How Do I Enter?

Click here to apply!

 

Submissions open 12pm BST Monday 9th September 2024

Submissions close 6pm GMT Thursday 9th January 2025

 

Click this link to download Plain English Guidelines for entering the Bruntwood Prize for Playwriting 2025.

Click this link to view our BSL Trailer.

 

The 2025 Bruntwood Prize for Playwriting is split across four categories. They are: 

  • The Bruntwood Prize for Playwriting – £20,000 
  • The Judges Award – £10,000 
  • The Bruntwood Prize International Award – £10,000 

Introduced in 2019, this award is open to international playwrights who can apply through our partner theatres: 

Australia Plays Transform – Sydney, Australia 

Melbourne Theatre Company – Melbourne, Australia 

Playwrights Horizons – New York, United States of America 

Stratford Festival – Ontario, Canada 

Woolly Mammoth Theatre Company – Washington DC, United States of America 

  • The North West Original New Voice Award and Residency 

In recognition of the Prize’s home in Manchester, and to enable us to work closely with the winning playwright, the winner must be based in the North West of England and have not had a full-length play professionally produced for 12 performances or more in a venue. 

In addition to winning £10,000, they will also access an additional £10,000 fund dedicated to their professional development at the Royal Exchange Theatre during a bespoke one-year residency. 

 

All plays are submitted anonymously to the competition and will be read by an expert panel of readers appointed by the Royal Exchange Theatre. There is an extensive five stage process to the reading before creating the shortlist. The final panel of readers, including key artistic staff from the Royal Exchange Theatre, compile a shortlist for the Judges to consider. The Judges will receive the shortlist of scripts on Friday 16th May 2025. A shortlist of 15 plays, ten from the UK and five international, will be announced over the summer, and the winner of the 2025 Bruntwood Prize for Playwriting will be announced at an awards ceremony at the Royal Exchange Theatre, Manchester, on Monday 21st July 2025.

 

If you still have questions about the process, you may find the answer to your query in the Prize Guidelines and FAQ below or contact the Bruntwood & Literary Co-ordinator on bruntwood.prize@royalexchange.co.uk

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Reading process

Different plays reach different stages in our reading and consideration of the entries, but all of them are subjected to the same criteria and process. We have a large dedicated team of readers to process the entries. These readers are a diverse team experienced in reading scripts for the stage. They are made up of directors, dramaturgs, playwrights who are previous winners of The Bruntwood Prize, producers, literary agents, and other theatre practitioners and artistic staff both nationally and internationally. All readers are paid per script.

As each script proceeds through the phases of reading it is addressed by a diverse team of readers. The Royal Exchange manages the reading process to ensure that each script is seen by readers with different ages, genders, work history, ethnicities and interests. The aim of the Prize is to find great plays in whatever shape or form they appear so the entry criteria are deliberately broad to allow first time writers and more experienced playwrights to be assessed on a level footing. We hope that in carefully administrating the reader demographics we ensure no script is overlooked due to a bias towards a particular way to tell a story.

There are various stages to the reading process. Throughout the process, the script remains anonymous. Therefore the intention is that the readers are assessing the submitted script only- not the writers identity, career or previous works.

Unfortunately due to the volume of entries we can not enter into a dialogue with any writer about their entry, their readers or the reports and discussions about their work.

The information below is designed to let you know what happens after your play is submitted. It is in no way an indication of what kind of play you should write or how you should write it.

  • Stage 1: First Read

    All the scripts entered for The Bruntwood Prize for Playwriting are read by one of our readers, who each work through a proportion of the entries. We guarantee to read at least the first 30 pages of every script entered into the The Bruntwood Prize for Playwriting. 

    All readers are provided with a handbook, and key resources to brief them on the Bruntwood Prize criteria and reading aims and intentions. 

