast size: Does your play require two actors—or twenty?
• Style: Does your play feel like the kind of work the theater normally stages?
• Location: Do they only accept playwrights from a particular region?
• Submission requirements: Are they currently accepting unsolicited scripts? Do they require a synopsis, cover letter, or other materials?
• Fees and deadlines: Is there a submission fee? Is the opportunity currently open?

These details can quickly tell you whether a theater belongs on your submission list—or whether you should move on.

DON'T CONFUSE "POSSIBLE" WITH "APPROPRIATE"

A theater accepting submissions doesn't automatically mean you should submit to it.

Imagine your play is a quiet two-person drama and a theater primarily produces large-cast musical comedies. You might technically be allowed to submit. But that doesn't make it a particularly strong match.

Your goal isn't to find every theater that will accept a script.

Your goal is to find theaters where your particular play has a reason to belong.

That shift in thinking can save you a tremendous amount of time.

MAKE A SHORTLIST, NOT A GIANT PILE

Instead of sending your play to 100 theaters simply because you can, start with a smaller group of promising possibilities.

Read the theater's website. Look at its recent productions. Check its submission guidelines. Compare those things with your play.

You can even create a simple “fit” checklist:

Does this theater:

1. Accept plays like mine?
2. Accept submissions from playwrights like me?
3. Have a submission window open?
4. Match my play's length, cast, genre, or style?
5. Actually seem interested in the kind of work I've written?

If the answer is mostly yes, you've found a much more sensible place to submit.

WHERE DO YOU FIND THESE THEATERS?

This is often the hardest part for a first-time playwright. You may not even know what kinds of theaters, festivals, competitions, or other opportunities exist.

A useful starting point is a directory such as Play Submissions Helper, where you can browse opportunities and quickly see the information you need to decide whether a particular submission is worth investigating.

You don't have to submit to everything you find.

Use the information to filter.

The best submission opportunity isn't necessarily the most famous theater or the one with the biggest audience. It's the one where the requirements and artistic interests make sense for your play.

YOUR FIRST SUBMISSION DOESN'T HAVE TO BE A SHOT IN THE DARK

As a new playwright, rejection is going to be part of the process. That's true even when you've chosen your submissions carefully.

But you can control one thing: where you spend your effort.

Don't measure your strategy by how many scripts you send out.

Measure it by how many good matches you find.

Your first play deserves more than a scattershot submission strategy. Take the time to find the places that are actually looking for the kind of work you've written—and you'll start approaching submissions less like a lottery and more like a process.