Message Board

Had three scripts entered and they are still in the hunt (HORROR COMIC, WEDDING KNIGHT, and THE UPRISING). Think the first two have a shot at the finals and have gone through 5 or 6 more drafts on each. Love that option of submitting an updated draft at the end stretch.

I'm in the mentorship program and it's been great. Gone to workshops as part of it, phone conferences, one-on-one session breaking down the next script. After the script is done he reads through it (one section at a time or the entire script if you want to do it that way). Nice having a mentor.

You can email Matt (the assistant) at Chris' website.

He'll email you a link for the first phone call. Tell him Hoover sent ya.

I know. What was wrong with SAVE AS PDF???

Now print, include title, and click ignore saving it both ways all to get a PDF.

No idea why they messed that up.

Barb gives excellent notes reasonably priced. My script WEDDING KNIGHT scored a thumbs up from her.

Carson (The Script Shadow -- a great blog for recently sold scripts) gives great notes. Scirpt-A-Wish -- good notes and great contacts.

My favorite recently has been Michele Wallerstein. Former agent (with millions in script sales to her credit). Very funny and great to work with and she approaches analysis from a unique perspective: "Do this and you can sell it." Plus, she has great contacts.

Instead of spending money on query letters and phone calls, hire one of these consultants with industry connections. Not only will you improve your script (95% of what's out there is NOT ready to be seen by pros) they can open doors for you. Means a lot more if someone in the business picks up the phone and does that initial contact for you.

Good luck!

WTG! Well done!

Agree. Well worth a watch.

There's an on-demand film called DREAMS ON SPECS. Has some interesting interviews. Kinda depressing as it follows writers through ups and mostly downs.

I have three scripts in the competition and can't remember if I ordered the coverage or not. I do so many drafts of scripts it's usually not helpful to get less than a 2-3 day turnaround on coverage.

The email I received said there were over 1,000 coverage emails being prepared and those that didn't make the first round cut would receive theirs. If you still have a script in the competition you won't receive the coverage yet. Idea is they don't want you reading the tea leaves or putting too much focus on that coverage and fresh reads will be done.

Great things about this contest: (1) Genre divisions -- my thriller was beat out in another contest by a sweeping historical epic. Good luck with a horror unless there are genre divisions. Best way to do things. (2) You can submit your CURRENT draft if you make the finals. I've advanced ten drafts on my rom com and two on my thriller. Great to have the current/best version of your script being read. Wish all contests had this policy.

Finally, you're still in the contest and ... complaining about it?? On a public board? Not a good business practice to piss in your own pool.

Congrats and good luck.

I had two advance as well -- WEDDING KNIGHT and HORROR COMIC.

My scripts go through so many drafts unless the feedback comes back within a week it's for an old draft. Hit or miss if that's useful.

Think it's good for contests though to know why the judges advanced or axed your script. I was particularly impressed by the quality of notes from Script Savvy. Worth entering their monthly contest just to get the notes.

Congrats Eric on the contest successes.

Don't think I entered that one. Everything I signed up for was on withoutabox except Nicholls and Austin. Right judge on right day that likes your script. Bit of luck in all of it. Just have to keep at it and keep rewriting.

Actually one of the better contests because the scripts get read by pros. Not as many entries and more of an 'insider' contest so the quality is higher of those participating. There are success stories posted on the site.

Irin, 59 out of 60 is great! Congrats on the win. You're a contest-winning machine. Good example of sticking with a script until it reaches full potential.

Pillar's podcast (On The Page) is excellent.

I found my BlueCat analysis to be helpful. Not every read will respond to material in the same way. Just part of the process/luck of the draw.

TrackingB has spec sales and tracks them as they go to market. Lists the agent/heat/comments and tracks them. Useful to find out what's actually selling. Sad that it's stuff like View-Master and toy/games/Bazooka Joe.

About 40 specs went out last month and no sales. Good way to track agents/material they are shopping.

Go to the website and look at who reads the scripts. Not really about prize $ but getting your script read by the industry.

I've never entered the contest. The site is great though and only about 80 bucks a year.

I verified through PayPal that the entry fee had been refunded. The contest mentioned that some of the judges were willing to give free notes to those that had entered. Thought that was a good opportunity and I sent an email requesting the notes.

Seems that outside the majors (Nicholls, Austin) withoutabox is a survival requirement for contests. Too difficult to get the word out and a crowded field.

Amanda, What do you mean by other "insider boards"? There are boards that exist (or so I've read) where info is shared within the industry. But how reliable is your competition?

Or are you speaking about something else?

HORROR COMIC is still in the running.

Some of the scripts had both drafts (!!) in the top 1%.

Honored to be on the list in such a prestigious contest and fingers crossed for next week. The notes from the contest are helpful and the winners have a track record of success.

Best of luck to everyone this contest season.

If you're on TriggerStreet I posted info there on HORROR COMIC. Thanks.

Congrats Irin!!!

Building up a long list of success. WTG!

Got my notes back today from StoryPros. Really like contests that allow you to get the judge's perspective of your work. Lot of great "quick fix" items and the "big picture" notes will be helpful for the next rewrite. Quick turnaround on the notes, too. Well run contest.

The contests that divide scripts by genre give you a much better shot with certain genres (like romantic comedy).

David is my go to guy for line-by-line notes. First step in the process. Pages he sends back have more red than black. Absolutely the best.

ScriptShark is not a rip off. They have a number of great readers that provide quality notes.

Not every reader is going to respond to your work in the same way. This is why you need to get coverage from a number of sources. Ultimately it's YOUR script. Tell the story you want to tell in the way you want.

Two reviewers disagreeing over a script is no different than reviewers having different takes on a film. Multiple critiques will show you if a consensus opinion pinpoints a specific problem.

Recently I've been using Michele Wallerstein for 'big picture' coverage. She's a former agent with 25 years+ experience. Has read thousands of scripts and gives advice on what you need to do to sell the script.

Lot of coverage is from screenwriters reading scripts to pay the bills until their career takes off. Some will want to rewrite your script with their voice. Having a former agent gives you a unique perspective. Plus, she has great contacts.

But ScriptShark is a good service. Don't know why you'd come on a board calling them a rip off. Small business and no reason to throw grenades. Be the person people want to spend 2-3 years with making a movie.

Excellent advice.

twoadverbs has a great article on loglines. I've lost a few fish not setting that hook correctly. Very common mistake and you're out of the running before you get started. Also a symptom you may not have a clear through line to your story or genre.

WTG Terry! Two still in the running. Great showing.

Realized my comedy was an older draft when I got the notes. Ah well. Hoping to make that cut in PAGE so I can submit the latest version.

HORROR COMIC is still in the running. Head to head! Good luck, T!

Thanks. Hope you can as well!

G/l Terry! Still have two in the running. Nice job!

WTG!!

Irin, post your withoutabox statement so we can all save our entry fee money.

What's the latest on this script?

http://thebusinessofshowinstitute.com/blog/1361/

The true competition for your screenplay is that of working professional screenwriters. Contests are just a way to get on the radar but a good showing or winning a contest doesn't mean you're anywhere close to screenwriting as a career. So the Nicholl odds are easy compared to what you're really facing.

The real goal is to write the best possible version of your script and demonstrate you are a new distinct voice and genuine talent. See it that way and there is no competition or odds.

Screenwriting is the most democratic of professions in this way. Doesn't matter where you are from or where you went to school or who you know, write a great script and you're in the club. You can't go do a surgery and get a medical degree. You can't win a case in court and be a lawyer. But you can be a screenwriter by writing a great screenplay.

Also, 90%+ of the scripts entered in any contests aren't really in the running. The writer hasn't rewritten it, polished it, sweat it out, come up with something unique, and done the work of a pro. Cut out that percentage to give you an idea of what you're really up against if you've done your job.

Most writers can't take criticism. Rather than realize the shortcomings in their own work and see things objectively they lash out against the script reviewer. If you're looking for a pat on the back and glowing review hand your screenplay to your mother.

The majority of the "BlueCat sucks" or "ScriptShark is a rip" are posts from writers who just got an honest critique of their work and can't handle it. They have not yet adopted a professional attitude and distance from their work. Any review, therefore, is taken as a personal attack and they respond accordingly.

Why is this a bad idea? It shows you're someone that can't take honest criticism of your writing. If you can't take it now at this low level how can you possibly handle studio notes? If you're a pain in the ass why would anyone want to be in business with you through the years of effort it takes to get a film to the screen?

Honestly, if you had gotten a great review and done well in (fill in name of contest/script critique service) you'd be on here singing their praises. Right?

Read the excellent book THE WAR OF ART. Contains advice on adopting a professional approach to the craft of writing.

Keep in mind that contests are amateur-fests. Winning one just means that your work is the cream of the crap. In no way does it imply your work is equal in quality to the average professional screenplay. Doing well in contests is simply a small bit of encouragement that you might be a pro one day if you put in the time and effort. But you still have a long way to go.

Good luck to everyone this contest season.

I've found that critiques that are too positive are useless. If you've ever been a member of TriggerStreet or Zoetrope you'll find that the scripts that you put out the effort to give valid, useful criticism to are those which you feel are worth the effort. If someone isn't even in the ballpark you give them a pat on the head and move on.

Number of good coverage services out there reasonably priced. Carson who runs the excellent blog The Script Shadow is great and under $100. So is the Script Mechanic. Eric the reader. Or trade out with people.

No moderator I suppose.

Need to put the drama into scripts. Flaming is typical online behavior if you visit many BBs.

Which reality show?

SURVIVOR? AMERICAN IDOL?

Or is Irin THE BACHELOR?

Thanks, Terry.

Didn't make it either on this one. Early draft.

But -- better news that any contest: I've got a producer on board to make the film! Working hard to rewrite and get it in shape.

Good luck in the other contests. Look for me in the trades soon!

Hey,

Just realized you finished 2nd! James T.

WTG!!!! Should get some fun prizes out of that. Congrats!!

I'm going to the Sundance retreat in September.

Dave has given me notes in the past. I found them helpful. I assign his book to my beginner screenwriting class. Good guy.

Thanks. In my experience to date having a producer is the way to go. They push for you and don't take, "No" for an answer. By contrast most agents kinda shotgun material and see what sticks.

I saw that "James T." and assumed the "T" stood for Tiberius.

PAGE cut announced some time today. Fingers crossed on that one.

Still alive with two of mine. Zombie script joined the ranks of the fully dead.

Man.... next cut is the big one! Top ten lets you update the draft. And I'm 10 drafts down the road on both of those scripts.

Good luck to all MBers!

Hire a coverage guy for $60. Cheaper and you'll find out what the problems are.

When are the finalists announced?

Anyone enter this? Announcement coming up August 3rd.

Good luck to everyone! MBers represent!

Man, I looked at withoutabox. I blew like two grand on contests! Got $500 back so far (Big Apple). Need some more return on investment.

ScriptSavvy btw gives great notes. Worth a shot there just to get the feedback.

Good luck!

The prizes are pretty good but the list of people that read the winners is the real advantage. Hope they give you the option of submitting an updated draft before they send it out.

Right reader or right day. Bit of a crapshoot with contests. All part of the biz. Woody Allen quote, "90% of success is just showing up."

Congrats goes to...

Gladly McGee and the Damn Retarded F****t by Jerry Mahoney

Two actors forge an unlikely friendship while playing offensive stock characters in the 1940s, then experience the ups and downs of Hollywood as it changes over the next 40 years.

"Cross-dressing headcase?" How dare you say that about my grandfather! Just for that we're opening a new file on you.

I've heard it's better to write three screenplays in ONE genre. That way it can be used to get assignments.

Irin's correct. You want to be the 'comedy guy' or even more specific -- rom com, spoof comedy, whatever.

Think of it as branding in advertising. "From the writer of ____" and your next script follows through on that promise.

Also easier to demonstrate a "voice" if you're writing one genre.

I've written in a variety of genres to try new things and I'm a fan of all of them. I've found that it's much easier to stay in your genre and play to your strengths. Can be like beating your head against a brick wall if you don't.

The branding things makes sense. "From the writer of _____ comes _____" Easier to sell yourself as the science fiction writer or rom com or teen comedy. Then once you're established go from there. If you're all over the map it seems that you haven't 'found your voice.'

Finally, don't try to sell more than one script in a query. Looks like you're not sure which is your strongest and, if you have too many on the list, like you've been at screenwriting for years without making progress.

Announcement today... some time. Guess I'll read the results in the morning.

This was a good contest because of the publicity and people (agents/ managers/producers) that requested a read of the winners.

It's sponsored by CREATIVE SCREENWRITING. Not sure what the 'negative discussion' was all about. Always going to be somebody mad they didn't win.

Ditto. Entered but got no email.

Congrats Timothy!

I enjoy her podcasts. Great stuff.

HORROR COMIC advanced to the next round.

Thanks. Forgotten I'd entered it but it's The Script Department. Good group of readers there. Updated the script a bit since then but fingers crossed. Think it and Trackingb are good 'below the radar' contests that are recognized within the industry. Entering some of these is like going to the WSOP main event. :-)

Agree that contests are subjective -- but it all is. Some of the blacklist scripts I can barely get through but obviously they found fans.

More concerned about the producer interested in HORROR COMIC.

Tougher getting passes from producers. Going through that now with my rom com, which had scored "consider" from five pro readers. Getting the usual, "Great, wonderful, talented writer, but... not for us" reaction. Then "Send us the next one." Good to have a door open but would be better to get at least an option. Should be hearing back this week from another 3 or 4.

Heard readers say over 120 won't be read at all.

Lot of info on this from 'tips from reader' sites.

ScriptSavvy notes are great. Turnaround is nice, too.

The better the characters and dialogue and more you're into the film the less you notice the bullshit.

CASABLANCA has a serious flaw in the McGuffin. The Letters of Transit signed by deGaulle?? deGaulle was the head of the French Resistance, for one, with no power and his signature on anything would have been cause for trouble. But in the plot Nazis are going to allow anyone holding those to get by no questions asked. Complete crap. Then Lazslo is to be set up later holding the letters. Wait, weren't they a free pass?

So, better the film is the more we overlook the bullshit. Going to Casablanca in the first place is b.s. Why there's the newsreel up front to give it credibility.

CITIZEN KANE. Who is is the room to hear his last word?? The nurse comes in after he's dead. Oops! You can go on and on finding huge holes in anything.

In HAMLET pirates help the prince get back home. ?? Wouldn't they maybe kidnap him and make money off the deal? Very nice pirates!

Copyright the script. WGA tosses the script after a couple of years and does not give you the rights of a copyright. Also, it's assumed that the script is legally protected and it makes you look like an amateur indicating things like this. Rookies are usually paranoid about their script but ya gotta show it to shop it.

Also, get pro feedback (or a quick turnaround feedback contest from ScriptSavvy) to make sure the script is absolutely ready to go. 90%+ of scripts out there are NOT ready for market. Could be a great concept but you must nail the execution. Needs to be 'ready to shoot' as a lot less $ is being spent these days on development.

Good luck!

I had a money order stolen trying to copyright something.

Now I just do it online. Simpler, faster, and avoids using DC mail system.

So it's GHOST done as a dark comedy cut the romance. The dead wife is your protagonist, right? Her relationship with the detective is key to your story. Both should have clear arcs.

Should we know off the bat who did it? Seems to be weakening your story options for the audience to know that early. Should be a twist/end of act 1.

Congrats, man! Burning up the contests this season! WTG!!

WTG!

Nice to have a pat on the back as you go through revisions.

The average writer writes 3 scripts and puts out 3 years of effort. The average pro writes 10 scripts before breaking in and 10 years of effort.

Give yourself 10 years of trying before you quit.

Something like 40,000 scripts are registered each year with the WGA. Not all scripts are registered and some copyright only but just use that as a guide to people that are trying.

90% of those are crap. Toss them in the trashcan. So leave 4,000. 720 films made. How many indie films? Lots. So the odds aren't that bad.

Plus, what other job requires only that you DO IT? Can't go do surgery and be a doctor. Can't show up in court and argue a case and be a lawyer. Write a great script, sell it, and you're a pro screenwriter. Very democratic.

There is no competition. There is you developing as a writer script after script, rewrite after rewrite, and you'll break in eventually. Like the Woody Allen quote, "90% of success is just showing up."

Congrats, John!

Got a letter today (strange to get one in the mail these days). My rom com, WEDDING KNIGHT, advanced to the second round (top 10%) before being eliminated. Was hoping to go further but not bad for an early draft.

Anyone else get good news?

Yes. Suppose it's better than waiting a week. Strange to receive something in the mail these days aside from a bill or advertisement.

I appreciated the note as well. Nice touch.

Their server crashed. Announcement posted here:

http://pageawards.net/2009-final.shtml

Irin's JUNIOR DETECTIVES advanced. He's a MovieByter.

I'd read two of the scripts on TriggerStreet, AXEMAN OF OLD NEW ORLEANS and (very funny) ALIEN BOSS. They still may be posted there.

Ton of people on DoneDealPro.

August 3, 2009 Dear Stephen, First and foremost, congratulations on advancing to the Semi-Final Round of the 2009 PAGE Awards contest! We received nearly 4,400 submissions this year, and you had some fierce competition among your fellow contestants, so you should feel very proud of this achievement. Over the past few months, many writers have asked us if they can submit the latest draft of their script for the next round of judging. Due to the volume of entries and the complex logistics of our judging process, this would be impossible for us to accommodate. Even at this point in the competition, we have 250 Semi-Finalists and your scripts have already been sent to the next round of Judges, so we cannot accept new drafts at this stage. However, in order to give our Finalists the opportunity to submit their very best work to our top Judges, beginning last year we decided that we would accept rewrites for the Final Round of competition -- and we are continuing that policy this year. So if on September 1st your screenplay is on our list of Finalists and you would like to submit a rewrite or polish for the Final Round of judging, you will have approximately 36 hours from the time of the announcement to email your latest draft to Zoe Simmons, our Contest Coordinator. But please be prepared for this in advance! In order for us to have enough time to get all your scripts printed and distributed to the Final Round Judges, we must have your rewrite here in our office by midnight Pacific Time on Wednesday, September 2nd. Even if you haven't rewritten your screenplay since you entered the contest, I recommend you take advantage of this opportunity to review your script for formatting errors, typos and grammatical mistakes. While the judges have obviously been very impressed by your work overall, I've heard quite a few comments about technical errors in many of these scripts, and at this level of competition every point counts. You don't want things like incorrect formatting, missing punctuation, or misused words to diminish the Judges' impression of your work. So please use the next few weeks to make sure your screenplay is up to the highest professional standards. Some tips from Zoe: Print out a hard copy of your script and go through it with a fine tooth comb. Make sure your formatting is industry standard throughout. (Refer to Dave Trottier's book The Screenwriter's Bible if you have any questions about proper formatting.) Review your script for typos, blank pages, missing words and incorrect usage -- which spell-check does not catch! Better yet, have someone who has never read your script proofread it for you. Ask your high school English teacher, your buddy who's a journalist, or even your Mom. Moms aren't always the most objective critics of your work, but by George, they'll spot that typo! If you advance to the Finals, we will send you a reminder message and you will have the opportunity to email us your revised script. When you do so, please make sure you send the correct file. Clear your desktop of all your old script files and only keep your "new and improved" draft accessible. Double-check your file one last time before hitting "send." Once your screenplay is printed and given to the judges on September 3rd, we cannot allow any additional resubmissions under any circumstances. Please do not email your rewrite to us now. We will only accept revisions from our Finalists. However, if you use the next few weeks to polish your screenplay, whether your script ultimately ends up on the list of this year's Finalists or not, it will still stand you in good stead. Your script will be in perfect shape to send out to agents, managers, and anyone else who requests it -- so it's a "win" for you either way. It looks like we have some phenomenal screenplays in this year's Semi-Finals, so I'm very excited to see how our next round of Judges respond to your work. Most of our Semi-Final Judges are production execs and managers who are looking for new material and new clients, and I'm confident they're going to discover some amazing talent among all of you. Once again, congratulations!! Sincerely yours, Jennifer Berg Administrative Director The 2009 PAGE International Screenwriting Awards

Hoping to not be eligible next year for contests!

Semis announced today:

http://www.silverscreenwriting.com/

For Irin and any lurkers:

Hi Stephen,

Thank you so much for writing in with your question for all our Finalists -- That is SO sweet of you to offer to help in this way! :-)

I will have a late night either way -- And I don't know why people get so confused with this -- (I get questions every deadline):

So here goes --

September 2, 2009 midnight Pacific Standard Time is one minute BEFORE September 3, 2009.

We absolutely wanted to give that extra day -- So yes, in California it is now almost 8:30pm PST, and they have a full 24 hours plus 3 and a half more hours.

Again, THANK YOU for being so kind and considerate!

Best regards,

Zoe Simmons Contest Coordinator The 2009 PAGE International Screenwriting Awards

Here was the confusion:

The email we received said you have until "September 2 at midnight" to submit your updated script. They meant to say "11:59 PM September 2, 2009" to submit your updated script.

Midnight, September 2nd Pacific time in 90 minutes. That's why I sent the email and posted the clarification from Zoe in case anyone else was confused. Or maybe it was just me...

Tomorrow -- Wednesday night -- is the deadline for updates. Also, there's a series of questions that were sent out that must be answered as well (over 18, script optioned or not, etc.)

Looks good!

http://www.youtube.com/watch?v=x43dxTNcEfk

Congrats Cat!

My mentor Andy Horton has some great tips. He was nice enough to do a guest blog for me. FIVE EASY WAYS TO WRITE LOCALLY AND REACH THE WORLD By Andrew Horton Oklahoma As A Case Study

This is a simple tale bout how screenwriters everywhere can write locally and reach the world. Using Oklahoma where I currently live as a case study, I am suggesting five easy approaches that can be used by screenwriters everywhere. Yes, I personally continue to work on projects in Hollywood, New York, London, Athens, New Zealand and beyond in contact with filmmakers, screenwriters, and producers. But this is my fifth year of living in beautiful Oklahoma, and I feel there is a lot in common for screenwriters here that many of you around the world share who contact me in response to my script books and workshops since I have long said that you don't need to live in Hollywood to write and produce screenplays. My ''case study'' will involve my own work and that of seven local writers who I feel have a good chance to break out of Oklahoma because of their talent and because of the approaches we are pursuing.

1: SET UP AN INFORMAL SCRIPT GROUP THAT MEETS ON A REGULAR BASIS

We all need that support group we can depend on for encouragement and honest feedback! Years ago in New Orleans I taught a short script class that lasted only six weeks. The course was offered through an Arts Center and thus drew participants with a wide range of ages and backgrounds. The result was that when we wrapped up the last evening, the group on its own decided to have monthly meetings, rotating homes of the participants. I thought this was a fine idea, but figured it would last only about two or three months. I attended several of the gatherings and was impressed that they really were bringing new work to read and critique and were helping each other think of where to send completed scripts and whom to contact. Even more amazing, this original group of about 6-8 members carried on for about three years. Thus my students educated me and ever since I been encouraging other kindred souls to do the same. In Oklahoma there have already been several informal groups meeting at bookstores like Barnes and Noble and Borders, for instance, so the concept was already in place before I arrived five years ago.

To finish the article:

http://wagstaffnet.blogspot.com/

Erik Bork (Emmy winner for BAND OF BROTHERS) and Chris Soth (Million Dollar Screenwriting; FIRESTORM) also posted. Check out previous posts.

All of the contests are getting record entries this year. People out of work = more time to write. Plus, withoutabox makes it damn easy to enter.

Exposurama got pushed back until Sept. 15. So did the Eerie fest deal.

Thanks!

Someone wrote a comments on one of my posts, "You obviously don't know what the **** you're talking about." Gee, thanks!

So, I decided to get some guest posters that actually knew something.

Would be nice to look in one handy place and see all the deadline/announcement dates.

SilverScreenwriting: Sept 10 finalists; Sept 15 - Grand Prize

Slamdance: Oct. 7 is new date

Eerie Film Fest: Sept 15

Exposurama: Sept 15

CWA announces today.

It'd take either monitoring the sites for announcements or asking the contest to email updates. Contests might like that -- easier than answering a few hundred emails.

Might find a volunteer for it.

That and an admin for the message board.

Oh, and thanks for a great website! On my top visit list. :-)

Oh, and thanks for a great website! On my top visit list. :-)

WTG!!!

David Gillis is the best line-by-line editor I've found. He covers format and is a national contest winner. $400. You can find him online. His day job is as a newspaper editor. Absolutely my first stop for any script.

There are less expensive editors. You can call a local college if you're seeking grammar, comma usage, etc. help. A few script critique places offer proofreading as part of their services. Many options.

Thanks for clearing that up, Jim. Tough to keep up. Michele Wallerstein, a former agent, gives script notes and 'big picture' notes and has a ton of contacts. Erik Bork (Emmy winner) is great but more 'big picture.'

Thanks for clearing that up, Jim. Tough to keep up. Michele Wallerstein, a former agent, gives script notes and 'big picture' notes and has a ton of contacts. Erik Bork (Emmy winner) is great but more 'big picture.'

My friend Michele (25 years as an agent; $1 mill sales to her credit) sent me this article for my blog. Some good info! She has a book coming out next year.

SOCIALIZING! by Michele Wallerstein Screenplay & Novel Consultant email: novelconsult@sbcglobal.net

Socializing is an extension of Networking, but is not the same thing. It goes the next step in helping to ensure a longer life in professional writing. Working in Hollywood is not only about the quality of your work, but is about living in the entertainment community. You will need to become a friend and social connection with others who also live in the world of movies and television.

Networking is your first connection with the people who can give you a hand when you begin that long trek through the labyrinth that will hopefully lead you through the ubiquitous closed doors of show business. Socializing gives you the potential of establishing relationships with the Tinseltown folks who are necessary to your future. They also love the business just as you do.

You might think that writing well and even having a hit movie out is enough. Not a chance folks. One-hit wonders are a dime a dozen in every business. If you want to have staying power you'll need friends who will open doors and give you the benefit of their knowledge and connections. Industry insiders spend an inordinate amount of time at activities that look like simple socializing interactions. The truth is that they are always working. Executives have breakfast, lunch, drinks and dinner meetings. They attend dinner parties, galas, award ceremonies, cocktail parties and screenings. Personally, I often found these events both physically and emotionally draining because while they looked glamorous and fun, they were really hard work. For example the person you are talking to may be looking over your shoulder to see who else they want to talk with. The person you want to talk with is too difficult to get close to or too busy with others. The hours are late and it's been a long, long day. The ''phonies'' are all over the place and vying for your attention.

The good news is that you may run into someone who is interested in you or your project or your clients. You might meet some industry executive that you really like and will work with extensively in the future. There are endless good things that can and often do happen at these events. So, we go and go and go to as many as possible.