    At this stage we are reading for the quality of the dramatic writing according to the broadest possible criteria: 

    Subject Matter – where narrative-driven or not, is there a clear sense of story which is for the stage, is there a sense that the writer is pursuing something that excites them? 

    Dialogue and Language – at whatever level, does the script show a feel for speech and dialogue? Does the writer create a sense of drama through the language and think about language as a live means of expression on stage? Does the writer engage with language (physical and verbal) in an interesting way? 

    Development – does the script put things at stake, is there a sense of drama and conflict, do the characters develop and change through the play, does the world or situation develop and change, does the audience go on a journey? 

    Audience – does the play engage with a live audience as a piece of theatre or does it have the potential to do that. 

    Scripts are then categorized by readers, who also write a small descriptive sentence as a reminder of the nature of the script  

    Grade A – immediate further read, go straight to Stage Two
    Grade B – second read by another reader, perhaps more suited to the content or intent of the script
    Grade C – no further progress

  • Stage 2: Second Read

    New readers are brought in at this stage of the process to provide fresh eyes to the scripts and create a new level playing field for all the entries that have reached this stage.

    Readers are encouraged to recommend plays for a second read if there is any doubt in their mind or feel a second pair of eyes should take a look at the play. When a play goes through Stage Two, a new reader looks at the whole play and writes a short report of a few sentences, recommending one of three things:

    A. The Play should go to Stage Three and be a contender for the Longlist
    B. The Play might be a candidate for the Longlist and feedback
    C. The Play should not progress past Stage Two

    This stage of the process tests the strength of the qualities described above in the First Stage read, whether the potential is clear to two readers and helps define where the script’s strengths and weaknesses lie.

  • Stage 3: Third Read

    New readers are again brought in at this stage of the process to provide fresh eyes to the scripts and create a new level playing field for all the entries that have reached this stage. 

    Each reader reads the entire script and writes a more extensive commentary on the play. The aim of this stage is to identify the plays which will progress onto the Longlist. Each reader will recommend one of three things:

    A. This play should be a contender for the Longlist

    B. This play should be on the Feedback List
    C. This play should not progress past Stage Three

     

  • Stage 4: Longlisting

    This part of the process involves new readers and staff at the Royal Exchange Theatre lead by Dramaturg Suzanne Bell. The aim of this stage is to identify 30-40 plays as potential entries for the Shortlist.

    Two lists are created through Stage Four –

    1. Feedback List – a list of plays we feel represent the best 100 entries which will receive a detailed report and feedback.

    2. Longlist – 30-40 of those scripts which are the strongest candidates for the Prizes.

    This list of top 100 entries will receive full written feedback on their work and our response to it. By this point in the process, the play will have been read by at least four different people and will therefore receive a range of feedback. The aim of this feedback is to suggest where the play impressed or intrigued us and where we feel there may be potential to explore further. This isn’t intended as a set of notes for the next draft or how to write the play more successfully but more a series of provocations and questions to hopefully support the writer.

  • Stage 5: Shortlisting

    All the plays on the Longlist are discussed at a Script Meeting with the Royal Exchange Theatre core artistic staff and other members of the theatre involved in new work. There will also be at least two new readers at this stage who will have extensive experience of new writing and new work for the theatre. The aim of this meeting is to produce a Shortlist of plays that we feel are serious candidates for development and production.

    A Shortlist of 10-15 plays then goes forward to the Judges for the awards to be made.

Key dates
  • 9 Sep 2024
    12pm BST: Submissions Open
  • 9 Jan 2025
    6pm GMT: Submissions Close
  • 6 Feb 2025
    Phase One Reading: Complete
  • 6 Mar 2025
    Phase Two Reading: Complete
  • 27 Mar 2025
    Phase 3 Reading: Complete
  • 17 Apr 2025
    Longlist Top 100 Plays: Announced
  • 15 May 2025
    Internal Shortlist Meeting
  • 16 May 2025
    Shortlist Writers Contacted
  • 21 Jul 2025
    20th Anniversary: Bruntwood Prize for Playwriting Ceremony 2025
  • 31 Dec 2025
    Deadline for Feedback: Longlist Top 100 Plays
Prize guidelines

Submission Guidelines 

Entrants must be 16 or over. There is no upper age limit. 

