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Did anyone enter this one? Results were supposed to be announced April 30, but I haven't seen anything. Anyone got info on this?
Anyone place in this contest or ever been to it? What's the scoop?
My writing partner and I submitted one idea. Haven't heard. They did say one could hear as early as August, but beyond that there didn't seem to be a definitive notification date. I don't even know if they send rejection letters or not. But the program seems worthwhile if you get in.
I think my writing partner saw it on the Indie Newswire. I think you are correct to say they are swamped. We submitted one act of our show, but since they ask for, in the least, ideas, I'm sure they have been deluged.
thanks for the update, marcel.
perhaps i'll try a query as well.
Does anyone know the breakdown for Austin in terms of scripts entered and how many make the semi-finals? If Nicholl is 6,000/320 (for the quarter-final), what is the corresponding figure for Austin and the semis?
Also, how many have been to Austin? I'm thinking of attending and wanted any inside dope in terms of things to avoid and things to catch.
thanks to all
So I'm assuming the letters that go out this week inform whether one makes the second round or not, not the semis. Am I correct in that?
Ron, Thanks. Yes the list does look impressive. I figured the networking angle is the fest's best feature. Thanks for the insights. 3-4 days with screenwriters.... I can hardly be with myself for a day- hahahaha.
Susan, I'll probably see you there.
Nothing here, and I'm in Boston. I suspect tomorrow.
anyone here anything on this yet?
My writing partner and I (both from Beantown), entered two scripts. We haven't received any letters. Don't know if that's good or bad. We're definitely going but waiting to hear about placement before buying the passes. I think I might be able to get a teacher discount regardless as I teach s-writing at BU.
Please drop me a line so we can chat about Austin. I've never been and would like to get the inside dope: email@example.com
Thanks for your note.
My writing partner and I have decided to go whether we get the "R" letter, 2nd round, semis, or otherwise. As of today, we've heard nothing.
I think the value of a contest placement lies in its attention getting power. Of course it's possible it leads to something terrific, but short of that it sets your script apart from other query letters. When you send a query letter, you say, my script was chosen "-----" by the "----," I think it gives an instant credibility agents, prod cos, and managers like to see.
I haven't been to Austin, but it sounds like its worth at least one trip if you're serious about screenwriting in the Hollywood sense of it.
neither my writing partner nor i have yet to receive anything. beginning to wonder. anyone else still waiting for a response of any kind?
thanks, todd. we did call. they said if you haven't heard by tues. call back. we're simply waiting to see what pass we should buy. i think semi-finalists get a discount on passes. i've seen all the same things about 'R' letters and second-rounders. it's weird because people in my area have received letters, so it's not a mail thing. the only thing i can think of is they don't mail all letters, whether they be rejections, second-round notifications, or whatever at the same time.
bought my pass teacher pass yesterday. didn't make the second round, but i'm psyched to see what it's all about. when i bought my pass they offered two extras. one was a luncheon (round table) with agents, producers, etc. i threw in for that but not for the pitch fest. i'd get blown away and ramble on, but if you are a smooth talker i suppose it sounds neat.
my biggest dilemma about austin. if the red sox make the american league championship series, it will roughly coincide with the festival. i'm a season ticket holder. i want them to win, but i don't want to miss it. i'll just have to hope (though i'm sure) they will end up in the World Series. see many of you in TX.
Bring your Pedro high heater for the pitchfest. No sloppy Wakefield knucklers or Mendoza sliders that stay up in the zone.
Susan... I think the pitchfest takes place on thurs. and fri. with the finals or awards at the luncheon on sat. I chickened out. cluck, cluck.
Sox will most likely take the wild card. Yankees are a bit out of reach. But the wild card is not assured yet. Paul, I'd love to give you my ticket, but I think the guys I own the seats with wouldn't see the importance behind the eminent semi-finalist status you've attained. Haha.
Here's my deal to you, however, if you win Austin I'll get you into the world series. Notice no if they make the series.
Have a one-hour drama pilot and wanted to enter a few contests. Not so versed on the TV ones. Can anyone say which are the most worthwhile?
I posted a short story there (a little less work obviously) and got terrific feedback. Everyone was professional and cordial. Can't say what the screenplay side of things is like, but I recommend Zoe based on my short story experience.
I believe the wordplayer site has some good articles on this. And I recall a panel at Austin that addressed the very issue. All of it pretty much echoes what people have said. You gain a slight advantage living in LA: you can take meetings and be seen much easier, but in the days of overnight delivery, PDFs, and jet travel the advantage is only marginal.
I'm in Boston and would consider making the move upon a sale, but until then I wouldn't do it.
i think the original question was what's the best way to break in, not how to get re-write assignments. i of course agree that in the case of the latter you'll never get regular work if you can't take meetings and have script sessions. as for breaking in, which most would do with a spec script, the chances are probably higher being there, but how many headlines on moviebytes are about the guy or gal who sold his script while living in Ohio and then moved to LA? after that, i'm sure that writer got re-write assignments, but i stick by the maxim of write, write, write, and worry about moving after selling. that is unless you just want to pick up and go for it.
The rules do state that they are looking for HORRORs or THRILLERs. I haven't seen anything that says they are also considering COMEDIES. Doesn't mean it's not so, but I haven't seen it.
But it's a good point. Do you enter a comedy in the hopes of making that top 1000 cut? A nice feather to put in your cap, or does the peer judging open you to the risk of someone severely down grading your script because it's not the correct genre?
I would doubt you'd get further that the top 1000 to the top 100 or whatever with a COMEDY, but I'll be interested to see how it all unfolds. Guess it's only a $30 dollar risk to find out. Oh, and a great script...