For writers, socializing is a combination of hanging out and going out. If you meet someone in the business that you like, you might have to make the first move and see if they want to meet for coffee or lunch. If you have the ability to throw dinner or drinks parties, then you must do so. I've found that mixing people who are in and out of the business is not a very good idea. People tend to want to talk to others in the same or similar fields of endeavor. Show business people talk in show business. That's our language, that's where we are comfortable and that's the subject that interests us the most.

Earlier in this book I mentioned that I often orchestrated dinner parties and lunches so that my clients could meet with buyers. Not every agent does this, but it's a good idea to ask your agent to try to put you together socially with development executives and producers. These are the people that you will need. Whenever you are able to attend some social event you must never drink too much, talk too much or do drugs and this applies to your date or spouse who might be attending with you. This will be remembered and you will never be trusted. Certainly you will never be trusted with a writing assignment.

When you are lucky enough to attend events you will need to mention your projects. Don't be shy about it. Everyone will want to hear about them and to put their two cents in on the creative aspects or salability of those projects. Occasionally these folks will discuss their skiing vacations or their personal lives, but not much. We all want to talk about our projects and to hear about others. Ask those questions about their work, the company and their favorite films and they will become your best friend. I don't mean to tell you to befriend people that you don't like. You will find there are plenty of those lurking about and you don't need to pursue them. Find people that you enjoy and simply pursue a friendship. Remember that in business just like in childhood, it's always good to use the buddy system.

I've met some of my best business friends at the aforementioned events and it has made my life easier and much more pleasant. I ask about their children and spouses, their parents and their favorite books. These are effortless ways to begin what could be very fortuitous associations.

Always keep in mind that you might be able to help someone else while you are looking for people to help you. As a writer you might have meetings where you find out information about job openings for development executives or what new projects are being developed. These are not secrets and if you share the information the recipients will ''owe you one''.

All of the above presupposes that you live in Los Angeles or its environs. Obviously, if you are living somewhere that is far from the action it will be nearly impossible for you to socialize in a meaningful way. There's always Facebook and Twitter.

It's always possible to have a script optioned if you live anywhere. The continuation of a writing career means that you must be able to reach out and touch the right people. A writing career is not defined by selling (optioning) screenplays. A writing career means meetings, writing assignments, pitching to studio executives and to producers or development execs. It means building a foundation with your agent and others in your working world. It means getting rewrite jobs and development jobs. These are the things that will keep you in front of the pack.

For writers socializing is more difficult than writing. I understand that these pointers are hard for you to consider and even harder to do.

So&&get off your duffs and call someone.

Sure.

It was much nicer than this one!

http://blogs.villagevoice.com/runninscared/archives/2009/09/i_will_not_read.php?page=1

Thanks! An honor to make it this far. Been a good ride with that script.

QF's announced tomorrow! Good luck, MovieByters!

Correction: Announcement coming Wednesday.

Thanks! Silver in Silver. HORROR COMIC has had a great contest run.

Was wonderful to get the call from the very pleasant Julie Gray. Surprised and pleased to make it that far. Only then did I find out there were some sweet prizes for the contest! So, that's nice, too. Honored to have been recognized by such a well-respected industry insider.

Good luck everyone this contest season!

Back to rewriting...

Heading out tomorrow (7 am!) for Dave Trottier's retreat at Sundance. Will look for you there!

Congrats guys (and gal)! Good luck in the next round.

"Yay me, too!"

In for WEDDING KNiGHT and TO LIVE, PRESS 1.

Good luck everyone!

Oh props to Irin in for MISS CHRISTMAS.

Those are new ones for me. KNIGHT is being shopped right now to production companies. I have to indie producers interested in TO LIVE, PRESS 1. Working on a rewrite of that this week.

I won't be eligible next year for most of these contests next year. Have a script headed into production (fingers crossed). Going all out this year.

Good luck to the QFers!

MBers dominate! First Hollywood. Then the world!

Good luck to everyone.

I misread this contest as the WRITER had to be female or minority (men are a minority; we don't count??). I have two scripts that would have qualified. Gotta read those darn rules closer.

Lot of familiar names in the finals.

BTW, there is a Bill Cosby scholarship out there for minority writers. If anyone on the board is considering film school and would qualify suggest you google it. Message me if you're having difficulty locating it. I posted the link last year on TriggerStreet and can find it for you.

Made the Semi-Finals! HORROR COMIC. Fun festival.

Semis are out tonight:



EXPOSURAMA Top 100, 2009 Season

DRAMA:

The United States of Ethan Wilson, John A. Williams

Growing Ivy, Karen Powell-riggs

The Chinese General, Craig Clyde

Tears of our Father, Marc Bloom

Buchanan, Patrick Harrison

Badfish, Ron Moon

The Kids from Nowhere, Deborah Schildt

Wired for Sound, Scott Fleishman

The Complex, Nick Butler

Upside Brown, Brad Farris

COMEDY:

Gum Runners, Jeff Cross

Road Trippin', Michael Marquez

Rent-A-Zombie, Michael Kenneth Jackson

Four One Nine, Peter Boehm

Karaoke Shotgun, Tom Rule

The Happiness Experiment, Alex P. Darrow

Headhunter, Melissa Goetz

The Alternate, Vatau M. German

Pixie, Elia Petridis

Hose Jockeys, Brooks Benjamin

HISTORICAL:

Specialty of the House, Bob Canning

Kingbird, Don Adams

The General, Rayna Gangi

Datsun Saves, Robert Arnett

44, Ira May

The Soul of the Murdered Kingdom, Wiktor Grodecki

Galatea, E. L. Silver

Vera, Caitlin McCarthy

Preemptive Strike, Alan Armstrong

By Faith, Joseph Hughes

ACTION/ADVENTURE:

Blood and Sand, Shane Perez

Orville, Arthur Gregg LaShelle

Storm Birds, Brian Van Norman

The Sky Racer, LeMar Fooks

The Violinist & The Hitman, Emanual Ruggeri

Sudan, Darcy Vernier

Fundamental Valor, Michael Campanizzi

The Last One, Kimberly Coleman

Hemingwayesque, Joseph Les Phillips

Faxed Redemption, Guy Quigley

THRILLER/HORROR:

Fear Me, Charles Brooks

Ten Chunks of Dead Bitch, Cliff Zimowski

Threshold, Lee Ross

Stray, Nena Eskridge

The Running, Laura Black

Shadow Trade, Mike Donald

Horror Comic, Stephen Hoover

Sadie Hawkin's Day, Stacy Keane

Erasure, Michael Grebb

Out of Range, Joe Compton

SCIENCE FICTION:

Angel Trap, Holli Herrie-Castillo

Destiny N.A., Natalie Fellowes

Last Haven, Greg Austin

One World, Paul Williams

The Duplication Factor, Terry Wright

Extremum, Katerina Slantcheva

Back to Planet Earth, Clark Ransom

Jasper Man, Michael Sadler

Ribenau: The Delver Project, Jimmy Mukofu

The Last Age of Heroes, Mathew Altman

FAMILY:

The Little Olde Toy Shoppe, Daniel MacMunn

Aurora, Eleanor Weingardt

The Accidental Aliens, Marc Bloom

The Christmas Flu, Stephanie Deal

Buttercup, Dennis Faleris

Flow, Julie Abrams-Humphries

Mute Swan, Beth-Anne Blue

Beyond the Horizon, George Ferris

Sherwood, Jonathan Riikonen

The Pumpkin Princess, Teresa Hochmuth

ANIMATION/FANTASY:

I.Q. - 200, Frank Riley

The Swimmer Manuscript, Joseph Kenney

Taku's Quest, Michael Pallotta

Seeking Samarkand, Felipe Cagno

Dirty Laundry, Brian Garland

Fairies Landing, Cheryl Miller

The Witche's Road, Arthur Vincie

Too Fat To Fly South, Anthony Amenta

TVBOY The Movie, Diana Diaz De Leon

Bad Dog's Story, Richard L. Sartore

PILOTS:

Diagnosis Deferred, Christine Stringer

Virus, Claire Weaver

Troll Palace, Jim Arnold

Tenure, Michael Valentino

The Service, Edward Klau

Nameless, Tim Keefe

Future Tense, Tom See

Wake Up With Susie, Judea Cavato

Domestic Partners, Schylar Narkk

New to You, Alexander Richardson

SHORTS:

Coffee Circumstantial, David Scott

Life Matters, Kirkland Morris

Black Ice, Dan Craig

The Suicide Diary, Joseph Keller

A Beeper for Henry David, Anthony Amenta

Katrina's 7th: The Nigga Taxonomy, Roger Edwards

Hellevator Man, Jessica Ellis

Breakfast, Robert Vitolo

Judgment Day at the Whistling Pig, Dennis Jones

Harper Day, Felice Bassuk

And now without further delay, we proudly present our WOTS QUARTERFINALISTS 2009.

--Jim Cirile, founder Coverage, Ink Writers on the Storm

1. A Walk Through Hell by Mark Arament 2. Angel Trap by Holli Herrie-Castillo 3. Arkan: The Last Campaign by Parrish Griggs 4. Atlanta from Olympus by Lee Tidball 5. Axel's Riff by Richard L. Sartore 6. Baz by Jonathan Stauder 7. Beast by Blake McCallister 8. Book of the Missing by Kate Douglas 9. Borderland by J.R. Taylor 10. Burnover by M.D. McCarthy 11. Cipango by Spencer Michlin 12. Coldblooded by Susan Russell 13. Controlled by Craig Cambria 14. Dealers by Jimmy Bromberg 15. Deliver Me by Michael R. Lupariello 16. Destinations by Jocelyn Osier 17. Djinn by Matthew Altman 18. El Coyote by David Edward Norman 19. The Enginist by Tim McGrath 20. Erin & Owen in Mythatania by Nicholas Julius 21. Esperancia by John Edward Flynt 22. Eve of Miracles by Mike Schwartz 23. Fat Man by Peter Robinson 24. Future Visions by Stephen Moretti 25. Garbo's Last Stand by Jonathan Miller 26. Gatekeeper of the Worlds by Kari Ciardi 27. Going Solo by Robert Gately 28. Grace by Marie Robinson 29. Gravedigger by M. Justin Parsons 30. The Guardians by Jason Auerbach 31. Home Free by Atif Shaikh 32. Hoopla by Joe Romeo 33. Horror Comic by Stephen Hoover 34. Idiots at Heart by Michelle Kelly 35. The Jacaranda Tree by Alex Broun 36. Jenna's Gone by Russ Meyer 37. Johnny Appleseed by Alexis Munoz 38. Kamali'i Nia: The Dolphin Princess by Rockwood 39. Khamsin by Allan Ashby 40. The Kids From Nowhere by George Guthridge & Deborah Schildt 41. Kiss Me Lucky by Sheri Davenport 42. Laramie by William Johnston 43. The Last Bigheart by Barbara Senatore 44. The Last Secret by Ron Basso 45. The Lighthouse by Janet Zibell 46. The Lodger by June Escalante 47. Macau Twilight by Tony Shyu 48. The Minstrel by Todd Sorrell 49. The Motivator by Jeffrey J. Johnson 50. Murder Belles by Christopher Burns 51. Murder Made Easy by Andreas Wigand 52. Murderous Me (Reflections of Vengeance) by Vicky Sutton 53. New Project N-I-4-N-I by Bonnie Bonaduce 54. Night of the Dragon's Blood by Ronald L. Ecker 55. Nightmare in the Ardennes by Walt Malinowski 56. No Running by Elizabeth Savage Sullivan 57. Operation Chronos by Jon Sklaroff 58. Peanut Butter by Yvonne Miranda 59. Peshtigo by John Carter 60. Privileged Voice by Victor Grippi 61. Quest by Russ Meyer 62. The Quiet Killing Box by Jeff W. Davidson 63. Racoon by Robert Bollweg 64. Rainwashed by Paul Sargia 65. Red Forest by Aaron Marshall 66. Return to Darian's Point by Kyle Michel Sullivan 67. The Reunion by Allen R. Rosenberg 68. Riveter by Kevin Madden 69. Sacrifice by Diego Guzman 70. Scatterbrains by Richard Hohenrath 71. Scout's Honor by Jocelyn Osier 72. Seeking Samarkand by Felipe Cagno 73. Sense of Self by Craig Cambria 74. Shades of Grey by Abhi Kulkarni 75. Shades of Gray by Michael Morra 76. The Shankill Road 77. Shotgun Cinderella by Alex Hollister 78. Shrovetide by Peter Besson 79. Sophronia by Tim Bridwell 80. Sorority Kings by Scott Fickas and Brian Jones 81. South Philly Storefront by Marcia Shissler 82. Stones From The Heart by Joanne Kimura 83. Stranger to the World by Jeremy Greenberg 84. Sure Would Be Nice by Thomas Serio 85. Svengali Effect by Jeremy Shipp 86. Textbook Love by Jimmy Bromberg 87. Three Cousins & the Cannolis by Lisa Cordova 88. Tortoise and the Heir by Russ Meyer 89. The Twenty-Fifth of Whatever by Adam Bertocci 90. Uncaged by Melissa Birks 91. The Undead by J. Dillon Flanagan 92. War Without End by AF Grant 93. Wedding Knight by Stephen Hoover 94. West Dallas Gang by Melissa Hemann Borell 95. White Buffalo by John Collins 96. Wilshire by Laurence Cruz 97. Witless for the Prostitution by Andy Johns 98. The Writ Writer by Michael Murphy

Congrats to all!

My entertainment attorney buddy, Jesse Rosenblatt, is in the running as well. I'm going to be posting an article by Jesse on my blog when I get back from Sundance (Dave Trottier did a workshop this weekend).

Excellent thread.

Irin -- just tell us what contest you enter so we can save our $50. :-)

I spent $2,000 this year on contests. Yikes!

But I've gotten that back already and then some. Still in the running for several others.

I don't think contests are THE way in the biz but they create opportunities for luck to take place. Right place at right time but you have to have your material out there to have any chance at all.

Most people entering contests though could spend the money getting pro coverage and get a better bang for their buck. Make sure the script is up to speed 100% before sending it ANYWHERE.

Coverage services (The Script Department, The Script Mechanic, The Script Shadow) will let you know where you are. Then rewrite.

My first step with every script is getting a line-by-line editor to make sure it's error free: Zero typos and perfect format.

The best contest out there to 'test the waters' is the monthly ScriptSavvy contest. The notes are great and quick turnaround.

Don't enter the majors until you are 10, 15, 20 drafts in or you're just pissing money away.

Seeking the Magic Number / How much??

It's a valid question, though a difficult one to answer. You've spent months, maybe even years, writing your script. You want to get paid! And you need to make sure you're protected and don't sell yourself short. Often times, writers are willing to forego monetary compensation in exchange for the hope they'll receive credit on a completed film to help launch their writing career.

While I certainly understand that perspective, and in some cases it's a valid point of view, please remember — if others are getting paid well for their contributions to the project, you should too. Every great film starts with a great script.

I want to make clear that the typical structure of a screenplay deal is not an outright purchase but rather an option/purchase agreement. Let me briefly explain what this is for those of you who are unfamiliar with the concept: an option/ purchase agreement is one where the prospective buyer (a producer, production company, studio, etc.) agrees to pay you some money (generally 10% of the potential purchase price or less) in exchange for a period of time (typically called the ''option period'') where your script is off the market and the producer can develop it.

At any point during this time period (which is often a year), they may decide to exercise their option to purchase your script and acquire all your rights in it. This generally means they must pay you the full purchase price set forth in the agreement less the amount of the option payment you've already received.

Rather than discuss these option/purchase agreements (a topic deserving an entirely separate article), I'm just going to focus on the actual purchase price amount for your existing screenplay (not one you're now being paid to write or rewrite). There is no universally applied standard for the purchase price of your screenplay (although you may use the WGA — Writers Guild of America — Minimum Basic Agreement as a guideline, whether you're a member of the WGA or not).

The amount you will receive for your first feature film screenplay sale will vary from project to project. There are several factors to consider, including:

- the demand for your script; - who the writer is (taking into account whether the writer is in the WGA, the writer's stature in the industry including his/her track record, etc.); - the anticipated budget level of the film; - if the script is based on any other underlying material; - who the party producing the film is; and - how many writing elements/steps the purchaser will require you to deliver (e.g., a treatment, a first draft and subsequent drafts, rewrites and polishes.

Rest of the article here:

http://wagstaffnet.blogspot.com/

There was an excellent article on options on Joshua James' blog this week:

http://writerjoshuajames.com/dailydojo/?p=1432

Excellent article:

http://www.keepwriting.com/getingame.htm

Dan,

This info is for people that are trying to sell their script to actual production companies -- let's just call it "new money."

Setting up your own production company, lending it money, and then paying yourself. See, that's a 'circular process'? There's no "new money" being added into your pocket.

If you're only on this board to hawk something then, as the English would say, piss off.

The average writer writes 10 screenplay in 10 years before breaking in.

Is there a moderator on this site? Block this IP, please.

So, your six figure sale was a joke? And saying Dave Trottier is "FOS" is a joke?

Why are you on this website? We are here to share information and further our careers. If you're here to flame threads and kill time (are you about 17 years old, btw?) please go elsewhere.

Admin, please block this IP. Thanks!

There is no competition.

All the scripts you hear about floating around = crap.

Write a great screenplay (commercial, unique, perfectly executed) and it'll stand out. Instead of 1 in 10,000 it'll look like 1 in a million.

100% on you to write the best script you can possibly write. Don't sweat the odds. Diablo Cody was a first-time screenwriter/former stripper. Develop a voice. Write something unique. Don't sweat the rest.

"Dan,

I think your production company overpaid. "

Nice 1!

or

Dan, your production company needs to downsize.

Calls being made today.

PURE (from TriggerStreet member) made the final in the dramas. Script is still on there if you want to give it a read.

We've all done that one: Sending a script out before it's absolutely ready.

Writing something too similar to what's already out there. Using a contact before we should have (back to script not ready or could be wrong project).

Mistakes I see:

1. Failure to get pro coverage (or pro quality coverage if you're in a small group of produced writers);

2. Failure to have a script error-free (or close to it). Use an editor if you struggle with this;

3. Asking people to read scripts too early. Save it for later. Ask them to read 10 pages. If it's great they'll ask for more.

4. Thinking a manager/agent will is the key to a career. Writing consistent high quality scripts is the key. They'll find you.

5. Entering scripts in contests before they are ready. Costs $. Good one though for earlier drafts is ScriptSavvy with feedback. Great notes and monthly contest.

6. Writing something that can't possibly sell or is nearly impossible. Script for animated film. Period piece. Female protags make a script tougher to sell generally. Sci fi with $200 mill budget.

7. Thinking success is the result of luck instead of hard work.

8. Thinking "It's all who you know" instead of developing the craft.

9. Expecting quick results. It's a marathon.

10. Writers groups. Be careful with these. Some are waste of time pats on the back. Others are hostile / kill your idea before you get started.

Good (depressing) articles.

Does appear the studios are going with fewer/larger 'event' movies (Transformers 3 -- ugh!).

You really don't have perspective on your own work. You don't see the typos, format errors, plot problems, etc. Get a little carried away after giving man-birth and want the world to see it.

Set it aside. Start with a proofreader. Clean it up and go through it again. Start with your script group or first level readers (the reasonably priced folks) and then work it over some more. ScriptSavvy gives great feedback with its monthly contest. About 20 drafts later it's ready to show the real contacts but only after at least 2 pro (studio readers w/a few thousand scripts under their belt) have given you a 'consider' score.

Remember, the goal is to be on the list of the production company as a CONSIDER-WRITER even if they aren't interested in the script you're shopping right now. You can come back to them later.

HORROR COMIC made the finals! Winner announced at the festival.

Per website, announcement coming tomorrow (9/28).

Nice to hear you got a read from it. These genre contests are fun. Much more likely to stay in the hunt with a horror or comedy.

Always something positive in anything you post. Say what you have accomplished -- published author, noted bird trainer, whatever.

I think this is the first announcement of any kind.

Congrats! Some of those other finalists have won other contests. High quality to get that far. WTG!

My buddy Jesse Rosenblatt (new moviebytes member) made the finals for comedy. Nice!

Great topic. I entered 3 scripts in Screenplay Festival based on the comments here.

SilverScreenwriting is following through and submitting my script, HORROR COMIC, to several contacts. Will keep you guys (and gals) posted.

Actually been lucky to hold off until now. Gone 5-15 drafts on each script advancing the quality. Back to the 'don't show it too soon!' topic.

Follow up on this one: I opted for the cash equivalent on most of the prizes. Received that today which was nice.

Julie and her business partner have been in contact with me on a regular basis. They are sending the brand new/much improved draft of HORROR COMIC out to a few agents/managers. (Their list of contacts, btw, available to anyone who scores a 'consider' is on The Script Department website.)

Thought Irin had an excellent idea asking people what contests lead to script requests and further results. Will keep you posted on my progress.

Thanks to everyone for the "congrats" I received. Best of luck this contest season!

I'm entering Beverly Hills (location seems to indicate it'll get some attention and heard good things) and TrackingB's conteset (somewhat off the radar but lot of competition and pros can enter).

Got an email from Julie Gray that she's putting the loglines for the top 10 scripts from SilverScreenwriting on her blog, Rouge Wave.

"Author: Irin Evers Posted: 09/30/09 11:49 AM Stephen - I actually took Beverly Hills off my list (was going to enter this year for the first time) because of all the bad opinions on some previous thread."

Great! I now might actually have a chance to win! :-)

Y'know, people don't do well in a contest and dog it. People do well and trash the contest because they didn't get handed a career. A contest can open doors but you have to do most of the knocking yourself. That's the bottom line in this business.

Contest often reward period pieces or dramas or other realllllly hard sell screenplays. That's a good writing sample. You need a body of work that includes scripts an agent can sell. Work on half a dozen at a time and go draft after draft.

There's some blog of a bitch and moan fest from a contest winner. Complains it's impossible to break in. On the blog the writer mentions she turned down low dollar/no dollar options many times. Was writing period pieces. Well... you're (a) writing scripts that cost a fortune to produce and you're first-time screenwriter and (b) not working with up and coming filmmakers to get credits to get attention to develop a career.

Nobody owes you anything. Nobody hands you anything. Contest is a nice pat on the back but it means, basically, that your work is the cream of the crap. Of the unproduced/unsold writers out there your work stands out. So what? You're in competition with produced/sold/tens of millions made/professional writers. That's what your work is compared to in Hollywood and not contest scripts. Keep stepping up the quality through rewrite after rewrite.

Contests are amateur hour. You need to be better than the sold specs (visit Script Shadow blog to read those).

Even with an agent or manager (and many here can agree with this) your career is still your problem. Agents only do so much. Unless they are the top top agencies who package material you're still out there selling yourself and your material.

Good luck!

Most of the sites have SUCCESS pages that list scripts/winners that have gone on to sales/assignments.

No contest win guarantees a sale. Just gets exposure and gets the script read. The contests vary to the extent the organizers go out post-win and market the script. Some send emails, others the website, and a few pick up the phone and call contacts. I posted on the SilverScreenwriting contest thread what's happened since I placed there and will update it as things move along.

That is a good idea though for winners on each contest: Post an update a month later and six months later on what happened AFTER the win.

Generally it's still up to the writer to send out queries highlighting the win and continue to market yourself and your material.

John, Excellent post. It is extremely democratic -- more so than any profession -- and it's all what's on the page. Newer writers also don't have a high rate to meet so that's a plus for newbies.

Contests are good for (1) exposure -- your name is getting out there; (2) feedback -- many of the contests (scriptsavvy for example) give great notes; (3) a pat on the back in an otherwise lonely and thankless path; (4) motivate you to elevate your work; (5) give you target deadlines to finish scripts and rewrites; and (6) win some prizes and gifts.

Many of the other contests listed here (many more than Nicholl's) have resulted in script requests. A buddy of mine got a request from a prod co reader to bring a script back to her company after judging it in one of the contests. So, doors can open. His script could be made on a modest budget and has a built-in comedy audience.

At a recent seminar with Dave Trottier he said persistence was the most important trait for screenwriting success. Persistence beats out talent.

Even after a contest win/placing it's still up to you to get out queries and create a body of work. If you do get a meeting you want to have several projects to pitch. Most work is done on assignment and if you've worked 5 years to write one script and that's all you got... problem. You won't be appealing to an agent that wants to shop a steady stream of product and the production company can't hire you to write on an assignment.

I certainly don't want to piss on anyone's parade. It's tough enough as it is. John's post accurately states the sad state of affairs. Keep at it and I'm thankful for the recognition I've received from contests along the way. Met a great group of people here and I'll keep you posted on my progress.

Ditto on the "expert" opinion getting you off track. Finding useful feedback is a process -- aggravating and expensive. Some people want to rewrite your work and tell you how THEY would tell YOUR story. Won't work.

What you want is someone that can elevate your material by having you shore up the weaknesses and keep it your story. Your voice comes through clearer. Rare to find that person but once you do you'll be going back script after script.

Plus, at some level they need to be a fan of your work and want to make it better. If you are on different wavelengths and they just don't "get it" move on.

Other mistakes:

...writing something too similar to what's already out there. Need to be a bit further out and risk being 'too original' over derivative. Be a voice and not an echo;

....getting opinions from friends or family -- always useless (well, at least for me);

....not living life along the way -- take some time away from that keyboard!

Anyone else in this?

My script (TO LIVE, PRESS 1) made it to the QFs. See Irin has 2 still in the running. WTG!!

Got a follow-up email from Silver today and got them info on the script. They are sending it to several manager/producers and told me it would be a few weeks. Lots of scripts out there (or so I hear).

BTW, The Script Department forwards scripts (with author approval) that receive "consider" from coverage. Anyone can submit a script to them for consideration. The notes are helpful and turnaround time is reasonable/price worth it. Save this for advanced drafts after you've nagged all your friends, family, writing group contacts.

Thanks! Will keep everyone posted on script requests/reads that result and specify which contest led to what result.

So far great communication from the PAGE staff. When I made the finals they sent out an information request about me and the script to forward to their contacts. They indicated the requests would come directly to me and I could send them the latest version of the script.

Thanks again everyone. I entered Screenplay Festival as well based on the positive comments on the other thread. Will update you on the requests I get from PAGE.

Also planning on entering TrackingB in a few weeks.

Anyone in this? According to WAB announcement was coming out today.

Contest manager told a DDPer it would come out 'later this week.'

Some nice prizes.

LOL!

I have another script I may enter in Kairos. Needs some work though. But now that Irin is in I might save my entry fee! :-)

It's posted on WithoutABox as October 1st. But a DoneDealPro member emailed the contest coordinator and was informed "by the end of the week" (Sunday?) something would be up on the site or emailed.

Good point, Irin.

There's one contest I'm in that has a free pass as the award and the winner is announced during the festival. ?? Some nice prizes for the Expo contest though.

