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2018 BlueCat Screenplay Competition

BlueCat Screenplay Competition

Contact

P.O. Box 2635
Hollywood , CA 90078
(323) 785-2338 (voice)

Web: Click here
Email: Click here

Contact: Gordy Hoffman, Founder
MovieBytes Interview: Gordy Hoffman

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.2/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (4.2/5.0)
Feedback: 4 stars4 stars4 stars4 stars (3.8/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 169    
Have you entered?
Please submit a Report card.

Objective

Founded by a writer, the BlueCat Screenplay Competition’s passionate commitment to develop and discover the unknown screenwriter continues to define our work today.

We provide each writer who enters BlueCat one written analysis while supporting screenwriters of all levels and stages of development with the constructive feedback all writers require.

Our Winners and Finalists have been signed by major talent agencies like UTA, CAA and WME, sold their work to studios like Warner Bros., Paramount and Universal, and won major awards at the Sundance, Berlin and Tribeca Film Festivals, all after being discovered by and winning BlueCat.

Deadline/Entry Fees

Deadline Date Entry Fee Days till Deadline
Opening October 15, 2017 $45 (features);$35 (short film/script); $40 (pilot/hour); $35 (pilot/half-hour)
Early November 19, 2017 $55 (features);$45 (short film/script); $50 (pilot/hour); $45 (pilot/half-hour)
Regular February 1, 2018 $60 (features); $50 (short film/script); $55 (pilot/hour); $50 (pilot/half-hour) 71
Final February 20, 2018 $65 (features);$55 (short film/script); $60 (pilot/hour); $55 (pilot/half-hour) 90

Rules

All entries must be in English. Accepts both Short and Feature screenplays. See BlueCat website for complete rules.

Awards

  • The Feature Screenplay Competition winner will receive $10,000. Four feature finalists will receive $1,000 each.
  • The Short Script Competition winner will receive $5,000. Four shorts finalists will receive $500 each.
  • Pilot (Hour) Winner $5,000. Four Pilot Finalists will receive $500 each.
  • Pilot (Half-Hour) Winner $5,000. Four Pilot Finalists will receive $500 each.
  • The Fellini Award winner will receive $1,000.

BlueCat Screenplay Competition

Contact

P.O. Box 2635
Hollywood , CA 90078
(323) 785-2338 (voice)

Web: Click here
Email: Click here

Contact: Gordy Hoffman, Founder
MovieBytes Interview: Gordy Hoffman

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.2/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (4.2/5.0)
Feedback: 4 stars4 stars4 stars4 stars (3.8/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 169    
Have you entered?
Please submit a Report card.

Contest Comments

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BlueCat Screenplay Competition

Contact

P.O. Box 2635
Hollywood , CA 90078
(323) 785-2338 (voice)

Web: Click here
Email: Click here

Contact: Gordy Hoffman, Founder
MovieBytes Interview: Gordy Hoffman

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.2/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (4.2/5.0)
Feedback: 4 stars4 stars4 stars4 stars (3.8/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 169    
Have you entered?
Please submit a Report card.

Contest News

How to Start a Screenplay: Treatment or Free Fall?

by Gordy Hoffman

Starting a screenplay can sometimes be as hard as finishing one. Impatient to pull up to the front door of a classic motion picture, I want to get everything right so quickly. This impatience challenges my trust in the work, the creative process of screenwriting. What exactly does trust mean? If I don’t trust my writing, then what am I? Frightened. This is the battle. If I’m scared that everything I’m typing is worthless, then what? My hands find something else to do. So trust is good and important and essential to beginning this journey, alone, a trip that will eventually take what comes out of you into millions of people. But it’s just you now. And your trust.



Now, does trusting your writing mean sitting down with no ideas,opening a new document, and starting to type? Of course. And no. What I need to do is make a decision and execute. And this decision often comes back to whether I should write an outline or treatment before I start writing my screenplay, or, with a rough idea, a shadowy shadow of something calling from my brain, start writing?

I have done both in the past. When I wrote the first draft of LOVE LIZA, I really had very little idea of where the story was going. I had a few things to start off with, and somewhere I wanted to end up down the road, but that was it. It was terrifying and difficult to remain seated. But the most original characteristics of the screenplay came out of the immediacy of trying to come up with what’s next, with my fingers resting on the keyboard. I became sold on this process. Outlines killed creativity, because writing an outline is not actual screenwriting. It’s outlining.