I share your sentiment whole-heartedly. Above all, PGL is about that television series and not truly a blind search for new talent. I don't mean to say that's necessarily bad. It's their contest and it's better than not having one, but I think after the peer review it's clear that selection proceeds on what is best for the tv show.
I think the whole thing is fun in its own way and no one should take it too seriously.
uh...my guess would be that it's LA, and they cut on many things there. it's part of the lifestyle.
but i can also see that a degree of amateurism (especially in the early rounds) would make it ripe for sarcasm--especially if, as you say, someone couldn't even figure out an obvious plot element. however, i would also add that i've entered contests, ones with feedback, where it's clear the pro readers didn't really read the material.
i'll say one thing for PGL: it certainly has more attention focused on it than any other contest, which can't be bad for the winners.
not LA as in all citizens, as in industry people. do you think "The Player" was inaccurate?
Does anyone know how many were entered into this year's PGL?
I'm Robert Towne...
...just kidding if anyone takes that seriously...
the critics panned it, and i pan it too. it was not entertaining and departed too widely from The Iliad.
don't waste your time...in my opinion.
Did anyone see "The Weather Underground" last year? A real documentary about the anti-war-in-Vietnam group the Weathermen who became violent and began blowing up buildings in the name of peace.
There was a very telling quote in that film from an ex-Weatherman. She said, "We cherished our hate as a badge of moral superiority." This describes Michael Moore pretty accurately I think.
Though he's not throwing real bombs, his rhetorical ones are nearly as reckless, in my opinion.
You'll note that Ray Bradbury, author of Farenheit 451, was quite upset that Moore piggy-backed on the title of his novel without asking permission. Moore ducked Bradbury when the author attempted to speak to him about it. I don't think the two are simpatico: they may share the same title but the integrity of the artists are quite different, in my opinion.
Cheers all, Randy
My writing partner and I entered four scripts total. He did two at the early deadline and got rejections today. I entered two at the regular deadline and have received nothing, though I live five minutes from him. I kind of expect these other two not to advance, so I'm thinking mailings might be a function of when you entered. Maybe I'm wrong. Can anyone comfirm or contradict this?
Congrats to those moving on!
the site is back up and results are due out no later than the 15th. on done deal, someone said that the offices of HNS were robbed and some computers stolen. that's why the site was suspended and results are delayed. seems to be a legit excuse. anyway, we should know in a few days at the latest. so hold off on the class action lawsuits.
Just thought I'd throw my two cents in here. The three act system...sure it's valid and that's how most people in the biz discuss/write scripts. It's what most analysts, story editors, et al gear themselves around. It sells a hell of a lot of books and packs a hell of a lot of people into seminars. But I don't necessarily believe in it.
What I generally do is play along. A script is 90-120 pages and nowhere in any script is there a demarkation such as "Act One" ends here or "Act Two" starts here. Maybe in a sitcom script but not in a feature film.
My writing partner and I have just gained the interest of a stalwart, veteran producer with good credits and major awards who will be taking our script to buyers after the new year. At no time did we write with the three act system in mind. And never, in our discussions with him, did he mention act two or plot point one, etc. Our script is 120pgs and it is a good story. I'm sure this is the exception to the rule, but I think writers should feel less beholden to three acts than some would like them to feel.
If someone insists on discussing scripts with me in terms of the three act system, yes, I go along, but I write my scripts to write the best possible story. That's foremost on my mind, not how many acts. 3,4,5, it's all good.
I'm curious as to how three act supporters explain any Shakeperean play that's made into a successful film. Did the Cagney version of "A Midnight Summer's Dream" suddenly shrink from the orignial five act play to a three act movie? Of course not. Maybe the writers constructed a three act film, but the story is a classic five act play and buttering it up as a three act movie is nonsense as far as I'm concerned. That goes for any stage play that becomes a film, in general.
I'd also love to know what some of our greatest authors who wrote in Hollywood at one time or another thought of the three act system: did the likes of Faulkner, Hemingway, John O'Hara, et al. bow down to the three act structure? It would be interesting to know.
I'm not knocking the three act system, though it may seem I am. I'm suggesting that alternatives (as has Randy Roberts-- and quite ably) might also work. If three acts works, it works. But I don't think one should necessarily conform to its dictates. If it helps you grease the wheels and assuage people's egoes by speaking their language then go along with it. But don't let it rule your life: just write a great script and that boils down to character and understanding the characters' journey. Character dictates structure not the other way around. The Aristotelian notion of story makes for good rhetoric, but I think the older adage of "if you're given a ledger, erase the lines" applies better.
Happy Holidays to all. A very interesting discussion.
I looked at this site as well. Definitely a lot of interesting ads and most seem pretty legit. Largely however, like many of the Inktip opportunities and successes, they seem to be the kind of assignments or options where payment is deferred until the script is bought or the production earns profits. Not bashing Inktip because I think it's valuable in many ways, but the trend these days seems to be to offer $1 options with payoff upon big sale (and we all know how rare that is) or spec work for credit and payment if work is bought and produced. I've done this several times myself and been offered other similiar opportunities and it generally leads to naught because even well-placed people have a hard time getting material greenlighted. And it's an easy way for producers to run around getting many writers to work on spec material without paying them. Then maybe they focus on one out of the twenty scripts they've "developed" to really run with.
Nevertheless, a lot of these ads will help you make connections, get your work seen, and hopefully lead to better and better chances at real sales or solid representation. I'd just say be careful about how much time you spend going down a road that distracts you from potentially more worthwhile endeavors.
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