BTW, PAGE allowing the updated draft of a script for the finals was extremely helpful. Wish the other contests would do that!

Can anyone explain these to me?

No violence. No sex. Positive reflection on spiritual matters.

Specifically, can it be about a path to redemption/meaning? Would a TENDER MERCIES qualify?

I'm having some difficulty understanding what they want. Thanks for any insight.

Here's a link to the guidelines:

http://kairosprize.com/kp/guidelines.html

Anyone have a copy of last-years winner? Read on here it's currently in production.

John, Nice! Man. Close close.

PURE (previous draft available on TriggerStreet for a read -- was SOM there) made it to the Top 10.

To clarify: PURE isn't my script (I wish!). Is by a guy on TriggerStreet. It's also a finalist in Austin. About an African-American golf prodigy in the 1950s segregated south.

John deserves the solo praise on this thread. Great job!

Know of any other finalists?

I'm not sure my script would qualify. It's not a Sunday School lesson. Likely too much but I'm not changing it.

Updates: SilverScreenwriting got HORROR COMIC out to a dozen managers, agents, producers. PAGE already resulted in several requests (2 producers and a manager) and it the contact info hasn't even been circulated yet. !! Should be a busy coming week!

Ouch!

Ashley, congrats on advancing to the SFs. Major mess up on the false notices. That's... horrible. Just stay positive though. Focus on the SF showing and that'll generate a lot of reads.

Nice. Well, you can always enter it for the Kairos Prize. :-)

Okay. Note to self... write Oscar...winning screenplay. Deadline: November.

Thanks!

Good to hear.

Within that framework there could be some great scripts. I'll likely enter and give it a chance.

In the finals!

Looks like a fun line up of films for the festival.

4th request from a production company just came in to give the script a read. They have a major release coming up soon. Remember that 'contests won't do it for you comment' from a few days ago.... Errrr. scratch that!

All at once? That's new. About a 7-10 day window then.

Thanks again everyone.

I'll keep you posted here on the board how things go. Rather not mentions any names until a contract is in place.

First, thanks again everyone for the support.

Second, Irin on another thread started an excellent discussion of which contests led to script requests. Good way to track how a contest can produce results for your career. Fort hose with a limited budget you want to hit the contests that lead to opportunities. No guarantees, of course, but a chance to get on the map.

I've posted already about SilverScreenwriting and the great team there. Wanted to follow up on this thread as well. PAGE sent out info about the winners to production companies and one was nice to forward to me the promo for my script. (See below.)

Without mentioning names I'll keep you posted on the progress. ------ Page Awards sent us the following info. Gold Prize

HORROR COMIC by Stephen Hoover

A young comic book writer must find a way stop the copycat who's using his tales of terror as the inspiration for a series of grisly murders.

Judges' Comments: An artful noir murder mystery/thriller. Excellent concept - highly cinematic. Smart and fun, with great twists and reversals. Wonderful characters. Superb dialogue. A director's gonna have a field day with this movie! Contact: Stephen Hoover

This is MovieBytes... a website for screenwriting contests. Some market info as well but mostly contests.

Are screenwriters selling scripts for major $$ still entering contests? The cap in most contests is $5,000 earned professionally (not that it seems to be enforced much).

Newer writers primarily here, TriggerStreet (one guy there is a new Nicholl finalist -- another contest), DoneDealPro (has some writers with produced credits). 2 adverbs. What other boards?

Could also be writers use sock puppets on boards after they've made it to avoid people emailing them for favors.

Dunno about this site being a time killer. Finding out what contests produce results. Yes, the occasional pat on the back or visiting with friends can keep you sane.

I find this site to be more productive than most circle jerk writer groups I've done. Plus, network with people BEFORE they break in and then you've got a peer group. MB alumni group.

HIGH SCHOOL MUSICAL being such a hit is why FAME got remade. The others you mentioned are known "branded" products. So, re-makes. Musicals generally have a pretty small audience. Rare one breaks out. Impossible to sell as a spec.

If you want to really get outraged subscribe to HOLLYWOOD REPORTER. Barbie, the movie, is on the way. Leggos. Stretch Armstrong. Anything "branded" was selling. Still waiting for DIRT, THE MOVIE.

QFs announced tomorrow (Monday) as per contest director.

This was posted on DoneDealPro:

Hello Everyone,

The Quarter Finalist for the 2009 EXPO have been chosen. We will be sending out an e-blast on Monday Oct 5th with the list of the winners.

Sorry for the delay and thanks for your patience!

Warm regards,

Pasha

Films are 2 to 3 years in development. Producers are looking at long-range trends/whatever other companies are doing/what's a best-selling novel or, lately, hot graphic novel.

If you are marketing a musical you want ALL musicals to be successful. Musicals doing poorly means less will be made.

I've never heard of anyone selling a musical as a spec script. Has it happened? Most are Broadway successes that are being adapted to a film. There's an existing fan base for the project (people that saw the live show) and a track record of making money.

Look at producing it at a theater and get some great reviews. Or get to work on a new spec script and keep it as a future passion project.

I'm all for people working on the 'passion projects.' Do that. But create a body of work and recognize that project may be on the 'to do' list after you've broken in.

The drama/biopic/historical epic/period piece may win a contest and get you meetings. It selling? Very difficult.

Comedies, thrillers, and horror sell from first-time writers. Have a high concept spin so that you're bringing something unique to the table. You don't want the script description to be 'execution dependent.' A unique twist that gives you a a strong logline and if the script isn't 100% they buy the concept and hire a rewriter. That's the way most writers break in.

Or go raise the money and do your own thing.

Wish everyone the best of luck in their careers. Enough negativity out there already.

I have one optioned script in pre-production. $800,000 budget so far but they are hoping to raise $3m.

Waiting to hear back from a dozen producers on three scripts. Written a dozen but still polishing/rewriting most to ready them for the market.

No idea why someone is on here trashing the board/writers/or contests. Guess they haven't taken the meds this week.

Recognize there will be a lot of negative people (losers) as you go along our way pursuing your dreams. Good luck to you!

Sounds good.

I started working with Michele Wallerstein, a former agent. Specifically I wanted to work with someone in the biz (she was an agent for 25 years and had major sales -- $1 mill spec craze) that wasn't a writer. Often writers' notes are what they would do instead of elevating YOUR script. That's been going well.

Like to hear who your guy is and contact info.

Re: TriggerStreet.

You are allowed to remove scripts on your assigned reading list. Think it's one a day or every few days you can take off. Usually weed through the 'no hope' scripts and get to the people making a genuine effort.

I'm ToddH99 on there if you visit the discussion boards.

Elipses are overused.

Should be for an actor trailing off.

An interruption is indicated by two "--" dashes (space before first dash).

Believe the transitions the reader refers to are more making the screenplay flow better. You've seen exmples posted already on how to do that.

Patrick, Thanks for that. Saw that promo site at one point but a bit leery to go with anyone absent references.

In the past, The Script Department, Carson at Script Shadow, and Erik Bork (Emmy winner for BAND OF BROTEHRS) have given me great notes.

Can be an expensive trial and error process to find someone that elevates YOUR script instead of tries to rewrite it to their tastes.

That's the list. You should have received an email. That's not the official site though. One of the participants cut and pasted it.

Avoid flashbacks as a general rule. Keep your script moving forward. If it's backstory work it into the plot in a more creative way.

Thanks and WTG fellow MBers!

What's the schedule for the contest from here?

One way of structuring a screenplay is to break it into 8 sequences (also called Mini-Movies by Chris Soth). First sequence is what Vogler would term the 'ordinary world' and covers the first 10-15 pages.

Just send the first 20 pages. It's a 'do you have writing chops?' test. Most writers bomb out of the gate (poorly handling exposition) and are DOA.

Well, there's the prize money. There are the notes (Script Savvy is my fave on that). There's the publicity. HORROR COMIC is now with a dozen producers thanks to its showing in PAGE and SilverScreenwriting. So, for me: Worth it.

Counterpoint:

http://theworkingscreenwriter.blogspot.com/2008/05/confessions-of-competition-winner_12.html

My response to this is: What are you writing? If you're winning with a period piece drama/biopic/uncommercial script ... winning a contest may get you reads as a writing sample... but maybe not lead to sales.

Plus, contest win just means yours was the best of the amateur scripts out there. Doesn't mean you are the best of the pro scripts circulating.

Thoughts?

This is sort of an extension of the 'which scripts got you reads' topic but more to the point.

Are contests worth it? Why or why not?

When they asked for "first sequence" they were referring specifically to the sequencing method for structuring a script. There's a discussion on subject on DoneDealPro. Another on twoadverbs. Info is out there. Paul G(something Italian) and Chris Soth have the only two books out there using it.

WTG TJ!

Stop that lurking. The neighbors are getting worried!

:-)

Thanks for the responses.

I find writing (no writer group where I live until this past week when we started up a new one) a bit ... sad and lonely! Nice to get some recognition for your script and contests are great for motivation. "Gotta get that script done for the contest. Get that rewrite done for PAGE." All that helps.

PAGE and SilverScreenwriting have gone out of their way post-contest to get my script, HORROR COMIC, to a dozen producers/agents/managers. Been amazing. So, the good contests DO deliver.

The Atlanta Film Festival has a workshop. Winners are flown to Hotlanta for a weekend meeting and script go-over with top writers/directors/producers. Lot of contests flying 'below the radar' and much better odds for getting a win.

Best of luck to everyone!

On what date are the next round announcements taking place? Wasn't planning on going this year to the Expo but would be nice to hop on a plane and enjoy a free ride. Great prize.

The 2009 Screenwriting Expo CS Open Scene-Writing Competition Brings In Over 2000 Entries Entertainment DeskOctober 03, 2009 New Tournament Goes Online and Through the Roof First Round Finalists Are Announced.

Los Angeles, CA The CS Open scene-writing competition is a one-of-a-kind tournament that takes place annually during Screenwriting Expo in Los Angeles each fall. This year the competition has been reinvented to take place online allowing participants to write from a computer anywhere in the world. Like its predecessor, the scenes will still be written and judged in three rounds, with each deadline tighter than the last. However, now participants do not have to be in Los Angeles at the Expo to submit their script. This new turn has drastically driven participation up from 400 entries last year to over 2000 this year.

The Screenwriting Expo made the decision to revamp the contest out of necessity, or cancel it altogether, with the loss of revenue in the last few years. In addition, entrants expressed frustration that they were unable to attend some of the Expo classes in order to participate. The new CyberSpace Open frees the Expo patrons up to participate in all of the sessions while also inviting writers world-wide to join the event. "It really is the only writing tournament of its kind in the world. Just about any of us can write a decent scene if we have a couple weeks. But can you do it with the clock ticking, and do it better than over 2,000 others? It's a ton of fun, but most of all, it's a great motivational and learning tool for all the participants, since every scene receives feedback and guidance from the Coverage, Ink team," says Jim Cirile, founder of coverageink.com and long-time Creative Screenwriting columnist.

When is the next announcement?

When is the next cut on this? Should be coming up.

Pillar Allesandra has a great DVD available on preparing a pitch. 90-second/elevator pitch is covered it as well if memory serves. She also has a great series of (free) podcasts.

Jim,

Thanks for the update. The workshop and lab sound great.

I'm in the finals of the Atlanta Film Fest. Writers pursuing screenwriting as a career would welcome the opportunity to network and elevate their craft over a cash prize. Much more beneficial long term.

Get the genre out first. Lot of people are going into micro before setting the context.

(title) is a (comedy/thriller/horror) about a (protag) who etc.

From what I've read agism is more of a factor in television. 20somethings don't want to be in a room al day with someone their parents' age. Not so much of a factor in features.

But it is important to "think young." Diablo Cody writing hip teen dialogue and she's a decade or so past that age. Idea is (and it is dubious) that people in the ages 15-25 are deciding which toothpaste, hairspray, etc. they will use the rest of their life. So that's a "key demographic" for television. Then with films that age group "opens" a movie. They don't want to see a movie with 70 year olds in it.

You got email!

Jim,

The workshop would be great. There are a few posters here that never win/place in contests (Dan Gomez) but show up to annoy people. Everyone else is pursuing expertise in the craft of screenwriting and want to elevate their work.

Dan,

Did you miss the word "FREE"? He said he was adding free slots for contest participants.

And how is screenwriting instruction a rip off? USC charges $60k a year for the MFA program.

Finally, why are you here? You never post anything remotely useful to the board members and annoy everyone here. Do you even write scripts?

Dan,

Why are you on this board? You contribute zero. I've never seen your name in any contests. Do you even write?

Go back to whatever rock you crawled out from under. And enjoy the ban coming your way.

I'm the charter member.

Anyone else on board?

Santa,

Thanks for the fast turnaround! Affordable place to go with an early draft.

Back to work...

You have a group of writers there looking to learn and improve their work. You have others that think they know it all already and are hostile to criticism.

There's some useful info on the discussion page if you go through it (links, videos, specific questions). It is more for new writers. DoneDealPro is a bit more advanced. TwoAdverbs is most advanced of the open discussion boards.

Learn what you can, get what you can, and move on. You'll find a few nice folks along the way. Kinda like here...

I'm ToddH99 on TriggerStreet, btw.

Get those scripts out there!

Never know who might read it that knows somebody that knows somebody. Keep us posted and good luck.

Andrew,

Congrats on making the finals.

The winner was announced October 10 at the festival. No updates were posted on the website. I emailed the contest coordinator and haven't heard back. Sure he's gotten 3 hours sleep in the last 4 days. Will post something here if/when I get info.

Good luck this contest season!

Andrew, the script BLIGHT won.

Mine's actually a thriller. So not surprised.

Greg said BLIGHT scared the hell out of the judges. Hey, finals is something. Next...!

EVERYTHING MUST GO is available on the Script Shadow blog. In his top 10 unproduced scripts.

I've been leading a "Sold Spec Script of the Week" discussion on TriggerStreet. We did SOURCE CODE this week. Though unsold I selected BLOCKHEAD for next week -- about the Peanuts characters all grown up. Got the writer a ton of attention and a TV gig.

The board allows people to make up new IDs so it wouldn't accomplish anything.

I'll just ignore Dan's comments entirely and avoid any interaction. Absent conflict and ticking people off perhaps he'll leave us and go harass other boards.

This is also why I started our group. With the indie film in pre-production for next year I won't be eligible for contests next. Will likely migrate to TwoAdverbs at some point. Great group here though.

Any results on this?

Got all of 3 days to put travel plans in place...

Ha! I'll be asking for the plane ticket cash equivalent and Amtracking it.

Got an email this morning that HORROR COMIC is a top 5 overall script in this contest! Winners announced October 15 at the Expo at the banquet.

Cool concept. Seems like it could be done on a modest budget.

Have you looked into the Movie Deal contest? Winner gets their script made. A few others like that.

I have entered multiple scripts in multiple contests. It adds up fast.

Suggest you get pro coverage (Script Department is a good place). If you have $1000 to spend on 20 contests, better to spend half of that going through 2 or 3 rewrites with pro coverage along the way. Then select the contests that generate script reads (read the thread here on that topic).

Reads are in progress. Script is in the hands of five people that can greenlight a movie.

Expo said I won a minimum of $2500. Max $20k but that's announced at the dinner Thursday.

I'm in the finals. Not going to make it to the Fest though.

I'll be around visiting. I won't be in the contests next year though.

I'm on DoneDealPro (C.C.Baxter) and TriggerStreet (ToddH99). Not too hard to find me.

On TwoAdverbs (Stephen_Hoover) as well.

The script that won $5k was MALE ORDER BRIDE.

David Gillis is the best. But he ain't cheap.

There's a thread on this topic. Scroll back a page or two.

Brits have had a great showing in the contests this year. Much more a global marketplace. The PAGE overall winner is from England. The Nicholl's script SNATCHED from last year was from an English writer. Highlight the differences in your script a bit. Will make it stand out and most avid readers are Anglophiles.

My script WEDDING KNIGHT is in the semifinals. Announcements went out today.

In the SFs with TO LIVE PRESS 1.

Happy to make it that far with an early draft of a new script. :-)

First one? WTG! That's incredible for a first script. Work on the next one.

Congrats Irin! Still SPINning!

Thanks for the info. Seems to be a consistent point here that the best contests are those that follow through AFTER the contest is done helping out the writers that placed.

Still think the trophy should look like a giant brad. :-)

2009 Expo Screenplay Competition

CONGRATULATIONS, SEMIFINALISTS:

Prizes will be awarded before live audiences of screenwriters, agents, producers, and others at The 2009 Screenwriting Expo.

Main Prize Ceremony: Thursday, Oct 15, 2009, 7:00 P.M.

Suzanne's Prize For Best Love Story To Be Awarded Sunday Oct. 18 At The Closing Ceremony

NOTE: All prizes except for Suzanne's Prize For Best Love Story will be awarded at the 7:00 P.M Awards Ceremony on Thursday, Oct. 15 in the Garden East room at the Expo. Expo registrants and all semifinalists are invited. The ceremony will be followed by the opening reception of the Expo. Semifinalists are invited to the reception whether registered at the Expo or not. Anyone else must have either a Gold Pass or a Basic Pass and ticket.

Due to extran consideration given in judging and the availability of one member of the Special Jury, Suzanne's Prize will be awarded Sunday Oct. 18, 2009 at the Expo Closing Ceremony immediately following Mike Medavoy's presentation. Start time is approximately 5:30 p.m. The Expo Screenplay Competition Semifinalists Are:

Features Semi- Finalists

94 Maidens — Rhonda Fink-Whitman Aza' Zyel —Terrence Manns Book of the Missing —Kate Douglas Blood and Honor — William Berezansky Big Band Butterflies — Amy Rider Borderland — Drama - J.R. Taylor - Brooklynese — by Troy Ransome — Freud -by Daniel Ragussis Felix The Flyer- Christopher C. Canole Horror Comic —Stephen Hoover Ice cold feet- Stephen Fein Karmically Correct — Erin Donovan Naked Lady Blues-James & Suzanne Cordingley Premonition — David Bousquet Roadside Assistance —David J. Sakmyster Running Boys -Peter Kennedy Rye and Rice -Craig Rosenthal The Blue Planet -Svet Rouskov The Dark Artist of Paris- John Crawford The Life and Death of Dr. Fritz Gerlich-Paul Clingan Minus Men - J.R. Taylor The Phoenix Effect -Margaret M. MacDonald The Svengali Effect -Jeremy Shipp The Underground Castle — Jacqueline Stewart Tii and the Kingdom of Lost Objects -Lillian Zvanovec Wolver in the Winter — Sarah Del Collo When Harry Tries to Marry- by Nayan Padrai & Ralph Stein Wither —by Evette Vargas Hour Teleplay Prize (Drama)

In Treatment - ''Episode 75 — MIA'' — Margaret Lepera Dexter - John Raucci Jr.

Half-Hour Teleplay Prize (Comedy)

Entourage - "Feng Shui'd" -by Dmitry Sheynin. Big Bang Theory - Jenna Ryan

Writers Boot Camp Fellowship Awards

5-6-7-8 To Life-Ned Ehrbar Anytown USA- Sherry Weston & Eileen O'Farrell Ashes to Anthrax- Cat Stewart Assigned- Andrey Soloviev Borderland- J.R. Taylor Boing-J.J Hillard Chiang- B.R. Stanley Clementine-Taste Like Sugar-T. ''Teri'' Robinson Devil May Care- Stephen Kadwell Ice Cold Feet-John Fein Now You See Me-Beth Szyperski Premonition-David Bousquet Sex Drugs and Roc & Roll -Chris Raymond Stones- Kal Weber Stuffed- Carter Cammack Teachers- Shannon Hampton The Wicked Wynde-Carlshawn Stovall Wolves in Winter-Sarah Del Collo

Suzanne's Prize for Best Love Story

Finalists

Love Letters - Riley LaShea Strawberry Mansion - R. Scott Shields A Severed Romance - Todd Rheingold A Different Shade of Black - Dana Congdon My Girl Daisy - Sue Yeats

Special Mention* Sophronia L. - Tim Bridwell*

Semifinalists:

5 Dates - Kyle Michel Sullivan A Severed Romance - Todd Rheingold A Different Shade of Black - Dana Congdon Chasing Brenda - Pauline Hayton Frenching - Maire Rose He's the One - F. Leegh Lewis Karmically Correct - Erin Donovan Love & Vodka - Robert J. Fox

Love Letters - Riley LaShea My Girl Daisy - Sue Yeats Now You See Me - Beth Szyperski Off Screen Romance - Theo Baynton Strawberry Mansion - R. Scott Shields Sophronia L. - Tim Bridwell The One That Got Away - Ryan Belenzon When Harry Tries to Marry - Ralph Stein & Nayan Padrai * Sophronia was deemed by Suzanne's Prize contest readers to be the best pure script among the semifinalists for Suzanne's Prize, but it was ruled out because the love story was deemed not to have been at the center of the plot, as required.

Congrats Marleine!

Inspires the current group of MBers to see a former regular make it big. :-)

Good luck!

Got word from my friend/mentor Chris Soth that he picked up the award for HORROR COMIC on my behalf. First place genre (thriller). Some other goodies, too, for the genre winners ($2,500 cash which is great).

The big $20,000 prize went to FREUD -- biopic script about his young life. Writer/director and the script is in development. So the added funds should help get it made which is good.

On to the next contest...

I dunno.

I only know I won the genre prize because a friend of mine was there. He was 100% on anything else though.

The romance prize was pushed back to the closing dinner. Still being judged.

Email Pasha. She usually responds around 2 a.m. Sure it's crazy there now though.

I was fortunate to know someone at the event.

I agree -- just a matter of time for Irin! I'm sure he'll get a new cell plan.

Anyone know the next announcement for this contest (Semifinals?)

P.S. Dan, get some therapy for your homophobia. Gay bashing = not cool.

Thanks for the update! And for visiting the board here -- which can be a perilous trip at times.

The Expo apparently allows those that have won an Expo pass to use it the following year. Some type of time window for the workshop would be great. Family and work emergencies can arise.

Found out today I'm one of six selected for the Atlanta Film Fest workshop. Instead of the cash prize the contest flies in six winners and six mentors (producers, directors, writers) for a 3-day event. Looking forward to it. CineStory also does a similar program. Sundance, of course, has the lab.

Prizes are nice but it's ultimately all about having a springboard into the business. Improving as a writer and making connections. Think most writers are in contests for that reason.

Happy reading!

Dan, I assume any person attempting to be a screenwriter (as you say you are) would not use their real name posting insanity (as you do) on public message board. If you are actually a writer I suggest you save the drama for your art.

You're sending a major red flag to everyone in the industry that you're not someone they'd want to be in business with in any way. It's a small town.

Best of luck in your writing career! Thanks MB for the friends I have made here.

Got word yesterday that I was one of six selected winners! Great contest where they fly in the winners to workshop with six pros.

Event is mid-November. I'll do a followup after.

Fun fun! That grilled cheese script should sounds like crazy fun.

Looking at the CineStory contest as well. Another workshop deal.

Thanks Jim for personally reading the scripts. Does me a lot to the entrants. And thanks for the scoop on Bruce's tour.

Also appreciate the mention on the A-List board.

Heather, Re the Kairos prize: Is a redemption story that gets fairly dark a potential entry? The guidelines are a bit puzzling.

Pasha, contest coordinator of Expo, posted this on DDP:

2009 Expo Winners

Grand Prize Winner

$20,000 Freud — Drama —Daniel Ragussis

Genre Prize Winners

$2,500 each

Premonition - Thriller —David Bousquet

The Phoenix Effect - Sci-Fi/Action —Margaret M. MacDonald

The Blue Planet - Sci-Fi — Svet Rouskov

Horror Comic — Thriller — Stephen Hoover

2009 Expo Runners Up Genre Prize

$250

Karmically Correct - Fantasy — Erin Donovan -

Wolves in the Winter - Horror — Sarah Del Collo

Roadside Assistance — Thriller - David J. Sakmyster

Running Boys - Sci-Fi — Peter Kennedy

Top 20 Winners (including ties)

Freud —Daniel Ragussis

Premonition - David Bousquet

Bang Bang Butterflies- Amy Rider

The Phoenix Effect - Margaret M. MacDonald

The Blue Planet -Svet Rouskov

Horror Comic — Stephen Hoover

Karmically Correct - Erin Donovan

Wolves in the Winter - Sarah Del Collo

Roadside Assistance — David J. Sakmyster

Running Boys -Peter Kennedy

Brooklynese -Troy Ransome

Ice Cold Feet-John Fein

Rye& Rice-Craig Rosenthal

Aza' zyel- Terrence Manns

Wither- Evette Vargas

When Harry tries to Marry- Nayan Padrai & Ralph Stein

Book of the Missing- Kate Douglas

Big Band Butterflies —Amy Rider

The Underground Castle — Jacqueline Stewart

Naked Lady Blues — James and Suzanne Cordingley

Borderland — J.R. Taylor

Blood Honor-William Berezansky

94 Maidens — Rhonda Fink-Whitman

Suzanne Prize Finalist $2,000

Love Letters - Riley LaShea

Strawberry Mansion - R. Scott Shields

A Severed Romance - Todd Rheingold

A Different Shade of Black - Dana Congdon

My Girl Daisy - Sue Yeats

Special Mention* Sophronia L. - Tim Bridwell*

* Sophronia was deemed by Suzanne's Prize contest readers to be the best pure script among the semifinalists for Suzanne's Prize, but it was ruled out because the love story was deemed not to have been at the center of the plot, as required.

Writers Bootcamp Fellowship Award Winners

Feature: Now you See Me-Beth Szyperski ''Now You See Me.''

Short Films: J.J. Hillard ''boing!''

Pilot: Chris Raymond "Sex, Drugs and Rock & Roll"



Teleplay Winners

Hour Teleplay Prize (Drama)

$1,000 each

One Hour Teleplay Prize (Drama)

In Treatment - ''Episode 75 — MIA'' —Margaret Lepera

Half-Hour Teleplay Prize (Comedy)

Entourage - "Feng Shui'd" - Dmitry Sheynin.

The official list will be posted on our sometime next week.

Best,

Pasha

QFs on that list. SFs coming out soon.

Glad to have two still in the running. Thanks.

EXPO led to 2 producers and 1 manager (companies you've heard of) requesting the latest draft of HORROR COMIC.

Looking forward to the Atlanta deal. In person networking.

Write up of the workshop from previous participant:

http://bretwood.blogspot.com/2007/11/retreat-part-one.html

http://bretwood.blogspot.com/2007_11_01_archive.html

lol! You have quite a few contest wins under the belt.

Final 10 would be great. Nice list of prizes there for all the finalists.

Something like 8 or 9 places now. But I'm trying to focus on the next thing. Always moving forward.

I read a spec sales market book. Covered about ten years of sales from 90s-early 00s. Looking for 'what's been done/trends.'

90% of the female writers who sold specs sold a romantic comedy.