Entrants must exclusively own and control all rights to the submitted script. 

Entrants must be resident* in the United Kingdom, the Republic of Ireland, British Overseas Territory, or have a British Forces Post Office Address. This excludes all entrants for The Bruntwood Prize International Award, who apply via our International Partners: Australia Plays Transform, Melbourne Theatre Company, Playwrights Horizons, Stratford Festival and Woolly Mammoth Theatre Company. 

Entrants must not have won an award in any previous round of The Bruntwood Prize for Playwriting – you may enter again if you have received a Commendation or been included on a previous shortlist or longlist in the past. 

The submitted play must be an original, unperformed and unproduced piece of work. Unproduced means the play cannot have received a professional production in any form, anywhere in the world, apart from up to two rehearsed readings. 

The submitted play must be available for production and unattached to any other theatre or company. Any scripts that have been professionally optioned, produced or published will be disqualified. 

The submitted play must be an hour long or more in running time. There is no upper limit to the length of your script. The best way to judge the running time of your script is to read it aloud. 

Please ensure that your script has a cover page with the title of the play and no other personal or contact information.  

Please ensure that your script is submitted anonymously with no information (e.g. name, pseudonym or agent’s details) included on the script other than its title. 

Other than the above, there are no further expectations for how your play should be formatted. 

We accept one entry per person only. We do accept plays co-authored by more than one writer. However, please ensure that only one entry is submitted with one set of contact details. 

We do not accept translations, pantomime, musicals, or adaptations for the stage of work written by others.  

We do not accept plays written exclusively for younger audiences.  

*We define resident through your ability to produce, if asked, proof of main address on a driving license, appropriate Inland Revenue document, or if not in possession of these, a phone bill with proof of address. A full list of British Overseas Territories can be found at UK Overseas Territories (uk-cpa.org) 

Criteria for Each Award 

  • The Bruntwood Prize for Playwriting and Judges Award are open to anyone residing in the UK and the Republic of Ireland, British Overseas Territory or with a British Forces Post Office address. 
  • The Bruntwood Prize International Award is open to playwrights invited to anonymously apply via our named International Partners: Australia Plays Transform, Melbourne Theatre Company, Playwrights Horizons, Stratford Festival and Woolly Mammoth Theatre Company. We are afraid that no other international submissions can be considered at this time. 
  • The North West Original New Voice Award and Residency is open to playwrights resident in the North West of England, where the Royal Exchange Theatre is based.  

We define the North West region in line with Arts Council England’s Map: Blackburn with Darwen, Blackpool, Bolton, Bury, Cheshire, Cumbria, Hatton, Knowsley, Lancashire, Liverpool, Manchester, Oldham, Rochdale, Salford, Sefton, St. Helens, Stockport, Tameside, Trafford, Warrington, Wigan, Wirral. https://www.artscouncil.org.uk/sites/default/files/download-file/Map_area_boundaries.pdf  

 Any playwright based in the North West who self-declares on submission that they have not had a full-length play professionally produced in a venue for 12 performances or more are eligible for the North West Original New Voice Award and Residency. All scripts entered by these playwrights are also eligible for The Bruntwood Prize for Playwriting and Judges Award. 

Troubleshooting   

If you’ve uploaded the wrong document or made a mistake in the entry process, please contact us at bruntwood.prize@royalexchange.co.uk.  It’s best not to try and enter the Prize again, but to let us make any amendments at this end.  

After you have successfully completed the entry process, you should receive a confirmation email from us to let you know your entry has been successful. This email may take an hour or so to arrive. If you haven’t received it do check your junk mail. If you do not recieve this confirmation email after this time, you can also email us to get confirmation of your entry at bruntwood.prize@royalexchange.co.uk (please include your pseudonym and play title).  