But then I came to Hollywood and tried to tell executives the little ideas I had. I would very proudly announce an image, a picture in my head, that I knew contained the fire of an entire epic. I was shocked when they asked, “Then what happens?” I didn’t have an answer. Why? Well. BECAUSE I HADN’T WRITTEN IT YET. It seemed like a completely stupid question. What happens? What happens?? Did I say I had a complete screenplay to show you?!

You know the rest. No phone calls and bewilderment and then I found myself in the city of pitches, and starting to flesh out things into 14 page screenplay treatments. I did so, convinced that it could never be that good, that it was forced, and staged, and predictable. I was shocked to find out that it did not destroy my creativity. I was still able to come up with interesting, original things. But deep down I knew. This was still not screenwriting. This was not the art of screenwriting. And I’m right.

So now what was I going to do? What was better? If I was to sit down and spec something out, how was I supposed to go about it? First off, I’m lazy, so having a treatment or an outline sitting next to my laptop to walk me through the first draft is very appealing, despite knowing that the inspiration driving a treatment is different than the juice that comes when writing the screenplay blindly. And I have sat down and written 90 pages, trying to find the story, only to simply start over. This is a lot of work, but I’ve come to recognize that this work is not lost. This is the path. It hurts, it kills, it bludgeons, it fatigues, it flattens, but it’s the road. Believe me.

But what about a heist movie, or a mystery? A thriller with twists? Aren’t movies sometimes puzzles? Can we find this stuff without a plan? Don’t you have to figure this stuff out? Yes and no. Flying by the seat of your pants often produces jaw-dropping turns the audience will never see coming. Why? The writer didn’t. This is the largest reason why studio movies are predictable-the fabric of the script is shot through with the knowledge of the ending of the story.

If we are to plot out the map of our movie with a treatment, beat sheet or outline, we better be damn sure it’s the real thing. Putting our best foot forward with a very strong outline is only the start of what will end up as a screenplay. Despite putting that golden outline next to our keyboard, we will find that turning it into a screenplay is still, I’m awfully sorry, a lot of work. Scenes that we imagined to be amazing will suddenly be impossible to write. And why does that upset us? Why does that frustrate the writer?

Well, we thought we had a short cut. We thought we were going to sneak into the back of a classic movie. My journey as a writer has been marked by the learning and relearning that all that wood has to be cut out there in the back yard, whether I like it or not. If I wanna do this, I have to swing the axe.

But we know, if we trust our gift, that something beautiful is coming, regardless if we have an outline or not. Perhaps the writers who work from outlines should throw them out. Perhaps the writers who write like the house is on fire, with nary a note within miles, should sit down and write a treatment. Treatments are fun, too.

I do both, switching back and forth when I need to. When I’m writing and I start to feel blindfolded, I turn to jot down a few notes, sketch a few ideas, track a character arc, reorder an act. But when I think I’m caught up in pitches and notes and beat sheets and the safety of plans, I chuck it all and write like I did when I was a kid.

Did we use notes when we were kids?

Copyright © 2006 BlueCat Screenplay Competition

About the Author

Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA , Gordy Hoffman has written and directed three digital shorts for Fox Searchlight. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno International Film Festival. He is also the founder of the BlueCat Screenplay Competition. Dedicated to develop and celebrate the undiscovered screenwriter, BlueCat provides written screenplay analysis on every script entered. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, www.screenplaynotes.com. For more articles by Gordy on screenwriting, visit www.bluecatscreenplay.com.

Updated: 02/14/2006
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BlueCat Screenplay Competition

Contact

P.O. Box 2635
Hollywood , CA 90078
(323) 785-2338 (voice)

Web: Click here
Email: Click here

Contact: Gordy Hoffman, Founder
MovieBytes Interview: Gordy Hoffman

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.2/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (4.2/5.0)
Feedback: 4 stars4 stars4 stars4 stars (3.8/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 169    
Have you entered?
Please submit a Report card.

Interviews

MovieBytes Interview: Gordy Hoffman

An interview with Gordy Hoffman regarding the BlueCat Writing Competition.

Updated: 01/29/2007

MovieBytes Interview:Screenwriter Lily Amirpour

An interview with screenwriter Lily Amirpour regarding the BlueCat Contest Writing Competition.

Updated: 03/06/2008

MovieBytes Interview:Screenwriter Rick Stempson

An interview with screenwriter Rick Stempson regarding the BlueCat Writing Competition.

Updated: 02/07/2007
Contest Winner? Let's talk. If you've finished first, second, or third in the 2018 BlueCat Screenplay Competition, MovieBytes would like to interview you.