Of the scripts that an agent will market you have action, thriller, horror, and comedy. That's what you need to be writing-- male of female -- to break in.

For whatever reason (and they'll say it's all box office determined/a matter of business and money) the Hollywood opinion is that young male audience (15-25) that goes to see TRANSFORMERS 2 three times is what drives the numbers. They "open a film."

Exception is romantic comedy. Date movie and predominately female audience. They are seeking female writers of those scripts.

Difficult to impossible to sell script genres: Dramas (which are written by established writers) -- go write it as a novel. Period pieces -- ditto. Biographies.

Case in point: Female friend of mine wins a national writing competition and has a meeting with major agency. For a period piece drama. "I really love this script. What else ya got?" Great script but can't be sold. Was a way to open the door but that's it. Another reason to have a body of work.

Every success story is an exception. Just informing you of what I've seen doing research over the past year on marketing a script and what to write. 90%+ of writers have no chance based solely on what they decided to write -- before they write it!

I don't agree with the way things are. It's horrible. We need more diverse films and voices. It's sexist. They like young, too, for this reason -- that's the target demographic. So, if you aren't young, think young. JUNO was not written by a teenager.

Crazy because things like SEX AND THE CITY made big money. But "oh that's based on an existing TV series. Doesn't count." !! Telling you this is what you hear. (Most of those shows were written by men, btw, and so was the film!)

All that said the easiest script for a female writer to sell is a romantic comedy. Break in. Have success. Then do your dream projects once they've made money from your films.

My .02.

I've heard that action/adventure and horror are genres women are currently selling -- as well as the rom com. Places like trackingb.com and others allow you to see what's going out to market and what's being sold.

Using initials instead of full name. Making up a name -- Diablo. Things that can be done. It's a long shot for everyone in this business. I am not an 'insider' and don't know why or how these trends form. Just reporting on what I see and hear.

Thrillers are a commercial genre. They can sell as specs from new writers. However, if you have a female protagonist... There's another problem. This may be why the sex differences are apparent in the sales. Hollywood view is that there are few actresses that "open" a movie. More options with men and easier for a production company to cast.

I've heard of managers nixing any female protagonist scripts. Rom com you have co-protagonists and, again, female demographic audience. Makes it a challenge.

Someone else that's studied TrackingB or spec sales over the last few years chime in if you'd like. Ton of talented people out there. 90%+ though are out of the running before they get started. Only so much time and so many scripts you can write.

Also, this is Hollywood spec writing / getting assignments. If you want to write for independent filmmakers or be a writer/director there are less contraints. Still, you have to make your money back and a bit of a profit or you or your investors will be broke quickly.

Outside the 'system' provides many opportunities. Christian filmmakers (FIREPROOF); gay/lesbian has a target demographic that supports films; African-American filmmakers -- Tyler Perry -- can operate completely outside Hollywood with great success. These scripts are written for a modest budget and do follow a business model.

In no way am I endorsing the status quo. Think it's a good opportunity to discuss the topic.

BTW, I've been told I'll never sell one of my scripts because it's a period piece. But ... that's the script. That's the story. Not changing it. I also have scripts with female protagonists. Not changing that either. I do, however, have a large body of work developing. Some of these may be my 'dream project' after I've gotten a number of other sales and assignments. Or I may work with an independent filmmakers and charge very little to get the film made. Many options.

Also, huge underserved Hispanic demographic in the U.S. Expect a Latino/Latina Tyler Perry-style writer/director/producer to emerge in the next few years.

SF thriller? Is that was PARANORMAL ACTIVITY was? Or horror?

Thanks for the report on all the script requests. Curious if you'd provided a title and logline that led to the requests.

Feedback turnaround in 10 days if you submit on November 1st.

BlueCat is one of the few contests that lets you resubmit a new/improved draft if you don't like how you scored first time out.

Anyone know the time table on that? If you submit on 1st, get feedback on 10th, how long before the resubmit date?

A MINUTE TO PITCH By Pilar Alessandra

O.K. see that guy over by the cheese table? He's a producer; a big one; a guy who produces exactly the kind of movies that YOU write. Imagine you strike up a conversation with him and in passing you mention that you're a screenwriter. He looks over at you, puts on his ''I'm interested'' face and says, ''Oh really? What's it about?''

In short, he wants you to pitch it. You don't have twenty minutes as you might have in an executive's office. You have one. Maybe three, but that's pushing it. Consider this a MINI PITCH.

You're ready for this, right? Sure you are. You know this story like the back of your hand. You take a deep breath and say ''There's this single guy and he secretly hates his mother, O.K? And she, well she's a piece of work let me tell you. He's got father issues too, but we find that out later in the movie.

Anyway, one day he's waking up like it's just any other day, ya know, shaving and stuff like that, when he looks in the mirror, no, no, no he sees his own reflection in the toaster — and he's turned into his mother! Not, like, wearing her dress or anything like that. He actually is his mother! And it's weird 'cause he secretly hates her, you know? So he has to, like BE her and, and & he hates it!''

See that look on the producer's face? It doesn't say, ''I'm interested'' anymore. It just turns away from you, muttering, ''Sorry, we don't do body-switching movies anymore.''

You want to call him back and let him know that yours is a different kind of body-switching movie. There's a love story that's really cool. It has an amazing scene that only you can write! But, it's too late. He's become distracted by the Gouda.

Let's look at what just happened. Buried in that rambling monologue about your character's past with mom and dad is a fairly decent, high concept idea. But you felt the need to frontload your mini-pitch with back-story. Of course, all of that stuff is important, but you didn't have to ramble like that! One descriptive phrase could have been uttered that would have implied everything you felt compelled to explain. Try ''A single man with mother issues.'' This suggests a problem in real life (single man) and a problem he may himself have created (mother issues). A flawed character if ever we've met one.

You finally hit the CONCEPT, the story idea, but you insisted on giving us extraneous detail that we'd assume anyway. Shaving? Yeah, men do this when they ''wake up.'' Mirror versus toaster? Who cares? The point is that he wakes up having turned into his mother. That's all you have to say about that. It's high concept. Good.

But, not perfect. Because any producer worth his inflated paycheck is going to give you the same blow-off answer about body-switching movies. Remember ''Big?'' Remember ''Switched?'' For God's sake, remember ''Freaky Friday?''

So you need a HOOK to your story; something special that brings a new twist to an old premise. You mentioned the love interest as having a cool tie-in. What if, by becoming his mother, he resolves to apply her busy-body ways toward setting himself up with the prettiest woman in town? To justify this, let's add a description to the ''single man'' that might imply that this is exactly what he needs. Let's mention that he's lonely.

Your story idea will now look like this: ''A lonely single man with mother issues, wakes up in the body of his mother and uses her busy-body ways to set himself up with the prettiest woman in town.''

Now your story has possibilities. We've nailed this guy's flaw, his situation, his first act problem and a hint about where the second act might take us & all in one sentence.

This sentence is commonly referred to as the LOG LINE. So, the next time a bored agent tells you ''just log line it'' you'll know what the heck he's talking about. In fact, it's great to have a log line in your pocket for all of your projects. And the quickest way to get there is to find the WHAT IF of your idea. ''What if a lawyer who lied for a living couldn't lie for one day?'' (Liar/Liar). What if a notorious mathematician's top-secret government project was really just a schizophrenic delusion?'' (A Beautiful Mind.) ''What if a lonely single man with mother issues, wakes up in the body of his mother and uses her busy-body ways to set himself up with the prettiest woman in town?'' (Your Movie).

Take off the ''what if'' and, ta da, you've got a log line.

So that's a great start. But, you have a little more time with this producer than just log line time, so you also have the opportunity to paint a tonal and genre picture: Try describing it right away as being ''in the vein of Big.'' With this, plus your logline, the producer's eyebrows go up just a little and he reaches for a second brie puff.

Perfect. You now have time to elaborate on the SECOND ACT ACTIVITY, meaning what actually happens in the middle of the story. How your character actually acts as his own matchmaker could be hilarious and just the thing to grab the listener.

To get yourself started, try beginning with ''It follows the journey of &'' O.K. ''It follows the journey of a lonely single man who &'' Wait a minute, we already said that in our log line. Plus, our main character isn't on his journey alone. Not a lot of interesting heroes are. After all, they need someone to INTERACT with to keep the movie from being about one person talking to himself. In this case, our guy is engaging in a dance of unrequited love with the prettiest woman in town. So let's describe him slightly differently and bring her into it as well.

''It follows the journey of a live-at-home nebbish and the beautiful woman he pursues as he, trapped in the body of his pushy mother, pretends to be an innocent match-maker, wooing her with homemade chicken soup while secretly lusting after her every move.''

Pick just the right words, and you'll start getting that ''I'm interested'' look again which will allow you time to fit in another sentence that suggests a big COMPLICATION. This is usually the biggest thing that stands in the character's way of getting what he or she wants. And usually, that thing is another person. You mentioned that our hero has issues with his dad as well. He just might be the perfect ANTAGONIST to mess things up. Maybe he catches on to our hero. Good God, maybe he doesn't and starts getting interested in his wife again! Maybe the reason that he wasn't interested in his wife to begin with was because HE was interested in the pretty woman.

''Problems occur when the man's dad becomes both aroused by the changes in his 'wife,' but is rejected by her when she discovers that he too has been lusting after the pretty woman.''

O.K. this is getting a little crazy, but why not? We need to show that we can mix things up a little; that we can keep the producer from guessing what's going to happen next. The more inventive you can be with the complication, the better.

Having sucked the producer in, you now speak to audience appeal. And producers love this, because you're talking about the potential for box-office receipts. Try, ''Audiences will enjoy this movie because &'' Then explain how your overall approach to the movie is special. It could be particularly cinematic: ''It mixes live action and animation.'' It could have a great pace: ''Its action scenes are relentless.'' Or, it could have a particularly strong theme: ''It dares to ask hard questions about growing up homeless.'' In our case, let's try exploiting the hook some more. ''Audiences will love this movie because it speaks to our greatest fear; literally turning into our parents.''

And you'd think you'd be done by now. But your one minute of time has stretched a little bit because you're doing so darn well, so let's give this mini-pitch a closer. Let's end it with a visual, active moment so specific to your film that the producer knows that you, and only you, must write this film.

In the movie world, this big, active moment, the one that uses the cool setting or scenario of the movie, is often referred to as a SET PIECE. Remember ''Big'' and the piano scene in FAO Schwartz? That's a cool set piece. Remember the train sequence in ''The Fugitive?'' Even driving on a beach in a convertible in the movie ''Term of Endearment'' can be considered a strong set piece because it illustrates everything in that one moment of action — our heroine's need to take the wheel; her love interest's need to fly, their love for each other and their need to simply let lose and drive madly on the beach.

Back to your movie. Let's see, you've got switched bodies, pushy mothers, pretty women, horny dads, chicken soup & Let's keep milking the comedy of this premise. Maybe there's a scene in which your lonely guy-turned pushy mom is forced to do an ancient Macarena on a tour bus filled with gray-haired girlfriends. O.K. I know you can write something better than this. But that's why you're the screenwriter and I'm just writing a book about it.

Finally, let's put all of these elements together and actually create our mini-pitch. Here goes:

MINI PITCH for ''MOTHER MAY I'' ''Mother May I'' is a script in the vein of ''Big'' which asks the question, ''What if a lonely single man with mother issues, wakes up in the body of his mother and uses her busy-body ways to set himself up with the prettiest woman in town?'' It follows the journey of a live-at-home nebbish and the beautiful woman he pursues as he, trapped in the body of his pushy mother, pretends to be an innocent matchmaker, wooing her with homemade chicken soup while secretly lusting after her every move. Problems occur when the man's dad becomes both aroused by the changes in his 'wife,' but is rejected by her when she discovers that he too has been lusting after the pretty woman. Audiences will enjoy this movie because it speaks to our greatest fear: literally turning into our parents. And they'll be particularly entertained when the lonely guy-turned pushy mom is forced to do an ancient Macarena on a tour bus filled with gray-haired girlfriends.

Not bad. A little wacky, but not bad. You nailed your character, the hook of your movie, suggested complication possibilities and left the listener with a specific image.

Best, the producer has taken his eyes completely off of the food and is now looking intently at you. Wait! He's taking out his card. He's smiling and telling you to send him the script. ''It's got real possibilities,'' he tells you. That's producer speak for ''the best thing I've heard in a long time.''

Congratulations. You've opened a new door with your entertaining and concise mini-pitch. Now go to the bar, grab a drink and corner the next producer you see. With a pitch like that, she'll be glad you did.

--------------------------------------------------------------------------------------- PILAR ALESSANDRA is the director of ''On The Page'' Script Consultation and Screenwriting Classes and former Senior Story Analyst for DreamWorks, ImageMovers and Radar Pictures. As a writing instructor, she's taught at UCLA and Writer's Boot Camp. As a lecturer and guest instructor, she's taught at Nickelodeon, MTV, Final Draft, The Mammoth Writer's Conference, the Great Canadian Pitch Fest and was a "star speaker" at this year's Screenwriting Expo.

TEN COMMANDMENTS OF PITCHING YOUR STORY TO STUDIOS by William Goldman

How to Pitch Your Script

1. NEVER FORGET WHOM YOU ARE TALKING TO. They really don't want to listen to you but know that maybe, just maybe, you can help out their career.

2. BE BRIEF, IN AND OUT IN FIVE MINUTES. Unless they ask you to stay.

3. YOU ARE NOT TELLING THE STORY, YOU ARE THROWING OUT A HOOK. Keep it simple. Not a lot of detail. One or two lines.

4. GRAB THEM. You want them to think.

5. PEOPLE ARE BUSY. Remember that.

6. DO NOT PITCH MORE THAN ONE IDEA PER MEETING

7. IF YOU CAN, LEAVE AN OUTLINE. A couple of pages where you start with what you hit them with, and thicken a bit.

8. NEVER READ A PITCH. Executives love eye contact.

9. NEVER FORGET THAT EVEN IF THEY BUY YOUR PITCH, MOST STUDIOS ARE PLANNING ON FIRING YOU AS SOON AS YOU HAND THEM YOUR FIRST DRAFT.

THE MAP OF PITCHING YOUR STORY

Here is an effective way to PITCH YOUR STORY, but remember, there are no rules, and you might have your own way. This is just a suggestion that has worked.

INTRODUCE YOURSELF -Who you are and what you've done that's relevant, that will generate interest. -Be specific and brief. Just give a strong impression of what is great about you, and move on.

ESTABLISH RAPPORT -Before you meet them, RESEARCH the person you're talking to. Then, based on your research, you can: -Make a positive comment about their work and/or ask them a question regarding their experiences and current position -Talk about why your PITCH and your project is right for their project.

INTRODUCE THE PROJECT -Talk about your connection to the material and your passion for it -Start your pitch by asking them a question: Ex. What would you do if you could fly? If you had to choose between saving your wife or daughter, what would you do?

-THEN GO TO YOUR PLANNED LOGLINE

SYNOPSIS OF THE STORY -A vivid one- or two-minute telling of your story, sticking to the catalyst, major plot points and climax

-DON'T GET LOST IN THE DETAILS -Convey both the INTERNAL and EXTERNAL story -JUST CREATE an emotional reponse in the listener REQUEST -Tell them what you're looking for from them, AND THEN ask them what they are looking for

SUMMARY -Rehearse your pitch -Do not read your pitch from the page. -It's a conversation. A sell, sell approach will not work. -Don't get lost in detail. -Make sure you include the ENDING. -Walk in with respect for yourself and your material.

Marleine,

How many script requests have you received? Signed with an agent?

What genre is your script? Logline?

Have you quit your day job yet? :-)

Congrats again!!

Have a great time!

Hope to be there next year as well -- as a panelist. :-)

I liked DRAG ME TO HELL. It didn't do so well. Thought PARANORMAL ACTIVITY was kinda not so scary.

Cool. Some publicity:

http://www.losangeleschronicle.com/articles/view/125123

BLAIR WITCH made a lot of money and it was a crummy movie. PARANORMAL is this generation's version of that hype-fest. The filmmakers made good use of what they had. It just didn't scare me.

Suggest people see it at midnight -- possibly drunk. Might be a better experience. Most of the people my audience walked out saying, "Is it really over? Is that it?" 1/4 full theater during day.

I can not like films that make a lot of money. That's allowed. :-)

But I do see everything (even TRANSFORMERS 2) just to have it as a reference if it comes up.

David Gillis gets the first draft of all my scripts. He's an expert on format. He'll do research to catch factual errors. He'll suggest improvements on the wording. He'll suggest dialogue or other cuts that tighten up the script. Spellcheck does none of that.

I did network with a recent MFA grad from the local university. Might be a less expensive route for some. Call up a local screenwriting professor and get them to suggest a promising student.

Rewrite after rewrite. Got through a dozen drafts or so before showing your script to any production company.

You have mail.

David Gillis is not 'too nitce.' There will be more red ink on your pages than black. He has 20 years experience editing newspapers. Not sure who you used.

Hey David,

Glad you cleared that up. I think I had a typo in my post... :-)

David is the best out there. Coverage has a box for professional appearance and I've scored 10s consistently with David's help. Plus, they won't make it past your first ten pages if the script has errors. Don't give them an easy reason to say, "No."

My experience with Expo:

I sent Pasha 4 or 5 emails so far, including during the Expo event. They were all answered within 24 hours. Winning the genre prize for thriller led to several script requests.

My mistake for not planning to go to the event because, by all accounts, I missed a great event.

All of the contests have been slammed this year. Bad economy and people out of work or underemployed = more scripts being written. Record number entries in many contests.

If you scroll through the "reviews" of script contests here on MovieBytes, the majority (if not all) of the negative feedback is from people who did not do well in the contest. "I lost = the contest sucks." ?? Or "It's a scam."

The money spent on contests by some is better used hiring an editor, script consultant, or getting basic coverage. Invest in your script to make sure it's the best it can be BEFORE sending it off to contests.

The main issue: Does the contest deliver what it promises? Prizes, exposure, making connections on your behalf? Expo has followed through for me.

Irin, you did well in this event. Vote with your dollars next year if you weren't happy with the experience. Plenty of contests and events out there. Stay positive and keep writing! Good luck with the new one.

Nick,

I've heard that about other coverage providers -- way too lenient and positive. The idea is to get repeat business I suppose and most people can't handle negative feedback. I'd prefer to hear it early when it doesn't 'count' than get a polite, "No" later from a prod co.

Re David: If you use his service there'll be more red ink on your pages than black.

Don't see moving to L.A. and doing crap jobs as being all that helpful. Depends on your age/career position. Internet it and hop on a plane when you need to.

Lot of 'group think' goes on. Scares me when I'm in Los Angeles and everybody is writing scripts, talking movies, and you get these movies about people making movies nobody wants to see.

My dream gig is producing an animated show. Can do that anywhere and the writer/producer owns the characters. Can't beat that.

I did have an agent recently tell me I needed to at least get a shared apartment in Los Angeles. That perception you mention about level of commitment is a good point. The writers I know that aren't in Los Angeles at least lived there for years building a network of connections.

FADE IN:

EXT. KUWAITI DESERT - NIGHT

WIND HOWLS across the dunes. Powerful search lights are swamped by sheets of swirling sand. Abrams M1 Tanks and Bradley's grind across the terrain.

SUPER: "KUWAIT, 1995"



NOTES: Establish the scene before you put the super. Describe the lights before the tanks come into view. Tanks are objects and don't require caps. I thought they were characters at first glance (and glance is what a reader does).

Needs a bunch of other notes but that's a start. Suggest you look at the proofreader thread. David Gillis is a good place for you to start. He's great at cleaning up format and action lines. Your pages would be covered with red ink.

Good luck!

I submitted to them. Notes I received were good. Professional bunch.

They are looking for genre scripts. Thriller, horror, comedy. Nail your genre. Contemporary setting. No budget busters.

And the winners are:

Matt Ackley, Los Angeles, VICTORIA FALLS

Vineet Dewan & Angus Fletcher, Los Angeles, SAND DOGS

John Griffin, Los Angeles, DREAM BEFORE WAKING

Nidhi Anna Verghese, Los Angeles, JALLIANWALA BAGH

Jeff Williams, Wake Forest, N.C., PURE

My early draft is out. Ah well. Back to rewriting...

But Irin is in the finals with TWO scripts! Two genres as well. Nice job.

WTG!!!

Irin,

Finals in such diverse categories shows ya got skillz!

Now if the Yankees can win the Series...

I entered the new contest.

Good luck with last year's! My editor won the family division a year or two ago. Know he took a bunch of meetings on the script.

Most of the contests received record numbers of submissions this year.

Bad economy. People out of work or underemployed = more time to write.

56 is a solid score. The notes from the contest are great so it's a 'no lose' situation with ScriptSavvy.

Just got mine for my western. 56 as well. Needs another rewrite or two so I'm happy with that score for now. Coming along.

With you guys scoring 59s and 60s... gotta step up my game a bit! :-)

WTG, Murph!

The feedback from the contest is great. Fact it's a contest is langiappe.

Told ya!

The coverage is worth the entry fee. The contest part is just an added plus. As opposed to a subtracted plus.

On the Page is a great podcast.

Congrats on making the finals! Keep us posted.

I had two in the semis but bombed out. Ah well. On to the next one... At least the Saints won last night.

Unless you are independently wealthy and make your own film, you are in competition with other screenwriters to get your work read (yes, even read) by producers (who hire readers, btw, many of whom are contest readers as well).

How do you get an agent, manager, or producer to read your work as a new writer?

You can send out queries and with a great logline and perhaps a MFA. You can be referred to contacts from people you know.

Or, assuming you aren't hanging out in Los Angeles and bumping into contacts and aren't a self-marketing guru, you can enter a contest.

If through that competition -- your script up against hundreds or thousands of other scripts -- you do well it establishes credibility. This isn't just a script from a nobody writer, it's at least had some bit of credibility to it that it was judged in a major contest or several contests that it's good.

Will it be made? Is it good enough to compete against existing pro writers? Possibly not. But it will lead to your work being read and that creates opportunities.

If your script is made into a film where does it go from there? Film festivals competing against other films (like Sundance with over 1,000 entries) looking for credibility through competition.

If your script is made into a film and shown in a theater it's in financial competition with other films out there. If you don't make investors money you may not be writing another film.

In conclusion, everything about your post is misguided. This website is for those competing in competitions trying to become professional writers. We are willing to put our work on the line and have it compared to what else is out there.

Good luck!

Thanks, Irin. Reminded me I need to make a dental appointment.

People on here enter contests. You get to know the 'regulars' and support each other. Give kuddos. Keep folks motivated to write.

Also, you share info. Which contest got script requests. And make friends.

I'm not at USC or UCLA Film School. But through this site I've made a number of friends and we have formed a network to share info, leads, swap script reads, etc. Move up the ladder together and help each other along the way.

Been a great (free) deal for me.

Good luck!

I was top 100.

But WTG Joseph! Head of that billboard!! Keep us posted on how many script request it generates.

Damn!

That is some serious Exposurama!!!

Congrats!

Not if it's a great script. Don't sweat it. There are errors in the blacklist scripts.

Don't email them about it though! Would be amateurish.

Another announcement should be coming up.

Irin has a new Yankees fan in the family.

Good luck with the festival. Hope a MBer takes down the prize. Ton of finalists though!

Thanks, Jim. Appreciate the effort.

SCREENWRITER MYTH BUSTING by Adam Levenberg

During the past year I've spoken at length with several hundred writers trying to break into the industry. After a decade of working inside the world of development and production, it was eye opening to hear the same false assumptions repeated over and over. While I completely understand why an unrepresented writer might embrace these myths, they are simply not accurate.

As you proceed, remember that my advice is directed towards writers who have yet to secure a major literary agent or manager in Los Angeles. For those writers already employed by the studio system--why are you wasting time reading this, you're on deadline!



Myth # 1: IT'S HARD TO BREAK INTO HOLLYWOOD!

Bullshit. It's easy to break into Hollywood with a mediocre script. It's hard to write a mediocre script!

Writers love to blame the system for not recognizing their talent or making it so difficult to have a "decision maker" read your screenplay. Please believe Hollywood is desperate to find new talent, its just that few unrepresented writers come to the table with the skills to compete with professionals already in the game. Perhaps the only exception to this is with comedy writers--if you're stuff is legitimately funny on every page, someone will take notice and help you develop a spec.

If you've entered a few contests and had your scripts turned down by several legitimate, currently active production companies without receiving a long phone call where they ask you about your other ideas, chances are guaranteed that the material did not stack up. It's your job to figure out why and improve! Otherwise your next script is unlikely to overcome these shortcomings.

Hollywood studios have an incredibly democratic process for buying material--they buy the best scripts. Period. Often great material gets shelved because it's not commercial enough, or too many writers, directors, and actors requested so many changes, the material lost its original value--but these are complications that occur after the sale.

Every deserving screenplay eventually finds a buyer to option or purchase the material. There are no exceptions.



Myth #2: I'VE CREATED A FRANCHISE!

To finish the article visit my blog...

http://wagstaffnet.blogspot.com/



(About the writer: Adam Levenberg is one of Hollywood's most in demand screenwriting consultants. As a reader for USA Films (BEING JOHN MALKOVICH, TRAFFIC), Adam recommended scripts such as HOLLYWOODLAND and SYLVIA, which were both produced by the studio. After working as a Creative Executive for Intuition Productions (THE STEPFORD WIVES, PASSENGERS), Adam moved on to One Race Films (XXX, THE CHRONICLES OF RIDDICK, THE PACIFIER, FIND ME GUILTY, FAST & FURIOUS) where he was promoted to be the company's Development Executive.

At One Race, Adam's responsibilities included interacting with every major literary agency in order to cover the spec market and meeting with the industry's top screenwriters to hear pitches and help fill writing assignments for the many original and sequel projects on the company's slate. After leaving One Race to open ENDZONE CONSULTING, Adam's clients now include one of Hollywood's biggest producers as well as a legendary two time Academy Award winning actor. )

Adam apparently told Chris Lockhart the article would be seen ONLY on his site.

So, new link is below:

http://twoadverbs.blogspot.com/

Okay, well. The article is back up on MY site.

For now.

:-)

Enjoy the fest!

I was one of the six writers chosen for the 2009 program. Give this contest and the mentors selected an A+! The winners were flown in and set up at a hotel in mid-Atlanta. The workshop took place at the Margaret Mitchell House. Rare opportunity to have one-on-one sessions with top professionals and we all had a great time. The other writers selected for the program were diverse and extremely helpful as well.

There was a staged reading of ten pages from our screenplays Saturday night. Lot of fun times. Great job by the Atlanta Film Fest folks putting this event together.

Two other notes: (1) This year there were 250 entrants -- much better odds than many other contests; and (2) They support filmmakers and are seeking a distinct new voice. Give this contest a shot!