Only the Bruntwood & Literary Co-ordinator can see the back end of the website and the email addresses used to submit, and they don’t read so as not to compromise the anonymity of the process. The readers and judges receive your submitted script and do not have access to any other submission details.  

Please apply with an email address you regularly check. 

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FAQs

Here is a list of common questions that we have been asked previously about the Prize and entering your play. We will update these as the competition continues, but if your question isn’t answered here, please contact us at bruntwood.prize@royalexchange.co.uk.

  • Who is the Bruntwood Prize for Playwriting for?

    Anyone with a story to tell! The Bruntwood Prize for Playwriting wants to hear from a range of voices, whether or not you have ever written before. You might be an established playwright or someone with no experience of writing for theatre.  

  • What sort of script should I submit?

    While we do not accept musicals, translations or works for children and accept full length plays, there’s no criteria for your scripts content, format or structure. 

    We also do not judge script on whether they are very polished or ready for the stage. While we aspire to produce all Bruntwood Prize winning scripts, we do not base the Prize decision making on a script’s suitability for the Royal Exchange Theatre. It is our intention that winning the Prize is the start of a period of professional development, not the end of a process. 

  • Is the Bruntwood Prize for Playwriting really anonymous? How?

    All scripts are submitted under a pseudonym. At no point will this website ask for your real name. Scripts remain entirely anonymous throughout the judging process. We also ask that scripts do not contain contact details or agent’s details, and that no pseudonym is included on the title page.  

    The Bruntwood Prize Co-ordinator endeavours to protect the anonymity of the Prize at every stage. This includes arranging for scripts to be redistributed if readers suspect they know the writer of an assigned script and arranging shortlisted scripts to be judged under a temporary title if it is possible to find information about it online. The Bruntwood & Literary Coordinator does not read for the Bruntwood Prize for Playwriting and has no impact on how scripts are progressed through reading stages. 

    The judging panel has no knowledge about the writers of each script and the writers are only revealed when the judging process is complete and winners chosen.  

  • Do I have to live in the UK or Ireland to enter? Can I enter the International Award instead?

    The rules state that to enter the Bruntwood Prize for Playwriting you should be able to provide proof of a main or primary address within the UK or Ireland. If you are primarily based outside this area, then unfortunately we aren’t able to accept your entry unless your have been invited to apply via one of our named international partners. 

    We are afraid that no other international submissions can be considered at this time. This is due to the large number of scripts we receive, in addition to the fact that winning writers enter a development process with the Royal Exchange Theatre.

  • Is the International Award anonymous?

    Yes. While playwrights are invited to submit by our international partners, they submit via the same process on this website and enter the same anonymous reading process as all other submitted scripts.  

  • Does the North West Original New Voice Award & Residency mean a first-time playwright can only win this award??

    No. A first-time playwright is still eligible to win both the Bruntwood Prize for Playwriting and the Judges Award.  

    The North West Original New Voice Award & Residency simply allows the Royal Exchange Theatre to further support a playwright who is based locally to the theatre, and who is at a relatively early stage in their journey, to focus on the development of their craft.  

  • Why is the North West Original New Voice Award & Residency limited to people in the North West?

    The Bruntwood Prize for Playwriting is managed by the Royal Exchange Theatre, Manchester. Now more than ever we want to ensure that the Bruntwood Prize for Playwriting supports ALL writers: internationally, nationally and locally.   

  • Can I enter any other playwriting prizes alongside the Bruntwood for Playwriting?

    We actively encourage you to enter your script into any prizes and competitions for which it is eligible! However, if your script wins or is commissioned/optioned for production by another company during the process of judging for the Bruntwood Prize for Playwriting, you will need to contact us as soon as possible to withdraw from our reading process. 

  • If I win, will my play be performed at the Royal Exchange Theatre?

