BBTF is now open to musicals, 90 to 110 minutes in length. No intermission.

Yes, but please understand that if you are from out of the area, this means housing your cast and crew. New York City is home to a multitude of accomplished actors, directors, SM's and techs--both union and non-union. We have compiled lists for your convenience.

Only unproduced works are eligible to participate. Shows that have had readings or been workshopped ARE eligible. Shows that have sold tickets ARE NOT eligible.

We created BBTF as a festival in the truest spirit of that word and we are dedicated to helping you present the strongest version of your work in a professional setting, with tech support, FOH staff, producing mentors and an open line of communication to answer any of your needs. What separates BBTF from all the other festivals is our hands-on-dramaturgy, which is covered by your acceptance fee. You will meet weekly with our festival director (and a musical dramaturge, if you have submitted a musical) for six to eight weeks. The rewrite process is integral to your play's success. We are also committed to fostering an environment of support and friendship as well as cultivating the spirit of cooperation between participants by encouraging them to work for and with each other, to prop share and attend each other's performances and to share notes. Once accepted into BBTF, playwrights become part of something much bigger than just themselves and their plays. All of this creates a constructive, encouraging environment between fellow playwrights and a creative community accepting of all, exclusive of none. We are most proud of the support we at BBTF give our playwrights.

Our critiquing rubric consists of two main categories: Plot Development and Character Development and how well you did with both. We look at structure, story arc, the basic elements of a play, your writing style, command of dialogue, among other things. Based on all these assessments, we divide the plays into finalists and those that need much more work. Regardless, you will receive a critique of your play so you will know exactly why your play was accepted or rejected. Unfinished or unclear work will most likely not be accepted.

Scripts of straight plays may not run under 60 minutes or over 90 minutes. In terms of page count, experience tells us that under 45 pages is equivalent to 60 minutes of stage time. And 75 would normally equate to 90 minutes on stage. Scripts that do not meet or exceed the page count, if they meet our criteria, will only be accepted if you agree to edit.

Scripts should follow standard format. If you have any concerns over script formatting, please visit the following link. Improperly formatted scripts will be automatically returned.

As a festival, we are dedicated to keeping production costs down. Upon acceptance, you will receive a template of a budget for a straight play or musical, pared down to reflect the current state of affairs in the industry as it pertains to festivals. This is one of the reasons we have such stringent rules about set design and costuming. Both of these line items can be quite costly, and for a first run of your show, especially since our main focus is your play, it unnecessary. If you're interested in this festival it's because you're willing to become a producer and the champion of your own show and enjoy the fruits of your labor by seeing your show live and in person on a professional stage because of the effort you put into it. In the past, BBTF has encouraged crowdfunding platforms for its participants who cannot cover the costs of their production. There are many options for this and rather than looking at this as asking people for capital, please view it as building your play's fan base and cultivating future investors. BBTF also offers the most inexpensive model for you to produce your show in a professional setting with all the support you will need from our staff, ensuring that you don't fail.

BBTF will market the festival as a whole and will prominently feature all participating shows in its marketing material. That said, each individual production must take responsibility for attracting their own audiences and make efforts to market their show. This is part of the self-production process.

BBTF presents rich and intriguing works from playwrights from across the continent. Out-of-state and international playwrights are welcome to submit to BBTF using the same blind submission process as any other applicant. Do remember all participants are responsible for travel expenses and accommodation.

BBTF expects participants to decide what they want to get out of this festival experience and proactively pursue this. Be specific about what you want to get out of BBTF. If you know what you want you can shape your festival experience to be its most beneficial. And we are here to help.

Yes. But we are here to help you every step of the way, which separates us from other festivals. Once accepted, you must be prepared to roll up your sleeves from the middle of April through the middle of August and do the work. This requires weekly meetings with your dramaturge until your script is locked; an online reading with your fellow playwrights; multiple online meetings with our tech team and crew; meeting deadlines and understanding that your cooperation and commitment are the key to your success. This is basically a crash course, baptism-by-fire experience, but we will not let you fail. We want you to succeed as much as you do--maybe even more. And at the end of this process, you will have once-in-a-lifetime experience.