Good luck and thanks again to everyone who made this such a special event.

D'oh!

Irin need to be on the alternate list.

Congrats guys!

Good luck!!

Fun and free. Anyone else in the running? Top 100 announced today.

Mike,

Doing fine. In the hunt as well. Saw your LOUISIANA BLOOD script on there. Getting some good comments from the peanut gallery and Carson's a big fan of thrillers.

Gotta nail that first ten!

Good luck.

-Stephen

Anyone give this (free) contest a shot? They announce the top 10 a week from today.

Nice!

I love my MacBook Pro. Be prepared for some family conflict when your wife tries to swipe it!

HORROR COMIC is in the running! Made the SFs and now it's open to public voting.

Congrats! Best of luck!

Here's a logline relative to this thread.

Aspiring screenwriters reveal their narcissistic tendencies as they continuously congratulate themselves for their minor accomplishments on a public forum while others choose to exercise a degree of humility.

LOL! Well, more lobbying publicly for votes. For those of us not in a writers' group a pat on the back or 'way to go!' from an online friend means a lot. It's a long haul and the contests are good to have a bit of encouragement along the way. But props for the rip.

Mike,

Great script! Thanks for the read! Best of luck in the contest. Think you'll do fine.

The Shadow knows!!

-Stephen

In 2nd place but still a week or so to go on the voting.

Thanks for the MBers that stopped by twoadverbs.com and helped me out! Appreciate the support.

Deadline in a few hours. Get those pages in!!

There's something called a "standard release" a prod co may ask you to sign. You can find info about them (and a copy) online.

Need a few more votes in this to equal what the finalists received last year. You had to have been a member as of 10/31/09 to vote.

If you were, please consider my script, HORROR COMIC. I posted info about it on the thread on the site.

You can PM me on 2A if you have any questions.

Topic of my guest blog today from entertainment attorney Jesse Rosenblatt.

First Things First: Why You Should Always Enter Into A Collaboration Agreement

By Jesse Rosenblatt, Esq.

I can't tell you how many times I've seen someone in a legal mess because they didn't enter into a collaboration agreement before starting their project. This information isn't new, but it's so often overlooked that I feel it's worth covering again. Hopefully the information below will resonate with you so that moving forward you can avoid often costly mistakes. The most important thing to be taken away from this article is the following:

When collaborating with someone on a project (e.g., a script, book, song, etc.), always have an experienced entertainment lawyer craft a written collaboration agreement which all parties sign before any work on the collaboration begins! Just taking this simple suggestion can save you a ton of potential headaches throughout your career. Don't delay.

What Is A Collaboration Agreement?

Briefly, a collaboration agreement is a contract entered into that spells out the specific terms and conditions of the parties' working relationship, including, the disposition of the completed work, allocation of responsibilities and division of revenues derived from the exploitation of the work. Simply stated, the collaboration agreement clarifies the nature and scope of the relationship, including the ownership, business and creative controls over the work that's jointly created. Think of it as a prenuptial agreement for creative collaborators, because just like marriages, unfortunately many collaborations end in separation, if not outright divorce.

The provisions of a collaboration agreement typically cover things like:

" Ownership Percentages In The Work (e.g., Is It 50%/50% Or Some Other Allocation?)

" Specific Responsibilities Of Each Collaborator

" How Are Monies Received In Connection With The Work Disseminated? (e.g., In What Percentages?, How Are The Collaborators' Expenses Dealt With?, etc.)

" What Happens If One Collaborator Withdraws For Any Reason? (e.g., Can The Other One Continue Working To Finish The Project?, May The Remaining Writer Bring On Another Collaborator?, How Are The Ownership Percentages Revised As A Result?, etc.)

" How Will The Collaborators Be Credited In Connection With The Work?

" Are The Collaborators Members Of Any Applicable Guild/Union? " What Happens If The Parties Have A Disagreement? (e.g., How Are Disputes Resolved?, Will There Be A Third Party Who Resolves Them?, If So, Who Is He/She Or How Will He/She Be Selected?, etc.)

" How May Rights In The Project Be Disposed Of? (e.g., Does This Require A Unanimous Decision?, May Either Party Dispose Of Their Own Rights Or Even All Rights?, If A Collaborator Wants To Dispose Of His/Her Interest, Does The Other Collaborator Have The Right To Block The Sale (Or A Right Of First / Last Refusal)?, Is Any Third Party Authorized To Dispose Of Rights On The Collaborators' Behalf?, etc.)

Without a signed collaboration agreement in place, questions may be raised about the ownership and control of the work, as well as the ability to dispose of any rights in the work. It is also vital in determining what happens in the event that the collaborators separate for any reason.

To read the rest:

http://wagstaffnet.blogspot.com/2009/12/collaboration-agreements-pre-nup-for.html

Bunch of MBers in the semifinals:

http://www.screenplayfestival.com/2009_semifinal.html

Saw Nathan on there as well. Forwarded it so it'd make the News feed to Frederick.

I knew nothing about this contest but there were some raves about it posted here. Thanks for the feedback MBers!

There WGA has one available as well.

Nathan, Thanks for the mention of Screenplay Festival. I entered 3 scripts in that based on the suggestions in this thread.

I received a request today based on the ScriptShadow logline contest.

The Atlanta Film Fest workshop led to a mentor relationship with a pro writer. He gave me notes on a script and is forwarding it to some contacts.

Trying to keep this thread alive as it's the most useful one on the site. Thanks Irin!

Irin has FIVE scripts (individually and co-written) in the semis!!!

:-)

I'm in there with a paltry three.

I have many drafts of scripts in various contests -- and the quality has improved through the drafts. I think my best chance is HORROR COMIC based on previous contests. But you never know.

My western, BURIED SOUTH OF GALATIANS, and my rom com, WEDDING KNIGHT, haven't won first place yet. So, I'd say they are long shots.

Not sure. I'm guessing less than 1,000. Know that TrackingB < 1,000 entries. Like this one, great reputation for getting industry reads.

There are some forms on the WGA site. Not sure about this one. Various filmmaker legal advisor books have them. Laws can vary state to state so be careful using legal forms in general.

I've been in competition with Taylor/Wakeman in several contests. He's got two scripts that are doing extremely well this year. Good for him.

As for the dollar limit, those typically exclude contest winnings. The limit is on professional screenwriting work -- selling a script for $$. The cap at Nicholl's is $5,000.

Also, if a script is optioned/sold during a competition it typically disqualifies it from competition. The script ARMORED made the Nicholl's finals and sold shortly thereafter. Was disqualified from competing for the winner slots at that point. But Jay was happy with his consolation prize of $400,000 and a produced film.

There was a situation I read about though of a pro writer -- with dozens of TV/film credits in the semifinals of a contest. Guess someone figured it out and he was stopped there. Was also a finalist in PAGE last year that had a sale and was disqualified.

In general though I encourage you to remain positive. Worry about making YOUR screenplay as good as it can be and developing your craft. Be happy for other people who have success and it'll be headed your way soon.

Best of luck!

No wonder I didn't win.

First cut announces 12/16.

Won Best Screenplay in this one!

http://blogs.houstonpress.com/hairballs/2009/12/comedy_film_festival.php

For my rom com, WEDDING KNIGHT.

Thanks, Nate. Will take you up on that offer. I visit Houston 2 or 3 times a year.

Anyone know the next announcement on this? Trying to update my contest calendar. Thanks.

Thanks and good luck to all that advanced.

Next announcement is Dec. 23rd.

I had a work obligation come up and wasn't able to attend the workshop. Still regret missing it.

Jim was nice enough to send me some script notes for my contest entry at no charge. Working on the rewrite of that next year. Thanks, Jim!

Put this one on the list of contests that delivers -- and then some.

They don't care about that.

Chris Lockhart has a great article on constructing loglines and a query letter. Google it.

Finals announced Monday.

Good luck, Mike!

WTG, Mike!

Thanks, Nathan!

So much for the holidays!!! Busy doing another 5 or 6 drafts on this script. :-)

Gotta GET MOTIVATED!

What did you win?

TrackingB announces in January. I entered that one.

StoryPros announces the next cut today.

I've gotten 2 requests from making the Finals of the ScriptShadow logline contest. Likely would have gotten more if I'd gotten my email up there faster.

Zero requests from winning Houston Comedy Film Fest and haven't seen any type of award or prize show up in the mail yet. But I did use it on a query letter for that script ... so there's something.

So far PAGE and SilverScreenwriting have been the most help from the contests.

I'm in the Finals of the 2adverbs Logline Before X-mas (another free contest). Waiting to hear Christmas Eve if I won. Already gotten a free consult from that contest and a member stepped forward to help the 3 finalists obtain representation.

I've had 2 offers of representation this year from smaller managers. Don't mind a small firm but these had no track records. Holding out to make sure it's a manager and/or agent that has sold scripts in the past and can actually help my career.

Next announcement today....

Still in there.

Brutal cut. Next announcement December 28.

In the semis (top 15/400+ entries).

First prize is passes for 2 to the festival and plane ticket for 1 to get there. I'm liking these contests where they fly the winner in. Scene performed. Meeting with a producer for advice. Prize at the awards fest. Pretty nice deal and not high traffic.

Thinking a lot of industry types will be there because of the location.

THE SECOND ROUND QUALIFIERS ARE: (in alphabetical order)

25 By Chris Van Strander 69 By Billy Martin 1066 By Richard Black 1000 Years of Peace By Laqueta Lewis A Million Miles from Anywhere By Alex W Rea A Natural Aristocrat By Carol V. Hamilton A Way Out By Anthoney Andersen ALIEN ICE By Ted Kuepper and Luke Brannon All Night Long By Matthew Altman All This Ruin By Steven Craft America: Red White & Badass By Ryan Lear & Jeff Wachsmuth American Diogenes By Leigh Hunt Ameristocracy By Paul Moxham Among Thieves By timothy john barkwill Anasazi By Rob Edwards Angels out of Bath By Jomo Merritt Ann Dramada By Kristofur Sivad Another Way Out By Hannes Kivilaht Antioch By Mary Haarmeyer and Craig Beeman Appalachia By Steven Vargo ARION By Phil Hall ARMADILLO CITY By Chris Clark and Carol Clark Atom Smashers By Phil Ferriere Baby Sitter Dearest By Hamilton Mitchell BALLTOWN By Vince & Michaela & Allison Williams

Barrio Chino By JOE KISCH BASKETBRAWL By Gregg Palladino Because The Night By Mark Golik Big Highway By Lance Lindahl Black Blood By Federico Casal BLACK SUN By Robert Narholz Blemished Light By Amit Kumar Blood & Sand By Shane Perez Blowback By Jeff Travers BORDERLAND By J.R. Taylor BORDERLINE By Peter D. Aston Born Again By John and Dianne McCarthy Born in the Heart By Jason Fairbanks BOSTON By Joey Payne Bringing Up Mom By Carol Farrand Burnover By M. D. McCarthy Camp Kathy, S.A. By Peter Aston Carambanimal By Kerstin Struck Cash from Chaos By Patrick S. Daly Chameleon By Henry Yarghn CHANCES By Jeff Trently & Anthony Stitt Change Up By Dana Garrity Chasing 4 a.m. By Claudine Huffman Children of No Tomorrow By Catherine Kaiti Grim Children's Keeper By Rod Dixon and Sherard Dixon

Christmas Commandos By Gareth Bennett Cleo Parker by Michael Palmer By Michael Palmer Closure By Darren Swanson Coming Round the Mountain By Raef Eric Lawson Compromised By Jocelyn Osier CONTROLLED By Craig Cambria (aka Daniel C. Jay) COOPER'S WAR By Timothy Jay Smith Crossfire By Jen Ralston Crossing Over By Henry Cohn Cuba The Diva By Andre Gaumond CYRANO By Robert Cox Danielle's Beacon By Patrick Scott & Michael Berlin Dark Sky By Lance Bradley Darlin' Pretty By Rick Flynn Deadly Breach By Danny Kay Denny Delivers By Charlotte Barrett & Sean Fallon Departed Harvest By Joe Hodge DESERT LOBSTER By J. Dabou Devlin By Kelly Michels DEVOLUTION By Tom Fenlon Diamond Line By Marcus Lavell Harmon Dirty Laundry By Brian Garland DJINN By Matthew Altman Do It! By Jim Grieco Dodger By Brett Shumway

DOG DAYS By Eric Carlson DON'T TURN AWAY By Christopher Dean Downward Dog By Lane Baker Drifters By Richard Chung Duping the Daffodils By Robert Hesslau East New Hope By Amy Natasha Howell Encore By Tamar Shai Bolkvadze Esperancia By JOHN EDWARD FLYNT ETSI By Peter Anthony Flynn Explosion By Matt Sobel Extra! Extra! I Wrote All By Katrina Baker Fading In Our Hands By Rick Flynn FALLING By Carol Lewis and Ellen Fischer Family Secret By Warren R. Hull Fifty years in May By Silvio Nacucchi FINAL ROMANCE FOR MARGARET FULLER By Mark Wildermann Finding Esperanza By Brent Bratton & Jeff Horny Finding Jack Dawson By Dean Ormandy FIVE THOUSAND YEARS By Jim Grieco Flames of Eden By Richard Severy Fools Gold: The Legend of Pickaxe Phil By Gary McGuire Sr. FOOTLONG By Don Broida and Phillip Bartel FORSAKEN HERO By David Clark Long Frat Mom By Vicki Joyce Friends And Romans By Gregg Greenberg

Frozen Fire By Paul Pawlowski Getting Even By Patrice Hamilton GLORY DAYS By Michael Notarile Golden Seas Society By Drew Miyaki Government Girl By Sallie Click Bedall GPS By Patrick Hoeft/Robert Stein GRANDAD AND THE CRICKET SONG By MILETHIA R. THOMAS GREAT WHITE By Carla M. Chase GREENMANTLE By David Muschell Halsted By David King Heads Win Tails Lose By Erskine Carter and Bill McMahon Hero Quest By Joel Dorland HeroZero By Charles Evan Katz High School Confidential By Ji Hyun Joo Hip Hop Daddy By Kathy King Hocus-Pocus - In The Land Of Baloney By Rana Aich Holmes By George Nicholis Hour Glass By John McCarthy and Dianne McCarthy I am Error By D. Andrew Hogg Identity Theft By Jeff Travers In The Luxembourg By David Spratt It Takes Two By John T. Frederick It's a Big Top World By William Bienes Jesus is Back By David Bishop Jezebel By Marina Albert

JMAS By Dana Schoenfeld Joe By Michael Kehoe Josephine By Matthew Rimmer Jupiter By Maxim Moses KEEPING ATHENIA By Sarah Cavallaro Kheng Kheng Crocodile By Donna Lisa Knight By BRET IOLI League Minimum By Michael Trigiani Living A Dream By Daniel Federico Torres Living Green By M D McCarthy & M. Dianne McCarthy Looking for a Man with a Corvette By Janet Hogate 'M' By Aaron Yarber Macau twilight By Tony Shyu Manhattan Undying By Matt Deller Mannequin Queen By Doug Kruse Marathon By Julia Aaryn Montanez & Teddy Panopoulos MARK FIVE By C.N. Bean Meadow Falls By Joe Tuffy Tofuri Meadowlandz By Moon Molson Mechanical Man By Byron C. Bellamy Memories of a Hundred By Kerry Valderrama Men Under Repair By Mike Moser & Kathy Sloan Metal From Hell By James Armstrong Mikado By Walter Bauer and Tarence Gibson Mildred in the Middle By Hiroshi Kubota

Miracle Road By Simon Hall Missing Home By Libby Emmons MonkeyHouse-Seven By Brendon Kelly Moving In Stereo By Ray Lopez & Sean Durrie Mrs. Chip By Irene Frame Mrs. Lincoln's Confidante By Carol A. Dingle & Diana J. Dell Need to Know By Henry Cohn News from Kuwait By Fawaz Al-Matrouk Night Wind to Bahia By Thomas Thorpe Northern Cross By Melody Cooper Nurslings By Justin Schieman On The Outside By Jeffrey Allen One Good Day By Scott Taylor One Night Stand By Ian Coyne and Adam Litt One Step Into Mexico By Peter Aston One-Eye Charley By Tara Evans Oneironaut By Alejandro Sesma Operation 25 60 15 By Ralf Korthauer Opportunity Knocks By Raef Eric Lawson Out of the ashes By Patrick Hennessey Passing Through By Robert Rhyne PAST FUTURE By William Fath Patterns By Echo Charles PAYBACK By Rollie McEntire Peanut Butter By Yvonne Miranda

Plainview Park BY Richard Stringham Play It By Year By Tammy Johnson Point Innocent By Jonathan Edward Young Point of Reception By Joe Elliott Porterville By David Foulds Potion Man By Mark Golik Preemptive Strike By Alan Armstrong Princess Butch and The Kid By Andrew Edwin Young R.A.T.S. in the Library By Diane K Murakami Reason To Live On By Edmund Lim RED ROVER By Philip Landa Red Rust Black By Christopher Dillon RED SUMMER By Charles Cruz reincarNation By Sarah Hurst RHYTHM OF THE NIGHT By Rosetta James Roy's N the Hood By Baldassaro Candella Rush To 5am By Alex Pena and Randy Henry S.T.A.R Commanders By Rick Hatfield Sadler By Sharon Barnhill SANGRE DE CRISTO By C.N. Bean Santa Claus and the Coalbr By Jeff Brown SAY SOMETHING FUNNY By James Francis Nevins Scout By Laurie Weltz SEARCHING FOR INDIE By Michael Orton & Robert Aguilar Second Born By David Jagernauth

Seven Minutes to a Firmer Butt By Curtis Burdick Severed By Erick Ziegler SHADOWS By Helen Kathleen Parker Shards of Time By Wendell Nielson Single Bed By Alexandra Williams SKELLEM By Noel Robin John Board SKIN By Josephine Mackerras So Sharp The Conquering By Cyndi McLean Sophronia L. By Tim Bridwell Stalled By Jocelyn Osier Stand Up and Die By Dominic Pereira STAR UPON THE RIGHT By Rachel Lietmer Stunners By David Rugely SUI'X'INA By Dorothy L. Smith Sunny Kincaid By Penelope Swan Swallow the Elephant By Liz Urquhart Swooning By Mary Casavant Talk Derby To Me By Grellan Harty Ten Year Reunion By Michael Ashley TESORO By Stacy Keane & Megan Feldman The Age of Reason By Jeff Valentine THE BABIES IN PETAH TIKVA By Victoria Foster The BabyHunters By Christine Bergsma & Lenette Olivier The Baker's Dozen By Michael A Seacy The Basic Tenet By Jinesh Patel

The Beekeeper By Sean Jourdan The Best Way By John Benton The Big Idea By David Schroeder The Blade & The Butterfly By Keith Wyatt The Bulgarian Kings of Atlantic City By Paul Krissoff The City Remains By Paul Secretan The Condor's Nest BY Peyote Pace THE COUNTRY HOUSE By Daniel Vroom The Cross & The Sword By Michael Kehoe THE DAYDREAMERS By Michael C. Kibler THE DESCENT OF MAN / And other unpredictable journeys By Marquis Ewing The Funny Thing About Road Kill By Michael Hogan The G MANN: Just My Imagination By Gregory L. Heitmann The Good Minion By James R Knopf Jr. The Great American Loser By Jess DiGiacinto The Grill By Gary Hebert THE HAPPY DANCE By Pamela Rodeheaver & Lisa Katz The Hyperbaric Room By Antonio Abascal The Language You Dream In By Becky Joyner THE LOGAN EXCHANGE By Shakoure E. Charpentier The Long Walk By Derek Zavala The Magic Coupon Book By Stan Evans THE MANSARD By Ethan Gentzsch The Mirror of souls By Curtis Harris The Missing Year By Jessica Clothier

THE PARENT FACTORY By Carlton Salter The Pessimist By Anthoney Andersen The Prisoner By Chad M. Wright The Realms of Animar By Sean Griffin The Reckoning By David Doyle The Rhythm of Farming By Ryan Dennis The Roid in the Orchestra By Nami Sugiuchi The Romantic By Richard A. Allen The Russian Kiss By Raef Eric Lawson The Shepherd's Flock By Zed Zeeman The Single Wish By Jane Walker Wood The Sky Racer By LeMar R. Fooks The Sons of War By Jeremy Mayer The Statuary Cats By Bart Stewart The Truth In Lies By Charlie Chase The Undead By J. Dillon Flanagan The Violence (La Violencia) By Kevin Conder The Void By Zach Nelson The Wheels of Maxwell Gant By G. T. Matteson Ties that Bind By Jessica Clothier Tilt the Restaurant By John Avery Toucans of the Amazon By Donna Lisa Traded for Lies By Diane Meyer TRAUMA CENTER By Philip Langer Travis and Henry By Brent Bratton

Trujillo - Death At A Distance - Part I By Martin Bernard Foley Tucson on Ice... The Crystal Method By Maverick Westwood TWEEKERS By Jeff Goodvin Twilight of the Gods By Kyle Hagene Two Balls One Cup By Eric Shackelford & Doug Coats Understanding Ernest By Robert A. Kramer Valhalla By Don Capria VENDETTA By Tate Gardner VICTOR By Norman Yonemoto Viral By Tamar Shai Bolkvadze Volcanic Ice By Ethan Gentzsch Wedding Knight By Stephen Hoover WELCOME TO HOLLYWOOD By Jonathan Carr What's It All About By Gregory Williams WHERE THINGS COME FROM By Sarah O'Halloran White Champagne By Peyote Pace Wild Heart By Marc Calderwood Without Consent By Roberta Pieczenik WITNESS FOR JFK: THE JEAN HILL STORY By Sharlin Quest Woodhaven By Vincent Wellrich WOPMICK By David Serio Zero Hour By Peter Aston

Next cut: January 21st.

I think it's closed by now. Announcements of finalist/winner are in the next 4 weeks.

Put this and the Atlanta Film Fest on your list for next year.

Congrats to all.

Still a ton of scripts in there. Guess they do 3 or 4 more cuts.

Next cut tomorrow! 12/28.

Congrats to the finalists. Rob is in my online group (wrote AWAKEN). WTG!

Consistently great script notes from this contest. Got a 57/60 this time out.

Hope it's enough to sneak in an honorable mention.

Thanks everyone.

Contest announces January 2nd.

Met with a producer a couple of weeks ago who optioned one of my scripts. Giving them more time to raise money. So if that happens ... No more contests!

Thanks. Will say that persistence is the key. Keep at it and create opportunities for luck to happen.

I've burned a lot of time and money though this year. From now on:

1. Unique concept.

2. Write the logline first.

3. Treatment before screenplay.

4. Sequencing approach helps tighten up that second act. Second act problems are most common problem for adavanced/unsold writers.

5. Don't shop or show any script before it's ready.

6. A "no" still may open a door.

7. Enjoy the journey!

Happy '10 everyone.

Look into Chris Soth's ebook on sequencing or what he calls mini-movies. There's a discussion thread about it on DoneDealPro.

Well...

1. I got word another participant scored a 57. Seems to be a sure sign I didn't win. Don't think there'd be two scripts with the same score winning.

2. No logline verification.

Looking like it's a month where there's a 60, 59, or 58 floating around -- perhaps three.

Might be you! Good luck everyone.

I received a 56 for my western back in October. That wasn't enough to get HM.

I'll likely address the notes and enter it again this month. Should be able to bump it up a point or two.

Agreed. Askf or your feedback. The notes are excellent.

Worth entering this one just for the notes. Contest is langiappe.

Guess we need to keep quiet. ;-)

Congrats for the win. That's the purpose of these boards -- provide real feedback and info on the contests.

I got honorable mention as expected. Likely give it another go this month with my western. Best notes out there IMHO.

Kevin,

Know of at least one other 57 scorer that wasn't an HM. Must be a process to break the ties.

On the plus side, since you didn't win you can do some rewriting, address the notes, see if you can get a 58 or better for January. I'm doing that with an entry from the October contest.

Congrats!

Let us know what comes of the placing -- script requests.

A lot (if not most) of contest entry fees should be spent instead on professional coverage. DoneDealPro has several people listed and we've mentioned most of them here. For 60-70 bucks you can get a production company reader to give you notes and score your script. Find out where you are.

Lot of people are entering contests with early drafts and scripts that have zero chance. That's a lot of burned money with no return for the writer. Then they post comments on MovieBytes about 'scam' contests and it's all a rip off. Pro coverage or ScriptSavvy and pay for the notes is a better use of that $5,000.

Also keep in mind certain genres (horror; comedy) don't do well in open competitions. People value crying over laughing. This is reflected in the nominees for Best Picture and Best Screenplay as well. Rare anything other than a drama will win the Nicholl fellowship spots. If you do have a horror, comedy, or thriller scoring well in pro coverage, better to enter genre specific contests such as PAGE.

One of my favorite contests last year was the Atlanta Film Festival. Not a lot of entries and the first prize produced real networking opportunities. Crossing my fingers about the Vail contest because it's similar: flies in the winner to the festival to meet and greet producers and directors.

I spent $2,000 last year on contests. Earned back $8-10,000 in cash and prizes. I'm currently entered in 15 contests going through the various stages. Won't be eligible at some point if one of my scripts is produced. I still plan on entering ScriptSavvy's monthly contest. TrackingB is open to anyone and I may enter that as well late this year.

2009 Contest Results We are excited to announce that the following entries have been chosen as Honorable Mentions in this year's trackingb screenplay contest. Congratulations to all of the writers, especially those who have already signed with reps as a result! Please contact the writer directly or the representative listed below for the scripts. And stay tuned for our Finalist and Overall Winner selections coming soon&

STALKING IS A CONTACT SPORT — Nearly ten years after their high school break-up, Eugene Flanks decides he should go to great lengths to win back the love of his life, his high school girlfriend. Written by: Peter Hoare & Chris Lilli (JUST SIGNED BY ABSTRACT ENTERTAINMENT! **WINNER OF THE ABSTRACT PRIZE!**) mike@abstractla.com or josh@abstractla.com

FREE PASS — A young chef and his girlfriend playfully grant each other a ''free pass'' to hook up with their superstar crushes. But when the guy is hired as a personal chef to his superstar crush, reality proves far more complicated than his ''free pass'' fantasies. Written by: Nancy Joseph nancyjos@msn.com

THE NEST — On an isolated farm, an engineer and his family accidentally destroy an egg belonging to a pair of alien creatures who emit electromagnetic pulse-like charges. Now trapped inside the farmhouse with little technology, the family must find a way to escape the relentless creatures. Written by: Laura Reyna stvnlra@gmail.com

INKED — Their memories wipes, their identities gone, two psychopaths fall in love during a kill-or-be-killed program that can only have one winner. Written by: Jim Yang Represented by: Brian Spink BSpink@benderspink.com

SPEAK TO ME IN POETRY — A man cursed to speak only in rhyme finds our modern world a difficult place for a wandering poet. Written by: Matt Wilson (JUST SIGNED BY ABSTRACT ENTERTAINMENT!) mike@abstractla.com or josh@abstractla.com

The winners of the contest are announced in February.