    All winners of the Bruntwood Prize for Playwriting will enter a relationship with the Royal Exchange with the aim of developing their play towards production.  

    Many of these relationships have now resulted in full productions for winning plays, but none of the prizes come with a guaranteed production. The Royal Exchange Theatre is serious about developing and producing Bruntwood Prize-winning work, but is unable able to offer productions as a guarantee for any of the Prizes.  

    We do NOT use suitability for the Royal Exchange Theatre stages as a criteria for judging.   

  • How do I judge the length of my play?

    The competition rules state that plays must be of an hour or more in playing time. No exact measure can be made of the length of a piece of writing for theatre, but it can be useful to consider an evenly covered A4 page is around one minute’s worth of stage time. However if your script has passages of very dense dialogue, movement, video or music then a play of an hour or more might run to less than 60 pages.  

    The best way to judge this is to read your script out loud.  

    There is no upper limit to the length of your script.  

  • What counts as an adaptation of another piece of work?

    The aim of The Bruntwood Prize for Playwriting is to find an original piece of drama for the stage. This means that the submitted play cannot be based wholly or largely on an existing piece of fiction or non-fiction writing.  

    Any play that provides a close re-telling of an existing story or another writer’s work is not eligible. The only exception to this rule is if you are adapting your own work for the stage, as you maintain ownership.  

    Biographical work and plays with strong factual or historical content ARE eligible for entry. 

    Scripts that take inspiration from or share links with myth, legend and folklore all fall within the public domain and are eligible. 

  • Can my play have had a production before?

    The rules of the Bruntwood Prize for Playwriting state that no play can have received a ‘professional’ production but that if your play has received an ‘amateur’ production it is still eligible for the competition.  

    We ask that you consider defining a professional production via the following criteria:  

    Was a professional producer attached to the production?   

    Have tickets been sold to a paying audience?  

    Have you been paid for the play? Or have actors and other collaborators been paid for their work?  

    Has the production received promotion and marketing to sell tickets?  

    If you answer no to these questions the production will be defined as amateur. Generally, we would consider a self-produced play as amateur.   

    We also do not exclude scripts that have had up to two professionally produced readings.   

    If you have any further questions about whether a play that’s received a production is eligible, please contact us on bruntwood.prize@royalexchange.co.uk  

  • Does my play have to be in English?

    We welcome submissions that use languages other than English, however please make an English translation available within the first 30 pages of the script to enable our readers to assess your work fairly. We do endeavour to find suitable readers for all scripts, but untranslated non-English passages restrict our pool of readers significantly.   

    We welcome scripts that use British Sign Language.   

  • Are cast sizes taken into consideration?

    No, the size of the cast is not taken into consideration during the judging process. Some of the previous winners of the Bruntwood Prize for Playwriting have had large cast sizes. It is the story that is important to the readers, not the size of the cast.  

  • Can my play have songs or music in it?

    Yes! The Bruntwood Prize cannot accept full musicals, however if your script demands passages of music then please do indicate this in the script.  

    Bruntwood Prize-winning plays such as ROLLING STONE by Chris Urch and WISH LIST by Katherine Soper have both included passages of very well-known music.  

  • When will I hear about the success of my entry?

    The deadline for entries for the Bruntwood Prize for Playwriting 2025 is 6pm GMT Thursday 9th January 2025. 

    The Longlist Top 100 Plays will be announced on this website on Thursday 17th April 2025.  

    The Longlist will receive full written feedback on their work and our response to it. These writers will receive their feedback by the end of 2025. 

    We are unable to commit to notifying writers of their progress through the competition before these dates due to the changeable volume of entries affecting the reading timeline.  

    The Longlist is announced publicly on this website due to the anonymity of our reading process requiring all scripts and writers to remain under a pseudonym at this point. 

    Shortlisted writers will be contacted via the telephone. Please ensure you include an up to date and direct number with your submission.