Odd but THE FREEBIE won ScriptSavvy this month but is credited to another writer.

track down the looooong 'script contests that have gotten you requests' thread started by Irin. excellent info in there about contests that produced results.

I'd send them the first 10-20 pages of the actual script. Difficult if not impossible to generate interest from a treatment let alone a beat sheet.

Always copyright your scripts. WGA registration is useless.

Well (disclaimer) seek out legal advice from a local qualified professional and nothing I post here constitutes legal advice nor does it create or imply an attorney/client relationship.

I'm going to do a post on my blog soon on this topic as there is much misunderstanding. WGA registration is some indication of completion date of a work. But it provides none of the protections of a real copyright.

You can also do some research and find all of the WGA files are deleted after a few years. Copyright goes on until death of author +75 years.

Suggest you do the online copyright as it's easier and money orders get lost in the D.C. mail.

Realize I haven't posted this yet:

http://wagstaffnet.blogspot.com/

I'm going to have Jesse Rosenblatt, entertainment attorney, do a post soon on copyright / wga registration / etc. What you should do to legally protect your work and why.

If anyone has a similar screenwriting blog, please post the link here. Always like to read useful info.

Excellent post. Sure that info will be in the upcoming blog post as well. I posted the link to my blog on this board btw.

I WGA register treatments and revision drafts. But copyright as well the first draft and then subsequent revisions.

Note that when you copyright a work it's a public record. Be careful the address and info you give out.

Robert,

Crazy story but not uncommon. You might want to look up the film about to go into production -- HALL PASS. Similar plot but no celebrity angle.

Meanwhile, I was trying to find more info about Abstract -- the group that signed 4 or 5 of the people who placed in this contest.

Friend sent me this info:

Abstract Entertainment is basically two guys, Mike Goldberg, who was a casting coordinator for several reality shows the most successful of which was Blind Date, and Josh Adler, who was a personal assistant on The Simpsons Movie They have less than 20 clients, an assortment of actors (with credits like drunk Russian guard, Alias) and writers The most successful of which is Stewart Hopewell, the writer of Slaughter, which had a 4 million dollar budget.

Anyone know additional info? Thanks.

Good luck to them and the winners.

I didn't pay extra for the "Abstract Prize" and when 7 of the top 9 sign with judges of the contest... I'd prefer the judges have no financial stake in the outcome of the contest.

Great for those that advanced in the contest and good luck to them.

But (1) what if you had a manager and/or agent already and didn't want one? , Or (2) Wanted, to enter a contest that slected the best written screenplays?

Those paying the extra fee indicating they wanted to be signed by a management company acting as judge...,

Let's say these were refs in a sporting event and you found out after putting your money down they had money on one of the competitors. Seems analagous to this situation and the results are expected.

I would not suggest this contest to anyone not wanting to be signed by the manager judges. Otherwise save your money and enter another contest. Had know this was the score going in, I would have saved my money.

Also anyone that entered a great screenplay that's 'non-commercial' had zero chance in this contest. They were looking for material to shop as evidenced by the winning loglines.

February is the next cut? A few weeks to go then...

Got several request from this FREE contest just making the top 25.

Submitting the full script Monday by midnight (I'll need every minute). Carson is doing another one of these (so I hear) later this year. Nice freebie.

:-)

Mike,

Think it shows that a large number of readers / underlings / development execs follow his blog.

For all the Carson bashing, the guy has a track record (visit DoneDealPro) of running contests for FREE and getting writers repped.

My goal is to generate script requests and reads. Don't need a rep these days (unless they can package your script and that's WME and CAA) to network to producers. Net has been a game changer.

This little contest has produced more results than any I've entered to date. And did I mention it was free?

For all of the complaining by established pro writers about a blog (are they really that threatened?), what have these pros done to get writers agents or managers? What have they done to create script requests for unknowns? Zippo.

As Shaw said, "Every profession is a conspiracy against the laity." Now that I'm in the boat, pull up the planks and good luck swimming. Knowledge and information are power. The internet levels the playing field and people are scrambling to keep up with the new.

Good luck to everyone in '10. Take advantage of the networking opportunities out there through the internet.

See ya on the boards!

-Stephen

I'm a member of both. Zoetrope is a bit more 'artsy.'

If you're a beginner it's useful to do reviews and learn. The reviews vary wildly in quality. Might be better to get pro feedback. A few guys listed on DoneDealPro boards ('consultants' thread). EvilRobot/Andrew is good and cost 75 bucks, less if you don't want the synopsis.

There's a new website -- Talentville.com. Similar thing.

First cut announced Jan. 14. Great networking opportunities for the 10 finalists in this one.

Nice. Thanks for the info, Jim.

Fingers crossed on this one!

There's a very long thread (started by Irin) on which contests led to reads.

I plan on attending Austin this year. Made the 2nd round last year. PAGE led to several reads. SilverScreenwriting did as well -- Julie gets the winner a bunch of meetings as well.

Heard good things here about Screenplay Festival and in the semis now.

ScriptSavvy gives great notes and heard they beat the bushes for their winners. Monthly contest.

One of my faves from last year was the Atlanta Film Fest. About 400 entries and 6 winners who are flown to Atlanta for a workshop with 6 pros/mentors.

Networking with producers using the contest wins to establish a level of credibility may be a better plan for you at this point. Make sure you've got a spec you can sell -- set present day, in a genre you can sell (comedy, horror being the easiest).

Bump for Robert...

It's over for this year. Forget the dates on it for next year. Shows up on WithoutABox. I bumped the 'contests that generated script requests' thread for you. One of the best ever on this board for determining where to spend your hard earned entry fee $$.

WTG!!

I'm in the finals with TO LIVE, PRESS 1.

!!

Bummer. I bombed out with my entry.

Anyone get in?

Jim is correct. That's an excellent book.

There's a discussion thread on the subject on DoneDealPro you can read.

I'd also give a big thumbs up to Chris Soth's eBook. Chris calls the sequences "mini-movies" but it's essentially the same thing. Chris does a telephone conference going over the material which you can catch if you check out his webiste. (Or email his assistant, Matt, and tell 'em I referred you.)

In the finals!

Winners announced Feb. 15.

Love this contest. They fly the winner (and give the winner two passes). Networking. Awards dinner. Sounds like a lot of fun and not a zillion interest.

I've read MANY stories about writers getting to the "This is the last script I'll ever write. I'm doing this one for me and with no consideration of what's 'commercial.'"

Then they write CRASH and MILLION DOLLAR BABY. Signature scripts with a true voice.

Apparently 'giving up' is a good thing to do!

Thanks for the support. I'm in 2nd place and need to 'go viral' -- in a marketing kind of way.

If you use Facebook, Myspace, or have a writer buddy list please cut and paste the following to your homepage:

Hey Everyone,

I have a friend in the finals of the BlueCat title contest and he needs your vote. The title: TO LIVE, PRESS 1.

Vote here:

http://www.bluecatscreenplay.com/promo/movie_title_contest.php

Thanks! He can win $1,000 and a kickback, er, good thoughts headed my way for helping. :-)

800+ entries.

WINNER The King of 42nd Street by Jon Montgomery

FINALISTS (FEATURES) Horror Comic by Stephen Hoover The Bloodfest Club by Oscar Madrid Boo Hoo Flanagan by Robert Gately The Resolute by Robert Hazel Eating Life by David Cobbins Final Status by Timothy Jay Smith It's a Big Top World by William Bienes Princess Butch and The Kid by Andrew Young Scratch My Back by Ian Hamilton When Love Can't See by Freddy Robinson For Life by Steve Weissman Executive Privilege by David Hayes Wedding Knight by Stephen Hoover Storm of Vengeance by Michael Pallotta The Witches' Road by Arthur Vincie

FINALISTS (SHORTS) Strays by James Rana A Taste of Compassion by Freddy Robinson Tenure by Michael Valentino Platters by Freddy Robinson Noah Wise by Elizabeth Silver Flipped by Michael Donald Lost by Caleb Parazette Rain City Nights by Tyrone Purchase Space by Graham Adair Separation by Greg Austin What's Your Poison by Chris Keaton Heartbreak Funeral by Cameron O'Hearn A Very Candid Game by Will Khan The Noble Gases by Anthony Cannata Bright Light by Damien Black

Hmmm. Computer harddrive backup costs $100.

Entry fees on contest... 800-1000 at 40-50 bucks = $32,000-50,000 gross.

Billboard (getting one somewhere in Los Angeles) = $5,000-8,000 for a solid location. Print ads = $5,000 total. Still a profitable contest.

No dates given for performance and the new contest is accepting entries already?

Not good.

You should send a certified letter asking for specific dates the billboard will be put up. The new contest is starting up and they haven't fulfilled the promises from the last one??

Any entrant in the contest could be part of a class action to refund ALL the money if the promises of the contest are ignored. Anyone who entered put up $$ for you and the other winners to have their 15 minutes of fame. Where is it?

Send the letter and demand a timeline. Start getting your legal ducks in a row. Lot of hungry lawyers out there these days. Might also violate the laws of the State of California and the State Attorney Gengeral's office could get involved, which would be free to you.

What was on these computers? List of the winners?? They are here on MovieBytes and in emails the contest sent out. Better question is: Where's the money?

Keep after 'em!

Well ... i'm a few votes behind!

Contest is wide open to voting and the script in the lead has 4000 votes.

Ah well., Had it been a panel of pros or one vote/per person think had a real shot there. Can't win 'em all.

I think I entered this one. Maybe. Guess I'll find out...

$10,000! Nice.

Received a message tonight that the contest was shut down.

The BlueCat readers will select the top 4 and each will receive $250. Fair solution and no way I was going to get 10,000 votes... so now I have a shot. Will update with the winners Feb. 7th.

Thanks for the support! Been quite a ride. Great idea from Gordy to do this. Always a trial and error to make it work correctly. Glad I made the finals though regardless of the outcome.

One of the other contest participants has been following me around on boards (and my blog) complaining about my campaigning in this contest. I post this response in advance:

Gordy Hoffman who runs BlueCat invited campaigning.

Writers are an independent bunch. They can ignore my post, vote for me, or go to the site and vote for whatever title they prefer. Many of the votes your script received may have been from free thinking screenwriters who went to the site based on my link. If you read my posts I asked people to consider voting for me and that's all.

Google links for the contest page and people were posting it on internet gaming sites, myspace pages, twitter, you name it. If you've ever read a Variety or Hollywood Reporter you may have seen promo pages for Oscar/ Golden Globes/you name it saying "Please consider voting for ____." The Academy allows it; BlueCat shouldn't?

The problem with public voting was it allowed potential fraud through proxy voting (a quick google search explains how that can happen). This is why I suggested closed voting (one vote per person / the world of voters limited to previous BlueCat contest entrants OR a panel of professionals).

Fortunately Gordy shut down the public voting. A panel consisting of the BlueCat readers will pick the top four titles and each will receive $250.

Best of luck to everyone in their screenwriting careers.

My career as an attorney has been more LEGALLY BLAND.

I know there were Twitter and World of Warcraft-type online game board campaigns. I wouldn't accuse anyone of cheating without actual evidence.

Believe one vote per person per day was allowed after the reboot. So it's possible someone could have gotten over 8,000 if they had a large social network.

Pleased with the new approach and that's fair. It'll get back to selecting the best title rather than campaigning skills.

Happy to even be in the finals. Top 20 of over 400 scripts submitted is an honor already.

Thanks or the MBers who did cast a vote for me. Will post the results here Feb. 7th when they are announced on the BlueCat Facebook page.

Contests are just one way to get attention, get your name out, establish a level of credibility, and get your work read.

Working the phones and having a good pitch can get reads as well.

Making a short film that gets attention can be an opening to a career.

There's no one way. Be a creative force. Create a body of work. Develop a base of fans -- can be readers, consultants, filmmakers moving up the ladder, etc.

Too many people expect winning one contest to lead to insta-career. There are success stories but no guarantees and it comes down to the script. Write a great unique screenplay that demonstrates your unique voice. People get caught up in the marketing and haven't got the script to back it up.

If you've never gotten pro feedback, get someone (there are dozens/hundreds out there) with production company experience to give you coverage on your script. Know your weaknesses and rewrite and get more feedback. Don't market something until you've gotten "Consider" or better scores from someone in the business. This can also open doors as they likely have their own connections and may offer to help.

Keep at it and good luck!

:-)

Well I'm about done with contests! So, good luck to you.

But that's a tough call. I have 'witty banter' (or so I hope) in HORROR COMIC. My decision to enter it in thriller/horror was I viewed that as more shading to the piece. Comedy has less emphasis on story usually and you need several laughs each page.

Good luck with it though. Congrats on the big win last year. As Chris Lockhart told me after one contest win, "That's more money that 99% of screenwriters will ever make for their efforts."

Props, Phil. Those are major contests and impressive wins.

Have you started seeking an agent or manager? Approached production companies?

Shoot me an email. I may have some ideas.

one of the writers of BAND OF BROTHERS:

TEN KEY PRINCIPLES SUCCESSFUL WRITERS UNDERSTAND

1. Concept, then story, come first 2. ''Compelling, unique, real and entertaining'' 3. Stories consist of constant conflict 4. Stick to a clear and singular point-of-view 5. Entertainment is about emotion 6. ''It's real'' or ''it's cool'' is not reason to include it 7. Get feedback from the right people and use it 8. You must have passion for what you are writing 9. Our intellectual mind doesn't create 10. Seek more ''to give,'' than ''to get''

(1) CONCEPT, THEN STORY, COME FIRST. People tend to think writing is about the words on the finished page, the surface product that others will read (and possibly use as a blueprint for production). But those words on the page are the final and least important step in a process that begins when you start thinking about what your story is going to be about. The invisible underlying choices behind the words are what really matter, and the bigger the choices are, the more important to the success of the work. The first decisions about basic premise matter the most, and have by far the most leverage in determining whether your work will ''work,'' or not. The secondary choices in turning that premise into a story (and ultimately outline) come next. The final choices of specific description, action and dialogue come last.

This is reflected in the way Hollywood does business. Concept is king, in both film and television (as well as commercial fiction), and it is the basic idea for your story or series that sells it — the ''logline,'' if you will. An idea that the marketplace would see as viable invariably sounds very intriguing in just a couple of sentences — it sounds like something fresh, entertaining and compelling, that we can imagine paying money to see or read. Agents and managers will advise their clients against writing any spec feature or pilot that does not meet these criteria. But it's rare that a concept really ''sings,'' just as it's rare that a piece of writing does. It can take a significant amount of time and energy to craft such a premise. But that's where you have the most leverage, and it's what you should make the biggest priority. It's worth getting quality feedback on it, just like you would on a finished draft before sending it out. In fact, it's more important to get it then.

If concept is what sells, ''story'' is what decides if a piece of writing is going to be ''good'' or not, whether it's really going to work. By story, I mean all those choices made before writing a single word that a reader will ever see. The underlying architecture of ''what happens,'' scene by scene, that adds up to a complete and satisfying piece of literary material, is far more important than how ''what happens'' is written down and described. When a story really works, writing (or rewriting) the words on the page is SO much easier. They even call it ''polishing'' when you rewrite virtually every word of a script, but don't change any of the story choices — and you usually won't get a share of writing credit for that. That's because something like 90% of what matters in the execution of a concept — to the business, and to the public — is contained within these ''invisible'' story and scene decisions that are behind what's on the page.

To read the rest please visit my blog:

http://wagstaffnet.blogspot.com/2010...l-writers.html

2010 BlueCat Screenplay Competition Movie Title Contest Winners:

Funemployment by Perry Patterson Champagne With The Socialists by Robert L Thompsett Fall In Love, Damnit by Kamal Moo To Live, Press 1 by Stephen Hoover

Congratulations to our winners.

Each will receive a $250 prize.

Nicholl's Fellowship: That's the oldest and most respected of the contests out there.

Most of the contests list their Success Stories and there's a long thread here (started by Irin) regarding which contests resulted in script requests/reads.

Bit puzzled why you're here at all, George. This is MovieBytes -- a website about screenwriting contests and your goal is to come on here and ... ?? Convince everyone here to stop entering contests? Trying to discourage us and telling us the odds suck?

We all know that. The odds are extremely high that you'll never make a nickel from your screenwriting. So why are you wasting your time? And coming here and wasting even more time?

Seriously. What is your goal? To end screenwriting contests because you can't win them? To discourage other people because you're a loser?

Last year my tab for contest entry fees was about $2000 and my winnings were about $8000. Got some great contacts and made friends along the way. Continuing to do that a bad idea for me?

Screenwriting is a difficult career. Ton of people start out and eventually quit. Average writer may last 2 or 3 years and do 2 or 3 scripts. Average pro takes 10 years and 10 scripts to break in. The regulars here are in for the long haul and tune out the negatives.

I'm negotiating with one producer on an option for one of my scritps (3 million budget) and have two others interested in other projects. Didn't just fall in my lap and it's all about creating multiple opportunities for good things to happen. Might be a contest or a query letter or networking in Los Angeles. There's no set pattern for success.

Free country and you're allowed to post here all you want. But know we aren't listening.

Congrats!!!

Copyright your scripts. WGA is kinda useless -- a $ maker for them and doesn't give you any of the legal protections of a copyright. The delete the scripts after a couple of years.

Congrats, Mike!

Congrats! Serious prize $$ and a fast track to production. Good luck!!

Irin started a great thread on contests that generated script requests. That's a useful one to track down.

Re UCLA: Congrats Steven on the doors that opened up for you. I took a Gotham class and one UCLA class online. Felt like most of my time was spent reviewing other people's material and with limited hours I'd rather work on my own script. Can see how it'd be useful though and went through a year on TriggerStreet doing basically the same thing for free.

Talentville and Zoetrope have similar peer review systems in place. Both free. Highlight for UCLA would be the personal contacts you could make.

Picked up another $250 from the BlueCat title contest recently. I'm one of five finalists for the Vail Film Fest and that has a free trip/hotel/pass to conference/award on awards night along with great networking.

Contests, UCLA, etc. are just ways to get your material read. Still comes down to writing a commercial spec or signature script that'll land you assignments.

The one feature I have headed into production this year was found on TriggerStreet from landing in the daily top ten. Producer read it there and been working with her, for the last year as she raised money.

Anything you can do to establish credibility (contests MFA etc.) will help you get read. But it's still a long shot after that.

Most of the contest bashers (and there are many in the reviwes on MB) have a shitty scrpt and got pissed off they got "scammed" meaning they lost. The second bashers are the "entitlement crowd" -- they won a contest and expect a career to fall in their lap. Then bash the contest when that doesn't happen.

You won a contest of amateur writers. So what? That doesn't mean your materal can compete with the pro writers/many credits to ther name of films making a lot of money. Means you're scrpt was the cream of the crap.

You still have to keep rewriting and elevate your craft to compete with the big boys. You also must have a script that Hollywood wants to buy -- and most of the contest winners aren't viable Hollywood spec scripts.

Contests have helped me out and the money came in handy. You just need a healthy perspective on things and to realize your script is not as good as you think it is.

Write the next one.

If you've got a feature in production you're ahead of 99% of the writers out there. Also, if you've earned over $5,000 you're ineligible for a lot of contests. Check with the contest to verify.

Honestly, if you're getting films made -- keep at it. Even if they are modest budgets, it's a writing credit.

Smart move changing the title. Noticed you tweaked the logline as well at ScriptSavvy as well to highlight the differences.

Congrats on making the finals. Hope it generates some reads for both of us.

Ouch! Finished 2nd (winner gets flown to the fest/hotel). "Missed it by THAT much."

https://vailfilmfestival.org/index.php?p=screenplay-semifinalists-10

Good point Irin makes about waiting to the last minute to enter. Several contests extended the deadline last year putting those that entered timely in a disadvantage (that is, if they wanted to continue making revisions).

Announcement says "late February." Should be this coming week.

SF list is a MB who's who!

Good luck to all.

Congrats on making it that far. Keep us posted on the follow up news. Getting reads and your material out there is the goal.

Any way to double down an entry fee? Buying insurance may be a better play.

Enter early or late? Early saves a few bucks. But most people send out early drafts that could use more ploishing.

Consider even if you enter early, the reader may be fatigued from reading 20 scripts that weekend for another day job.

Write a script and rewrite it until it doesn't suck. Don't waste your money entering crap early drafts.

90 percent of of the bashing of contests is from people who entered a crap script then coming here to yell "scam" -- the Dan Gomez Syndrome.

Keep rewriting and polishing. Get some pro feedback. See if it is ready for the cruel world.

There were two of them so should it be the Nicholls' Fellowship?

Or just the Nicholl Fellowship? Nicholl (according to the site) is pronounced like nickel (5 cents).

Closes April 1.

Brush of that period piece drama...

Announcement pushed back to end of March.

ScriptSavvy. Got honorable mention and Donna got my script out to several contacts.

Congrats!

Savvy will help you get the script out there, too. Best of luck!

I use a body double.

Looks like I'm in for another round.

Based on the results from last year I'm looking to enter these:

1. ScriptSavvy (monthly contest and the notes are so good worth the cost)

2. PAGE. Won Gold in thriller/horror last year and they've followed through. Likely entering two in comedy this year.

3. SilverScreenwriting. Finished 2nd last year and Julie runs a great show.

4. BlueCat. Finals last year and I've already entered two scripts. Might enter a third.

5. Expo. Genre prize last year and would love to attend the event this year.

6. Austin. Semis last year and will enter two or three scripts.

7. Nicholls. Bombed out last year with early drafts of scripts. Entering 3 this year but always tough sledding for comedies or thrillers in this contest. Still, there's a shot. May enter a western and a drama instead if I can polish them up in time.

That's it. Any glaring omissions?

Screenplay Festival is a possibility. Waiting to see how that plays out but other members that've advanced have spoken highly about it. Next cut for the 2009 contest is in two weeks.

PAGE has a comedy category as does Austin. PAGE closes at the end of the month.

Expo is the Creative Screenwriting Expo. They have an awards banquet as part of the event. I'd like to attend this year if I make the finals.

Jim, Thanks for the head's up. Champion has a 10k first prize and I made the finals last year. Might add that to the list as well.

I entered a ton of contests last season -- and spent about $2,000 doing it. Narrowing down to contests that gave good feedback, recognized my work, followed through after the win.

Read on DoneDealPro that one of the judges for the TV competition in Scriptapalooza won the competition. They posted the details and that was enough for me to take a walk.

A few contests I finished 2nd in and one 1st place did zero follow up and had no cash award. Crossed those off my list as well. If I didn't make the semis of a contest I crossed them off my list as they obviously have a flawed judging system.

Congrats again!

Right. Slamdance was the one.

Jim, I need a contest that ends the judging before December. Think I might be passing up the $5,000 in earnings limit before the end of this year. Forgot if your contest has a cap.

Austin has a vague 'not a making a living' rule. Okay if I keep my day job? PAGE disqualified some year before last for a similar violation. A few, like TrackingB, are open to pros.

Speaking of poker... waiting to hear from the Las Vegas Film Fest. I entered a script or two in that one. Tough town to keep the film fest people watching movies all day. Too many other things to do.

Right. Slamdance was the one.

Jim, I need a contest that ends the judging before December. Think I might be passing up the $5,000 in earnings limit before the end of this year. Forgot if your contest has a cap.

Austin has a vague 'not a making a living' rule. Okay if I keep my day job? PAGE disqualified some year before last for a similar violation. A few, like TrackingB, are open to pros.

Speaking of poker... waiting to hear from the Las Vegas Film Fest. I entered a script or two in that one. Tough town to keep the film fest people watching movies all day. Too many other things to do.

I like WAB. Easy to find all the contests and click click click.

Entered a bunch last year just because they were there and easy to find.

Caught the early entry fee on Champion and entered same script in Nicholls.

Nicholls limits the contest to 3 entries per person. Trying to decide which of my scripts would have the best shot there. Likely will go with a western and a drama.

Got an entry in yesterday.

Yes, David is taking a break this year focusing on his own writing. Been missed by me but can understand focusing his efforts.

Ryan James is excellent. You can find him on Elance. Gives excellent coverage as well. Anna Siri is also on that site and does great work. Mention I referred you.

At some point you have to consider your script an investment. A script with 100 errors (format, word choice, etc.) is DOA. Why get booted out of a contest or, more importantly, from a production company over something you can pay to fix?

Best of luck to everyone this year.

Entered another script today. WAB is much easier and about half the contests I've entered have been because I found them on the site and was a click away to add them.

PAGE and BlueCat are through their websites.

Austin added online entry this year but there's a $5 surcharge. I couldn't figure out how to add an extra unnumbered title page as required so just mailed it in. Wash with the $5 mail cost.

Still have about ten more entries to do.

Coming up!

I have no idea what that title means.

It a mermaid that mates with a werewolf?

Is it a mermaid that has a wild side?

Is it a coming of age drama about a young girl who feels like a fish out of water and wants to howl at the moon?

But...

it is an interesting title.

Still in the running with two. Good luck to everyone.

Sent him one of mine based on the reviews here. Will let everyone know how it goes.

A half fish out of water comedy?

Congrats MBers!

Hope we get a few winners. About a 50/50 shot it seems!

I entered two scripts -- HORROR COMIC and WEDDING KNIGHT. Not sure which one advanced but nice to be the hunt with something.

Know there has been some bashing of this contest but they generate a lot of publicity for the winners. Nobody's going to hand you a career and lot people are making the mistake of thinking a contest win = instant career.

Well, that and most writers are bomb-throwing whining baby entitled self-important drama kings and queens. At least I am.

Thanks for the heads up. I'm taking Hitler out of my next romantic comedy.

Guess he's not a fan of this strange show which aired on the BBC:

http://www.youtube.com/watch?v=fbj9otRPdiM

A sitcom done I LOVE LUCY style about Hitler called HEIL HONEY I'M HOME.

John got notes back to me promptly and did a thorough analysis. Thanks for the referral. Back to rewriting...

I've always found ScriptSavvy feedback to be extremely helpful.

Atlanta Film Fest (found out about it through Irin last year) has a workshop prize. They fly in folks from w/i the U.S. and put you up in a hotel. You work with two pro mentors, network, and actors perform a scene from your script before a crowd. One of the best and well run events I've been part of since I began screenwriting. A++. Not heavy traffic on the entry numbers.

PAGE follows up. Nice prizes and they get your material read.

Gordy has stood by BlueCat writers and agree it's a top contest.

The genre specific contests (such as PAGE) are especially good if you have a horror or comedy script. Austin has a comedy-designated contest as well. Why? Those scripts rarely do well against period piece drama message scripts in open competition.

Enter Nicholls with your best work. The 'conventional wisdom' is they are only for period piece drama message scripts. Not true though if you look over the last few years. A thriller (ARMORED) was a finalist as was a quirky comedy (BUTTER). Another thriller (PRISONERS) was a winner two years ago.

Why aren't more comedy, thriller, and horror scripts winning in the Nicholl Fellowship? If you have a great script in those genres... you likely attract an agent or manager and you sell it. ARMORED sold when it made the finals disqualifying it for further competition. No doubt Jay made the right choice opting for the sale money!

Historical dramas rarely (if ever) sell as specs but are certainly calling cards of screenwriting talent. So they stick around for competitions through the duration.

Several members on the board here gave big shout outs to ScreenplayFestival. About 5 or 6 of us are now in the finals thanks to that big thumbs up from former winners!

Irin's done a useful (and money saving) thing here posting these threads. BTW, don't rely so much on the individual comments posted on each contest on this site. Lot of people bomb out and then come on here bashing the rating. That's b.s.

Real issue is: Did the contest deliver for those who won?

Speaking of contests that deliver, should say Champion added a FREE weekend workshop for the finalists (something not advertised as part of the contest when we entered). Pro actors came out to do scenes.

Contest also has a $10,000 prize and it's an up and coming.

Jim Mercurio runs it and posts here (see the A-List Newsletter thread). He puts all the money from the contest back into the contest and should have some other goodies this year for finalists.

Guy who co-wrote 9/11 KEVIN (blacklist script) raved about this fest:

http://www.nantucketfilmfestival.org/

Missed the deadline for this year but a FYI whoever comes across this next year. One of those fly you there and treat you like royalty if you win fests. :-)

I had a runner up in Acclaim and Finalist. While I appreciate the recognition I didn't get any script requests or reads (that I know of) by industry types as a result. Maybe something is coming up I don't know about yet...

I gave CWA and Slamdance another shot. Paul here won Slamdance for MALE ORDER BRIDE. Perhaps he can speak to what resulted from the win.

I'm likely also going to enter AAA. Won $ last year from Creative Screenwriting and the prize is $10,000.

Click on DISPLAY ALL ___ MESSAGES for this topic at the top left.

About 90 messages tracking various contests and the results from placing.

Got a few reads from placing in ScriptSavvy. Plus the great notes (as usual). I decided to do a free entry instead of getting the $100 check as I enter the contest most every month.

The subject of the judge/winner came up on some other board (DDP?) and it was mentioned it was an amazing coincidence / not the same person.

I entered the contest. Is a nice prize and who knows? Worth a shot.

I'm on contest crack!!! Drag me away from WAB, please!

Janet,

NO reads? That's crazy.

1. Write a genre that they buy -- comedy, horror, thriller; 2. Make it present day; and 3. Make it big concept/moderate budget. Some unique spin.

Then screw the contests. Pick up the phones and start making calls to production companies. Chat a bit and then have your 30 second pitch ready. Hour or so of being bounced around you'll get 3 or 4 requests.

OR

Hire a consultant with contacts. They'll forward your script. Don't know of one? Well, The Script Department scouts material.

OR

Blow another grand entering contests.

OR

Do all of the above!

Advisory alert popped up on Facebook today. If you entered a script, make sure to check the site to make sure you received a "Confirmed" note.

I have one entered. Planning on entering another 2 before the deadline.

ScriptSavvy notes are excellent and it's a contest.

DoneDealPro has a couple of folks -- Andrew/EvilRobot. Let's see. Michele Wallerstein has given me excellent notes and has a lot of contacts.

If you're very new a place like TriggerStreet, Zoetrope, or Talentville = good free alternatives.

Jesse Rosenblatt is an entertainment attorney and good guy. Google him and shoot him an email.

Make sure if they give you notes and you make changes you own your script without them being "attached" to it forever. You don't want that to happen as your script would be dead if they don't follow through. Typically the 'producer fee' for any notes they gave you is specified (even if it's $100).

Many projects are dead today because of the long trail of people with hands out behind them. Don't join that list.

I granted a $1 option before and the producer is working hard to raise the money. That was an older script and I didn't feel it had life as a spec. More of a passion project and I like the producer. Still waiting to see how it turns out.

If you've got a brand new script that has the qualifies of a spec (commercial genre; high concept with medium budget or possibly high budget if it's an action script) I wouldn't tie it up for $1.

Not sure what advice you really need as you seem to have already decided to go for it.

Good luck!

Pillar has an excellent (and free) podcast. "On the Page" I believe is the title. Track them down.

Steven, I posted things went well. I am working next week on the rewrite of that script and will get more into the notes then. Was hoping it was further along but still needs a lot of work.

Different types of consultants for use at various stages:

1. Proofreader. Start there. Clean it up and don't waste everyone's time hunting for typos.

2. First wave. $70 notes only (don't pay extra for synopsis). Andrew from DoneDealPro. Think Carson (ScriptShadow) is $120 or so? I dunno. ScriptSavvy with notes. The Script Department has a nice two-reader package for $250.

3. Second wave. ScriptSavvy with notes again. A few friends.

4. Third wave. This is when you bring in Pillar or whoever. High price in-depth notes.

5. Fourth wave. Almost ready to market it but run it by someone like Michele. These are folks with industry contacts and can give you advice not only to get it ready to market but have contacts. Script-A-Wish is another. The Script Department scouts scripts as well for managers (listed on the site).

6. Contests. Shop it to agents and managers. Call prod cos yourself.

There are some genre consultants. Greg Sarno is great for thrillers. Guy that co-wrote TRADING PLACES and TWINS does consulting and I plan on sending him a comedy script at some point.

Elance, guru, and iFreelance have people listed if you search them out.

It can become an expensive hobby fast! Nice to have friends/writer group if... IF ... they are qualified. Lot of those groups are bashing or they know there' a problem but the third act problem is really because act one didn't set things up. You can waste a lot of time chasing bad notes.

That said, I've got a small list of writer friends who give excellent (and free) notes.

Right. Lawyer may want $$ up front. 5% of peanuts is ... small peanuts.

Andrew's point of view is typical of what you'll hear from those that have granted the $1, done rewrites, been burned. It's a long shot that the film will get made, be any good, see the light of day.

But ... sometimes it does work out. Heard the purchase price of JUNO was forty grand.

All of the contests have their success stories listed. People can judge for themselves.

Agree it's better to focus on the positive. Contests that have generated leads are discussed on another threads.

Also agree that doing well in a contest may not generate leads because of the concept/logline being viewed as non-commercial.

Extreme Screenwriting is Barb's contest. I found her notes useful and not sure why this is on the avoid list.

From the website:

Eric Sentell - Screenwriter

Note: Eric's high-concept comedy ''I Married a Porn Star'' was the winner of The Extreme Screenplay Contest, which made Eric the recipient of WGA signatory agent representation and he'll receive a year of free review from Extreme Screenwriting.

Amusing article and can't wait to read the next installment. WTG, Mike! Know you had a lot of great meetings and hope they open some doors soon!

Hmm. Brief synopsis could be a logline. I'd go with that.

All of this is a GREAT EXAMPLE as to why production companies are paranoid about unsolicited/unrepped submissions and why most require release forms.

Someone hears a title and is convinced their script has been 'stolen.'

I haven't been and won't make it this year. Martell and Soth will be there.

I remember this event from years ago and it seems to have gone from a major major event to mid-level. Just go back and look at the guests from 5 years ago and compare. But I haven't visited their site lately. Perhaps there were some additions last minute.

The Nashville Screenwriters Conference had some huge names. Check out the names there from last year. Top notch. Audience was 60% locals who'd never written anything.

What you'd get out of any of these...? Not much new info at your stage. Think that money would be better invested on a trip to Los Angeles taking meetings when you have a spec ready to roll.

EXCELLENT advice, Walter. Thanks for the contribution.

You can't sell drama. Put thriller. Go with the most marketable perspective on your work that's consistent with reality.

It's good mag and that's a heck of a deal. Ad rates are based on subscriber base. Guess they are trying to pump it up a bit. Net is killing print.

http://www.tablereadmyscreenplay.com/#/finalists/4540289248

A few familiar names. Congrats to my fellow finalists!

For screenwriters who use the latest version of Final Draft ® to help write their script, one nifty feature is the ability to register the screenplay with the WGA-West Intellectual Property Online Registry with the touch of a button. Many (if not most) screenwriters register all of their scripts with the WGA Registry, and, believing that they have done all that is necessary to protect their script, they neglect to register the script with the U.S. Copyright Office of the Library of Congress (http://www.copyright.gov).

Imagine their surprise when someone steals their screenplay and they learn for the first time that, other than establishing a date of creation, the WGA registration gives them almost no benefits at all. In fact, relying solely on the WGA registration can prove extremely costly for the following reasons.

To read the rest, visit:

http://wagstaffnet.blogspot.com/

Article by:

Larry Zerner -- an entertainment attorney in Los Angeles.

Updated scripts due by April 21.

Susan, Step away from Without a Box!

So easy to enter and those fees add up. Really depressing when you get notes and realize you should have held out for that final FINAL deadline...two week extension they didn't tell you about.

I'm in your top list of contests this year. Working on my last two Nicholl / Austin entries.

I enjoyed KICK ASS. If you didn't like the KILL BILL movies you won't like this one.

CLASH OF THE TITANS was lame. Big story problem: Perseus wants to live as a human and defeat the gods... but Zeus gives him a sword which he uses in a key battle... then gives him a pass across the river Styx to kill Medusa. Deux ex machine!

But Perseus' goal was to dethrone the gods. So why is Zeus helping him out? Yes, he's Zeus' half son but the help from Zeus kinda killed Perseus' character and the story.

CGI was average at best. Film made a bunch of money though.

http://wagstaffnet.blogspot.com/2010/04/todays-guest-blog-is-by-michele.html

An agent works very hard to guide a writer's career. We help them with their material, we set up important meetings for them, and we see that their material is read by the right people, we negotiate their deals, we share information with them and we even listen to their personal problems. Is that enough? OK, we also show an interest in their spouses and children, we try not to hurt their feelings when their work is rejected; we are loyal and often very caring. We keep our eye on the ball and an ear to the ground. We know what's going on in the business and who's buying what. Is that enough? But&&then we must let the writers go out into the world by themselves and we pray that they do not do themselves harm. This is the most daunting of our tasks.

Here are ten (10) things that clients mustn't do:

1. Getting stuck on one idea. I've had clients that have written the same basic story in novel, screenplay and theatrical play form. This is an incredibly huge waste of time.

2. Thinking everyone is wrong, except you. When your project has been turned down by more than five (5) companies, chances are it won't sell. This can happen with a pitch or a completed novel or screenplay. Right or wrong, they aren't buying and there's nothing you or your agent can do about it.

(rest of article at above link)

http://wagstaffnet.blogspot.com/

Every agent is waiting for you to bring them the next big saleable screenplay that will knock the business off its axis. They want you to show them that piece that will have producers and studios panting at their doors with huge offers of money and multiple deals of future movies. Agents want the best for you, because it means the best for them. I happen to believe that this relationship is a great one. It is an honest quid pro quo - if you are successful&I am successful. How bad is that? OK, so how do you make that happen? How do you deliver the perfectly written project that will make the town sit up and take notice? It's not as difficult as it sounds. The first thing you have to do is STOP thinking that you have to write the most unusual script of all time. This kind of thinking will destroy your chances of not only selling the script, but of keeping your agent. I've found that new writers often have the tendency to try to impress people by ''thinking outside the box''. Well folks, the ''box'' is there for a reason, it works. Throughout movie history, audiences have loved certain types of films. They go to see them over and over again. When you are working to get in to the business, go with the flow. Perhaps, after you've established yourself as a player, you might be able to expand your horizons, but it's not the way to get into your chosen field.

Insofar as your early spec scripts are concerned, here are some rules to live by:

Rest of article here:

http://wagstaffnet.blogspot.com/

Thanks. Hope it helps.

The DoneDealPro crowd bashed both of Michele's articles. I find moviebytes to be a more positive crowd, perhaps because the active people here are winning contests, getting options, etc.

Winners create a positive atmosphere and focus on learning more.

Dan Gomez? He has many friends.

http://messageboard.donedealpro.com/boards/forumdisplay.php?f=16

Dream Client and Which Spec to Write are my two topics.

Hire a consultant. They'll read and evaluate your script before you try to shop it.

There are threads on them here.

So I'm over $500 in entry fees so far.

Still have one more Nicholl entry; 2 Austin; and maybe a resubmit or two to BlueCat.

Coming up.

Good luck to everyone!

Could be some other contest may have an option clause. So they want something new and clean of attachments.

2009 Winners:

Action/Adventure: Grand Prize Twilight of the Titans - Kyle Hagene

Honorable Mention Absalom: a tale of the Civil War - J. Charles Zeller Imminent Threat - Ron Fangio & Enza Fangio The Souls of Atlantis - Mark Perlick Time Wreck - Larry Whatcott

Comedy: Grand Prize Head Trip - Craig Phillips

Honorable Mention Death Tax - Mike McGeever Wedding Knight - Stephen Hoover Sam's Story - Robert Keith Watson KHDZ - David R. Beshears

Drama: Grand Prize Rarities - Dana Michaels

Honorable Mention I'll Wear The Crown - Mark Brewton The Great Quest - Steve Weissman Abilene - Michael Raymond` Only The Devil Knows - Kathleen M. Mullin Summer Soldier - Robert Repino

Family: Grand Prize Pete and Petey - Thomas Christie

Honorable Mention Ms. Wreck's Passion - Bradford Willis & Anne Dunkin Dog Days - Eric Carlson Fairies Landing - Cheryl Miller Miss Christmas - John Barlowe & Irin Evers

Thriller/Horror: Grand Prize Unmitigated Violence - Owen Douglas

Honorable Mention Mad Urges - Per Mühlow Seeing Red - Sarah Turi Boshear The Changeling of Kilhaven - Michael Strode Ding Dong Ditch - Erin Donovan

congrats!!

There's actually a courier service in LA. You email them script. They print and deliver. Google it.

Odd he wants hard copies. Most do PDFs.

Good luck and keep us posted.

PAGE is a great contest. I won the thriller category. Prize money and exras showed up fast. Got reads.

Helpful folks and I plan on writing an article fir their newsletter in the future.

Script Readers are Detectives By Julia Bergeron

I'm a detective. Actually, I'm a script consultant. Which is pretty much the same thing.

Okay, not exactly the same thing. But there are some similarities. Knowing them has made me a better writer. I'm sharing them with you so you can help your first audience — the reader — ''get'' your screenplay quickly and easily.

As a reader, I'm like a detective in several ways. A detective has to solve a mystery. So do I. A detective has to figure out the ''who,'' the ''what'' and the ''why'' of a crime. I have to figure out the ''who,'' the ''what,'' and the ''why'' of a script. The detective is curious. So am I.

When I get a script to read, I have no idea what story the writer is going to share with me. It's a complete mystery. This means that as I read, I am looking for clues that will answer some fundamental questions.

Who is the story about? What is it about? What's the genre? Where is the story going?

As a reader, that is my mindset — figuring out the story. Knowing the reader's mindset can shape decisions about when and how we introduce the protagonist. It can help us decide what pieces of information have to be setup early and what can wait. And what needs to be cut completely.

Let's look at this in more detail.



More here:

http://wagstaffnet.blogspot.com/2010/05/script-readers-are-detectives.html

I entered several scripts in Champion. $10k prize is great and, as Jim mentioned, it has the potential to be one of those Top 5 contests.

BlueCat article may guide some more folks to this thread. Welcome to the party!

Occasionally I'll meet new writers he blow hundreds (thousands?) on screenwriting contests and ... go nowhere. Don't place. Booted out early. Nothing for their entry fee if they didn't pay for notes.

Before spending money on contests or hiring professional readers, consider joining and becoming active on screenplay peer review websites.

Why?

Reading scripts -- pro scripts, amateur scripts, anything you can get your hands on -- makes you a better writer. That's the idea behind peer review websites: Learn by reader scripts from other writers. You give notes and, in exchange, receive notes. Much cheaper than paying consultants.

You can network with a community of writers. Form friendships and a circle of trusted readers. Invaluable and free feedback.

There are producers associated with or trolling the sites. One may find your script and want to make it. Or a young filmmaker may want to make your short and enter it in festivals. Your work it out there -- and if it's good, things can happen.

Why not?

There is a danger of receiving notes that send you in the wrong direction. Another amateur writer may not give you notes that are helpful and you may be too new and 'chase notes' -- rewriting your script where it becomes something you don't want.

Does take hours to review script after script. That's time that you could have spent writing.

The reviews on several sites are public. I suggest you get your notes and take down that draft. Repost the script and repeat the process. Don't want old versions of your script out there on public websites.

Some of the reviewers are obnoxious jerks. Welcome to the writing world. However, many are extremely helpful and can give great notes. It's a mixed bag -- just like the quality of scripts you'll review on the sites.

Many new writers are worried someone will 'steal their idea.' Chances are that idea has already been written by many other writers and it comes down to the execution: Did you nail the script? if it's a comedy, is it funny? Horror, did it scare me?

If you do have a million dollar high concept that's great but never been done, yes, keep that under wraps. Pay some consultants for feedback instead. But you can't copyright and IDEA. You have to have a great script to back up the concept these days. Much of the paranoia of new writers is wasted energy. You're selling your ability to write a script more than a 'great idea.' You have to get your work out there eventually to sell it.

How do you get started?

Go to the websites. Sign up for free. Visit the boards. Click on "GET ASSIGNMENT" and start doing reviews. Download the script, read through it making notes in a separate word processor document, and then cut and paste it onto the site. Circalit doesn't require reviews to participate.

What's the best that could happen?

Your script could make it to the top on the site and, like any contest, be read by a producer or director who wants to make it. Could lead to an option, sale, or assignment on another project.

Which website:

I've been active on a few and here's what I've found.

1. TriggerStreet. Notes on your script are open for members to read. There are 'Daily Favorites' -- recently reviewed top 10. Through that process a Screenplay of the Month is nominated (3 finalists) and one chosen.

The good: Some excellent reviewers on the site. Experienced writers that take time and care to give notes. Useful info on the boards. Overall, great site.

The bad: Any peer site will have newbies that give bad notes. TriggerStreet has an appeals process to remove useless reviews. The Screenplay of the Month process encourages old drafts of scripts to be left up as you can't replace drafts without losing your 'place in line.'

2. Zoetrope. Closed process (not just anyone can see the notes you receive). More artsy crowd there than the other sites. But some solid notes and may be a good fit.

The good: Associated with a production company that actually reads the winning scripts and considers them for option.

The bad: Site can be difficult to navigate.

3. Circalit

This is a new site and a bit of a sleeper. I've had two filmmakers request scripts from here in my first couple of weeks of using.

The good: Easy to use. Industry people and pros are there.

The bad: No required reviews or tests to assure scripts are read. A group of friends could easily push up a script in the rankings. Not sure why someone would want a pro reader to review a script that way but it's a possibility given the format.

But it's in Beta-test stage now. Good place to get in early.

4. Talentville

Started by the co-founder of Final Draft, this website is easy to use. Nice design. You post scripts 'for free' but then add 'dollars' (earned from doing reviews) to your script to get reviews.

The good: Quality of the reviews I've received to date have been very good. Pro readers are on the site and there are industry members.

The bad: New site and word has to get out. Will see how it develops.

In summary...

Becoming active on any peer review site is a good way to form a group of screenwriting friends and keep on top of what's going on via the discussion boards.

Reading and reviewing scripts (doing coverage) is an excellent way to improve your own writing. Will raise your standards. Pay your dues. Put in the time it takes to develop your draft.

There is a chance on any site that you may be 'discovered' or make a connection that springboards your career. More important, rewrite and rewrite your script. These sites will show you what you thought was the 'final draft' is nowhere close. A good lesson to learn early.

Then when you enter contests it'll be with a solid draft of your script: No typos, no format errors, no gaping plot holes. Your script won't be tossed aside in the first round or immediately booted by a production company as unprofessional.

You'll have a solid spec, the best version of YOUR SCRIPT (make sure it stays yours through all the notes and rewrites) possible. Now go enter contests and make your pitch phone calls knowing you've got a script you want the world to see.

If you aren't active on a peer review site, sign up today! Best of luck.



(friend me on circalit: stephenhoover; talentville: stephen_hoover; triggerstreet: toddh99)

http://wagstaffnet.blogspot.com/2010/04/wga-registration-vs-copyright.html

I finished 2nd last year in this contest. Julie and Margaux who run the contest followed through quickly. Got paid fast and a lot of extras. Sent my script to their contacts and still are part of my 'team.'

Thought I'd let you know about the contest if it's not on your map:

Did you enter competitions for show, or do you want a real Hollywood writing career? The Silver Screenwriting Competition is the only contest with ongoing script and professional development. With over $15,000 in prizes, the 2010 SSC is better than ever in its third year, and taking entries until June 1st, 2010. Enter today for a chance to win an all-expense paid trip to Los Angeles where you will meet 3 managers to discuss your career and Kirsten Campo, CE at Fuse Entertainment with a new seven figure deal at Fox, plus Bedrock, Back Lot and Bedford Falls. $3,000 in cash, a new MacBook Air and lunch with Shane Black. Yes. THE Shane Black of Lethal Weapon and Kiss Kiss Bang Bang with Robert Downey, Jr. We'll also back you all the way by developing the winning scripts with The Script Department's Julie Gray and a host of top flight studio readers. Winning is just the first step, and we'll see to it that all the professional and commercial help you'll need is on tap. DEADLINE JUNE 1ST, 2010 www.silverscreenwriting.com

http://wagstaffnet.blogspot.com/

My latest post is on online feedback websites. Most people can't write. Unless you're in NY or LA you're likely dealing with newbies and wasting your time.

People are either reluctant to be critical (and if you're not getting real feedback, what's the point?) or overly critical and try to head you in the wrong direction.

Peer groups or pay a pro.

PAGE does this and I love it.

Months can go by from the date you enter a contest and make the finals. The script will have gone through many drafts and be in much better shape.

Writers should have a shot at updating their work before that final round of reading. Finalists are often judged by industry pros. Allowing updating let's you get your latest and version read.

Hope every contest adopts this policy in the future.

What say you?

Great. Glad everyone sees the wisdom in this. Table Read My Screenplay allowed Finalists to update.

PAGE I think is still open to entries. Only way you could get a newer version in now is to pay another entry fee (which I did, ouch, last year in one contest). Hazards of entering too early.

BlueCat lets you re-enter early on after you get feedback. But doesn't (I believe) allow you to update if you make the finals a couple of months later.

Problem is with industry people reading the finalists, you're not getting your best work read. God forbid they circulate that early rough draft.

The only possible argument against it is that it's 'not fair' (writers love that one) to have people who had 'final' polished drafts and met the deadline to be beat by writers that kept rewriting and rewriting and by the came they got to the finals were finished.

Well, you never stop rewriting. After the film is made perhaps. But you're always polishing and rewriting through the filmmaking process. Unless you get the boot. So why discourage that?

Also, you want writers to create new material and enter that each year. Get better at it. Someone entering a 5 year old script that's been beaten to death is fine. Good for them. But don't discourage new creation.

What's the purpose? To use the contest to springboard a career. How? By having industry types (agents, managers, producers) read your best work in the best condition.

I wish every contest would adopt this policy. Even now I'm 2 or 3 drafts advanced on scripts already entered. Cringe to think of the typos or format errors and that's minor compared to more substantial changes I've made.

Great. Glad everyone sees the wisdom in this. Table Read My Screenplay allowed Finalists to update.

PAGE I think is still open to entries. Only way you could get a newer version in now is to pay another entry fee (which I did, ouch, last year in one contest). Hazards of entering too early.

BlueCat lets you re-enter early on after you get feedback. But doesn't (I believe) allow you to update if you make the finals a couple of months later.

Problem is with industry people reading the finalists, you're not getting your best work read. God forbid they circulate that early rough draft.

The only possible argument against it is that it's 'not fair' (writers love that one) to have people who had 'final' polished drafts and met the deadline to be beat by writers that kept rewriting and rewriting and by the came they got to the finals were finished.

Well, you never stop rewriting. After the film is made perhaps. But you're always polishing and rewriting through the filmmaking process. Unless you get the boot. So why discourage that?

Also, you want writers to create new material and enter that each year. Get better at it. Someone entering a 5 year old script that's been beaten to death is fine. Good for them. But don't discourage new creation.

What's the purpose? To use the contest to springboard a career. How? By having industry types (agents, managers, producers) read your best work in the best condition.

I wish every contest would adopt this policy. Even now I'm 2 or 3 drafts advanced on scripts already entered. Cringe to think of the typos or format errors and that's minor compared to more substantial changes I've made.

Coming up soon!

100 finalists is a lot...

Congrats, Irin! Missed this win (one of so many!).

Finalists for the latest contest should be up tomorrow. If anyone sees it, please post a link. Bit difficult tracking navigating that site for me.

HORROR COMIC into the finals:

http://www.scriptdoctoreric.com/2010/04/script-doctor-erics-2010-screenplay_01.html

I'm in between drafts right now though. Sure wish I had another week to update it for the finals. Ah well...

"Points on the back end" = ZERO. You'll never see a dime.

What's the film budget? 25 grand. 5 grand? You get what you can get. Remember there's the first draft and rewrites. But you want money up front. Typically paid some up front. Then some after 1st and then the final after 2nd draft.

Also, what's the script? 90 pages of an open murder mystery... can take forever to make that work. You're talking your time and effort. Getting a credit is nice, but get paid. If they don't want to pay for the script, chances are they'll make a horrible damn movie.

Good luck!

http://www.tablereadmyscreenplay.com/#/finalists/4540289248

way to go, Mike.

VERY timely script you've got there. Looking forward to good things coming your way. Great job.

Agents can also mess up deals but... you could say you've got an offer and they could read it and try to go up the food chain. Up to you. Nice to have a film credit but who are these people? If they make crap films having your name on crap ain't so hot.

If they are good filmmakers and you make the festival circuit and get your name out there, that's a plus.

I'm thinking 5-10 grand is where you'll wind up on price. 3 step deal. Get the contract to spell out your screen credit as SOLE writer. Lot of directors and producers like to stick their name on there for coming up with 5 lines on the set -- usually inferior to what was in the script.

Congrats to the WINNERS!

About half of all contests are late with results. Part of the process and, as someone just mentioned, not always in the hands of the contest administrators.

I won a genre prize last year from a Creative Screenwriting contest. Money came promptly ($2,000) and the check cleared the bank. Hardly a scam. Posting false accusations on a public board reflects poorly on the poster.

Many newbie writers adopt the commando Joe Eszerhas approach. Do that AFTER you've had success. Otherwise you're just another annoying wannabe that people don't want to be in business with. Save the conflict for your scripts. My .02.

Nice offer here:

http://www.flyingwrestler.com/free-consulting-coaching/

Erik gave me notes on BURIED SOUTH OF GALATIANS. Nice guy and great notes. Good to see how a real pro breaks down a story.

Tell him Hoover sent ya...

From my blog:

Creating TV series ideas on spec

(Guest Blogger Erik Bork explains creating a new TV series. Erik has a free initial consult offer right now. The full hour/one page is great to brainstorm BEFORE you write it, saving you many drafts. Please mention I referred you. Thanks. http://www.flyingwrestler.com/free-consulting-coaching/)

Here's something that comes up a lot when I work with writers who have original series ideas, and spend time mapping out multiple episodes, character breakdowns and ''show bibles''& If you're not yet established and not yet represented, your spec pilot is primarily a WRITING SAMPLE. Yes, of course you hope that the idea sells and gets produced and becomes a series, but that is such a million-to-one shot (even for those of us who do this for a living and sell pitches to networks on a regular basis), that it's more realistic to focus on first things first which is for this pilot script to get you noticed, advance your career, possibly get you representation and meetings. Beyond that, who knows? But the networks aren't looking for spec pilots from unknown writers that they might produce, nor is the possibility of producing it independently as realistic as in features (although with web series, that is changing somewhat).

This is not to be discouraging at all a spec pilot can be a very viable writing sample, and you never know what could happen beyond that. Make it the best writing sample you can, that achieves what a good pilot script should achieve. Which is what? Well, the script needs to stand on its own. You will not be asked about what will happen in future episodes, or have the opportunity to illustrate that through a separate document. Your job is to make sure that the pilot script suggests and implies that there are endless great future episodes in this SERIES CONCEPT, because what you're presenting in the pilot illustrates an ENDLESSLY REPEATABLE ''FRANCHISE'' for what happens in an episode.

''What's the franchise?'' is a common thing you hear T.V. agents, producers, and executives asking. Look at any successful series, and you can probably explain in a paragraph the template for what an episode always includes, in terms of story structure hopefully a template that's compelling, entertaining, believable, and somewhat fresh. Think of LAW AND ORDER, BUFFY, STAR TREK, EVERYBODY LOVES RAYMOND, etc. A typical episode's story usually involves ''X'' kind of problematic situations that resolve through ''Y'' kinds of actions and ''Z'' kinds of conflicts for your characters.

Your pilot script should clearly illustrate what ''XYZ'' are for your concept. Understand that no matter how serialized the overall series will be, and how much the pilot needs to set up the basic concept (and how these characters and situation come together), the pilot should also contain within it a sample of the kind of story we'll see each week the kind of case, or finite example of the conflicts and problems this series will showcase, with a clear beginning, middle and end.

Buyers don't usually like what they call a ''premise pilot,'' where the entire pilot episode only focuses on setting up the series, but doesn't include a ''sample story'' that shows them what future episodes will look like. Most pilots now set up the basic series premise stuff quickly in the first act, then get to a sample story that takes the rest of the pilot to play out. OR, they interweave ''premise'' elements within such a sample story.

I could go on, but these are the basic thoughts I wanted to put out there.

What prizes do they promise?

I've won contests with no prizes that didn't notify me. Use the credit and move on.

I'm not going to bash any contest that picked me as the winner. Why would I shoot myself in the foot? Another contest took 2 months but is now sending me referrals. I post something on a public board I'm cutting my own throat.

The contest didn't offer any prize money. So they did what they promised -- pick a winner.

If you were to receive $500 and have not, send them a certified demand (you can have a contact in the US do it on your behalf) for your money. Companies "considering the script" is b.s. Cash, put out a letter of demand.

Hollywood is a small town, Janet. Don't be the person everyone wants to avoid.

Janet,

I have never participated in a contest that hasn't given what it's promised. All my checks have arrived. Most have sent extras as well (Silver, PAGE, Expo) that I didn't know were included.

Smaller contests are out there that don't have cash prizes. But that' still a usable credential for me.

Why come on a public board and bash contests or call them "scams" (which is a very strong, potentially libelous word) with nothing to back that up?

Send a certified letter demanding your money. If you get no response, contact the Attorney General for the state where the contest does business. After you've gathered all facts, then report.

There are many flakes and loons out there trying to break into any entertainment-related field. Don't be "that guy."

In the semis with HER LAST ENGAGEMENT.

Anyone else here enter this?

Scripped has a Spike TV pilot contest this month.

Who promises reads, Janet?

NO CONTEST PROMISES YOU ANYTHING OTHER THAN THE PRIZES LISTED.

It's up to you to make of the contests what you will doing your own work querying.

Not up to someone to hand you a screenwriting career and do your job for you.

If you're not winning contests, stop entering them. Maybe your scripts aren't up to speed and you should invest that money in writing classes instead.

Janet, the latest InkTip leads has a company LOOKING FOR MUSICALS and people that can write them. That's pretty rare. You should track them down. (I can't post here as it'd violate InkTip's membership terms.)

Screenplay Festival. Received 4 or 5 leads from them so far. No bites but western is a tough sell.

In two Scripped contests. Free writing software / peer feedback. First contest I entered was the Ed Burns Contest -- write 15 pages; prize is 1k shot at developing the script for his prod co. Second, which is going on now, is Spike TV. The contests are free if you subscribe to the software.

Circalit.com. Free monthly contest. Winner is read by European development company and Tom Lazarus (UCLA prof and writer of STIGMATA). In second place right now on the site. Signing up to the site is free. Peer review.

Silver Screenwriting. They put me up for a treatment assignment. Finished 2nd there last year.

Table Read My Screenplay. Good contact from the admin. Set me up for a weekend trip July 23rd. Script will be read by pro actors and recorded. Meeting with producer Gary Goldstein (Pretty Woman, Under Siege) as a prize.

Got 4 in there. Ton of scripts though and still early...

Recognized Steve (ARTIFICE) and a few TriggerStreet scripts (GUITARACULA and CZHECMATE).

A.J.,

Would I like to win a contest with a $10k prize? Yes.

Mostly though I use contests to create deadline. Working on spec it's easy to put off writing. Contests give you set dates to accomplish things. Gotta get this rewrite done by next week. That type of thing.

Winning or doing well in a contest is publicity. Leads to contacts and reads. Adds credibility to query letters.

Writing is brutal. Ton of work and can have very little to show for it. Contest is some small bit off affirmation amid the endless negatives. Keeps me going. I also suggest the book The War of Art by Pressfield.

The prizes are great but only a small part of why I enter contests.

Next cut Sunday.

Ed's reading the top 35 personally to announce finalists. Winner late this month.

Couple of friends have taken advantage of this and gotten a lot from the call. Check it out...

WTG!!

There's a big error popping up at the bottom of my page (using Mac/Safari browser).

This is a new peer review site I've been using for the last month. Nice prizes for the monthly winner. Some producers and filmmakers troll the site.

Check out the site. I'm on there with WEDDING KNIGHT. They allow shorts to be posted and you can update scripts without losing our ranking / 'place in line.'

Thanks, James. Appreciate it. I'll be a couple votes from the lead by Tuesday. 12 days left...

For those that haven't visited the site, the winner is read by Tom Lazarus (UCLA prof and writer of STIGMATA) and a European script development company. BBC is a member of the site. Know at least one writer that's been optioned.

Free site. Easy to update scripts. Plus, they are just getting started. Good to get in early.

Think it's falling out of favor.

But be consistent. That's the main rule.

All,

I am pleased to announce the finalists for the Ed Burns competition! Congrats to everyone who participated and Ed will pick a winner in the very near future. Thanks again, and below are the finalists - listed in no particular order. Congrats to everyone who participated! This was a very, very good crop of scripts....

LIKE FATHER LIKE SON by Josh Nathan Bullock and David Kusnher

AIN'T GOT YOU by Nathasha Master

CHAD VS. DAD by Susan Monti and Neal Brimelow

SHARING SABRINA by Ervin Anderson

WHAT YOU THOUGHT YOU ALWAYS WANTED by Benjamin Murphey

DECENT BIT OF HISTORY by Greg Federo

LIKE FATHER, LIKE SON by Stephen Hoover and Todd Walker

THE HEART WANTS by Michael Bryson

CHANGING OF THE GUARD Magz Weisman

LIKE FATHER LIKE SON by Jonathan Pagan

That's the title they gave us. We actually changed ours to HER LAST ENGAGEMENT. Not sure why they didn't list it as such.

Good thing about this contest is it leads to (well CAN) a screenplay deal. Get the movie made.

BlueCat announces semifinalists.... PAGE announces QF cut. Silver.

Nicholl likely to some out with QFs in a couple of weeks.

Good luck everyone!

Right now it's last day of this month (wednesday).

But... contests have been known to extend deadlines. Not sure if CWA is one of them.

Right. Look closely at that. If you're not comfortable with it, don't enter.

They added a top 5 cut for the Ed Burns contest for 'end of this week.' So maybe winner next week. That's $1,000 to the winner and, again, all rights to it. But chance to work developing the feature and more money there.

Btw, the script for JUNO was purchased for $40,000. Won an Oscar. But.. made her career.

http://scripped.com/contest/spike

Into the top 20 (out of 2,800) with HORROR COMIC.

Awards banquet is in July.

Contest have FOUR grand prizes of $3,500. Nice to do it that way.

Any more news from this? I can't seem to navigate the site.

20% shot at a win. I like that policy of splitting up the $$ (having finished 2nd in a big one last year and top 5 missing out on 20k in another).

Might be able to make the awards banquet as I'll be in town for Table Read.

BTW, the Max Adams listed in the finals is not the instructor/pro writer. Different person who needs to add an initial or use a full name.

Here you go, everybody! The top 50 scripts of over 1,000 submitted. So this represents the top 5% and that's quite an accomplishment! The 20 semi-finalists will be announced on August 1st.



Abeyta, April & Kim Nunley — Super Ted

Amdahl, Joseph- A Boy in the Woods

Axelrad, David & Michel Plaxton — Machine Gun Kelly: The Real Story

Barlowe, John & Irin Evers — Miss Christmas

Bauer, Kristin — Edultery

Booth, Thom — Jaunt

Bowlden, Kelli — Venus Envy

Brown, Harold — Dewey and the Magic Library

Burningham, JR & Tess Ortbals

Cambria, Craig — Canaries

Catz, Sarit & Gloria Ketterer — Instant Karma

Cecchini, Ron — Blue Lady

Dilier, Matthew — The Sandbox

Donald, Mike — Cortex

Donald, Mike — Shadow Trade

Donnelly, Scott & Joe Douglass — Cows

Downs, Christine — The Jupiter Syndrome

Evans, Corey- Death's Horizon

Farrand, Carol — Nobody in My Family Has Sex

Fass, Rick- Love Erasers

Figel, Rich — The Doll

Fortune, Jules — Better Than Broadband

Headley, Jason & Michael Tumino — Seniors

Hoover, Stephen — Buried South of Galatians

Hoover, Stephen — Ghosted

Hoover, Stephen — To Live, Press 1

Luu, D.N. — Faithful

Jackson, Ryan — Fix

Knutson, Forrest — Samurai High

Lammey, David — Shotgun Wedding

McCoy, Michael — Under the Rising Sun

McMinn, Dave — O Boy

Moore, Sherry Lynn — Hunting Season

Nolan, Tom — The Quick Way Home

Puterbaugh, Joseph — The Jack Johnson Story

Ridone, Steve — Colby on the Potomac

Rosen, Jane — Ancestral

Sayle, Allie & Liz — Troublemakers

Sheehy, Rich — The Intake

Simpson, R. Ian — Paraplizzle

Spiegelman, Bruce — IsiS

Stein, Christopher — Moment of Conception

Shyu, Tony — Macau Twilight

Stirling, Bruce — The Embalmer's Apprentice

Wasserman, Daniel — Stowaways

Watson, Robert Keith — Bank Robbing for Dummies

Wiggins, Joseph — Amsterdam XXX

Wolfe, Celeste Chan — Spotnik

Tze Yun, Sun — The Sun Rises East

Zakalik, Marc — Drumadoon

Now, a word to those of you who didn't place. Why god, why? you might be asking yourself right now. There were two of three reasons your script didn't move up to the quarter finals and they are (broadly speaking) a) your script had significant format, spelling and language usage problems b) your first ten pages were not entertaining, the genre wasn't clear and the tone was all over the map and c) subjectivity.

Now a small (but loving ) slap on the wrist and weird pattern I will note: this year, the scripts that didn't make the cut were far worse than the scripts that didn't make the cut last year. The scripts that made the cut, however, were far better. I have no idea why this is but the scripts that are moving up to the next round are going to be VERY tough to judge. I have my eye on about ten or twelve that I particularly like but on the other hand, I read one that was SO excellent for the first seventy five pages — great, right? — and then tanked out with a confusing, illogical, lazy ending.

So the real judging begins now. Can you write opening pages that engage, that are professional, that entertain and intrigue? Can you write with the proper format and without eight (YES, true story) pages of action lines first? Great. That makes you a quarterfinalist. Let's see what you quarters can show us beyond that. This is where the going gets much tougher.

Good luck to you all and for those who didn't make the cut here but did somewhere else, don't forget subjectivity is at play here, so don't be too downhearted. As I am wont to say, until they invent the Read-a-tron 5000, you have to make do with live humans who have experience and background reading scripts. If you didn't place anywhere else, take this as a sign that you are completely NORMAL and just need to keep writing. Don't take it too seriously or too personally. Every single person who took the time to enter and who tried his or her best is a winner in my eyes and if you've ever met me you don't doubt the truth of that. Onward!

Best of luck, Janet.

No worried re Circalit. I took down WEDDING KNIGHT to do a rewrite. Would like your feedback on the new draft. Should have it up there in 3 weeks. Thanks.

Avengers spoof I wrote for fun. Silly, stupid, occasionally offensive and we like it that way!

Please vote 'funny'! Thanks.

http://www.funnyordie.com/videos/c528ff4abb/the-revengers-downsize-avengers-parody

Animator did a nice job.

No worries. It needs to be producer-ready!

I may email it to you directly. You have contact email here on your profile?

Thanks, James.

Congrats on being a pick of the month in Barb's Xtreme Screenwriting!

On the FRONT PAGE of funnyordie.com today (July 4th).

Under "User Picks" -- Thanks for the votes!!

wagstaffnet.blogspot.com/

TEN TIPS TO A BETTER SCREENPLAY By Julia Bergeron

1. Make your protagonist active. So easy to say, so important to do. Passive protagonists who don't have a goal and/or don't pursue their goal are the downfall of potentially great dramas. Don't let that be the downfall of your script. Let your hero act.

2. Show don't tell. I know, I know. You've heard that before and plenty of times. That's because it's so important. Film is visual therefore creating strong images is a key to writing a solid screenplay. Rather than use exposition to have a character tell us, ''Cora is the world's best sharpshooter,'' show a scene where Cora makes an extraordinary shot. Show. Don't tell.

3. Write in the active present tense. It's, ''Jericho kicks the door in.'' and not ''Jericho is kicking in the door.'' Screenplays unfold as we read them and the active present tense reinforces that impression.

4. Spell check. Format check. Script writing software makes it easy to do it. The other guy will. You should too.

5. Read your script out loud. There is no better way to develop an ear for on the nose dialogue than to hear your script out loud. So, read it aloud. Better yet have friends read it out loud while you sit silently and listen. Oh, you'll want to jump in, to correct them, to explain. Don't. Don't correct them, don't interrupt, don't defend your script. Just listen to it. If your readers make mistakes, the readers you submit your script to just might make the same errors. Fix the errors; don't blame ''bad'' readers. In fact, thank them. They are allowing you to hear your script's weaknesses. A decent actor can make bad dialogue sound reasonable. But you aren't writing your spec script for a ''decent'' actor, are you? I'm writing mine for Penelope Cruz! And we are all writing for the reader.

6. Between the truth and the legend, tell the legend. This means don't overwhelm the story with factual, but boring, details. Alfred Hitchcock said, ''Drama is life with all the boring parts cut out of it.'' Cut out the boring bits. While it might be true that it takes a half hour to saddle up a horse, adjust the stirrups, put the bit in, etc., the fact is you are not writing a horse-care manual. You are writing a screenplay. When it comes to it, just have the cowboy hop on the horse and go.

7. No chitchat. Films are expensive to make. The average cost to make a studio film in 2006 was $65 million (it's more now) plus marketing. That's easily $500,000 per page. It's unlikely that a producer is going to pay that much money for ''Hi, Bob, nice to meet you.'' And when it's an independent film on a tight budget, there is even less money to spend on chitchat. So eliminate it. Enter as late as possible; leave as early as possible for each scene. Words are money. Make them count.

8. Steer clear of ''talking heads'' scenes. What are those? That's when two characters sit around and talk. Maybe they eat or drink but basically they aren't doing much. Usually they are just telling all about themselves. You'll often find these in the first draft of a ''date scene.'' Remember: telling = dull. Dull = no sale. However& If you must include a ''talking heads'' scene, make it active. The characters can be doing something totally unrelated to what they are talking about. And you can use that activity to reveal completely new and interesting information. For example, if it's a date scene, rather than have the date happen in a restaurant, figure out a hobby or an interest that your character has. Maybe tennis. Or making sushi. Or skeet shooting. Every scene is another opportunity to create something visually interesting. Use every opportunity to put something visual on the page.

9. Grab us emotionally. In important moments, slow down and let the reader see and feel how those moments or events affect your character. For example, if two characters kiss for the first time, don't have them kiss and then immediately race on to the next plot point. Show the reader how the characters feel about that experience. We want to know what happens, but we also want to how the characters feel about what happens. Show us what they feel.

10. Last tip. Have fun! Love your characters. Love the story that you're telling. If you love it, the chances are much higher other people will too. And if they don't, well, you had fun writing it. And now, if you'll excuse me, I am off for some ''fun'' writing of my own!

I finished 2nd last year in SilverScreenwriting. I don't live in NY/LA.

The winner was from England. The win included ticket price within the continental U.S. He flew over. Picked out a brand new MacBook, took meetings, and had a great time (pictures on the website).

I took Margaux's post to be hyperbole. She listed small things that add up and toll on a reader. Many contests (Nicholl being the exception, as Greg has noted) screen out scripts from the first 10, 20, 30 pages. Same with film festivals screening movies or music festivals screening songs.

EVERY screenwriting book I've read tells you the importance of the first ten pages of your script. This should be common knowledge to any screenwriter -- you have to nail the first ten. Is this new information?

Not sure what contest Margaux was grading (she indicated later on the blog it was not Silver) but if the contest did not include coverage (like you get from, say, BlueCat) there was no stated guarantee the full script would be read.

The active members of this board have been at this from some time. We read scripts from within our circle of writer friends or pro scripts from sites like ScriptShadow.

Instead of putting the time and effort into writing a solid script and then verifying the quality of that script through a consultant (like Max) many new writers do a first draft and then enter it into a dozen contests. Then they complain the system isn't "fair."

Would these writers be better served paying for coverage? Getting coverage from 'advanced amateurs' from peer review sites like Zoetrope or TriggerStreet? Would they be better served hiring an editor? Yes, yes, and yes. Instead they blow money on entering contests and go out shopping the script to agents, managers, and production companies.

Follow the advice of the hundreds of screenwriting books and work on your first ten pages. Read books and blogs written by contest judges that tell you what they want in a script to advance it to the next level. Sign up for a class at your local university or online writing school. Form a peer group to share reads. Don't expect your first screenplay to go very far. Start the next one. Then the next.

Good luck this contest season!

Right. I'm saying that Silver does NOT do what Margaux suggested. The top two from last year were not LA/NY addresses. She was writing to be provocative and didn't realize it came across as insulting.

She should have written it as a "things that annoy a reader" (and there are dozens of similar posts on the net from other readers) but she didn't. She apologized and said it was not Silver she was reading for.

Crunch some numbers. Greg said a pro reader does 2 scripts per day. 1,000 scripts = 500 days work. What does a pro make? How do you have a contest funded through entry fees (Nicholl is different, of course, as it is not funded solely through entry fees) and have it be sustainable?

I've spoken to judges from other contests (I won't mention names) but first ten, twenty, thirty reads are common.

Nail your opening. Every screenwriting book says to do this. Why is this even a controversy?

Spend money on a class or consultant or participate in a peer review site. Make sure your script is ready to be judged before spending entry fees.

One manager explained it to me this way, "You don't start at zero on the ten point scale. You start at -10. I assume your script is going to suck. Prove to me that it doesn't." That's it in a nutshell.

I'm still in the hunt with my four. Next cut is a big one.

RE: Silver. I have no problem posting my actual experiences as a contestant from last year who finished 2nd and from this year. From last year -- the winner and second place finisher were not from LA/NY. It's an international competition.

I gave notes to two scripts tonight as I'm active on peer review sites. First ten pages are enough to decide the quality of many scripts. Just because everyone has a word processor doesn't mean everyone can write.

Here's what you'll find from new writers struggling to learn the craft: Incorrect format; opening with backstory scenes before getting into the actual story; awkwardly conveying exposition through stilted dialogue; misspelled words; grammatical errors; lack of visual storytelling; and poorly constructed scenes.

If you read all that for ten pages, you know it's a 'no' already. So how many pages do you read before you give up? What is that writer telling you about their concern for the craft?

A large percentage of scripts in contests are first or second drafts. The writers think they are good to go and ship them off into contests. This isn't little league where you get a trophy for showing up.

99.9% of people that take up screenwriting will never make a dime from it. Most are wasting time, effort, and money. Same with most artistic pursuits (singing, dance, acting).

Even winning a contest means only that a writer was selected from a crop of unproduced amateur writers -- the cream of the crap. That doesn't mean that writer can cut it against top professional writers and there are no minor leagues for this gig.

Join a peer review site such as Zoetrope or TriggerStreet. Read professional scripts available on sites such as ScriptShadow. Sign up for courses such as those Max offers. Learn the craft. Pay your dues. Keep at it.

The average writer writes 2-3 scripts and lasts 2-3 years. The average pro breaks in after 10 scripts and 10 years.

Give yourself 10 years to get good -- or go enjoy life. Spend time with friends and family or exercising. If you can quit, quit. If you can't, I'll see you around one day because I'm in it for the marathon.

Julie's response to all this was posted today on DDP:

Words Matter. And So Do Rules. Imagine my dismay over the 4th of July holiday spent with my family to be notified of the recent SSC thread on Done Deal. I replied to a couple of emails but didn't have time to really address this.

But that's what I'm doing now.

The SSC has grown very quickly, and after the first year, these are the rules that we have refined and use to ensure consistency and fairness:

Quote: 1st Cut As with most screenwriting competitions, such as Austin, Silver Screenwriting readers are required to read to a minimum of at least page 30.

Readers then fill out a brief score card for each script. Score cards include 5 categories:

PREMISE NARRATIVE CHARACTER/DIALOGUE STRUCTURE EXECUTION (format, language usage, spelling).

Scores range from 1 (poor) to 5 (excellent) in each category.

A minimum score of 19 is required to make it past the first cut. Scores of 18 or below are eliminated from the competition.

This year we had roughly 200 scripts that made the 1st cut with scores of 19 or more.

Quarterfinal Round The scripts that have progressed past the 1st round are then randomized and redistributed among the readers and they're given a second score card with the same 5 categories.

The totals from the two score cards are added together, giving us a total score out of 50. Any score with 41 points or better is published on the SSC website as a quarterfinalist, any with 40 points or less are eliminated from the competition.

This year we had 46 quarterfinalists with 4 that were moved into this round after a debate among the judges.

2nd Round Judging (semi-finals) Scores are reset and scripts are randomized and distributed to new readers.

Score cards include 6 categories:

ORIGINALITY OF PREMISE GENRE EXECUTION CHARACTER/DIALOGUE THEME/SUBTEXT VOICE

Score cards also include a brief summary of the strengths or weakness of the script.

The top scoring 20 scripts (any ties are automatically added to the list) qualify for the next level of judging.

All top 20 scripts and writers are cross checked to ensure eligibility per the Silver Screenwriting rules regarding ownership, earnings, options, etc.

Third Round Judging (finalists) The top 20 are now printed out in hard copy. Notes, comments and questions are made on the pages. Premise and summary notes are written on the title page or back cover.

Judges include Julie Gray and two top industry readers.

This qualifies the top 10 scripts for grand prize judging.

Grand prize winner, 2nd, 3rd place The top 10 scripts are each read by a panel of judges including Julie Gray and two guest judges.

(For the 2010 competition, two executives [one from Fuse Entertainment and one from The Bedford Falls Company] will guest judge.)

The grand prize winner, 2nd and 3rd place winners are chosen. So them's the rules.

Margaux Froley is indeed a friend and a colleague. However, I am speechless at the tone, tenor and content of her blog post. Margaux did not read for the Silver Screenwriting Competition this year, nor is she involved with the judging.

Rather, Margaux read the 75 scripts that received 10 points or less in the 1st Cut round as a favor to me, to make sure the particularly low scores had been fairly judged.

While these scripts were clearly troubled, they did not deserve to be belittled in any way. At the SSC we recognize that each writer tried his or her level best and that everybody is at a different point in the continuum.

The scripts that are advancing this year are fantastic and good luck to everybody who moved up to the QF round. __________________

Enter the contests you want to enter. Nobody is promising you anything.

It's standard practice for a reader going through the reject pile to read only the first few pages if a script is hopeless. This is the SECOND reader. This means a script has more than one shot to advance and is a practice not done by every contest.

Quit. Stop wasting time and money on contests. If you've been at this year and you're going nowhere, chances are you suck and need to find a better way to kill time. Save some trees and stop writing.

Or suck it up. Shut up. And go back to work.

Feeling low? Hardly.

Congrats, Robert. You are a positive board poster here and inwish you the best.

If you keep bombing out of contests, stop entering. Take some classes. Hire a consultant. Or maybe you just aren't a writer.

I like sports but I'll never be a pro athlete. Recognize the limitations of your abilities and move on to another more physically beneficial activity.

Posting on here every contest is a scam, they're all out to get me. You're putting out negative energy into the world. Do something positive instead. Volunteer at a school or charity or hospital.

Recognize your limitations and act accordingly. You'll be a happier and healthier human being.

Congrats to Robert and anyone else that advanced. Best of luck in the next round.

Julie posted her guidelines for judging the contest on the website -- rare a contest would spell out how it works exactly. Here it is:

Screenplay Judging Criteria July 8th, 2010 | Author: Julie Gray For the Silver Screenwriting Competition, we'd like to set out our detailed judging criteria. We have evolved a very rigorous, quantifiable method for judging your scripts:

1st Cut

As with most screenwriting competitions, such as Austin, Silver Screenwriting readers are required to read to a minimum of at least page 30.

Readers then fill out a brief score card for each script. Score cards include 5 categories:

PREMISE

NARRATIVE

CHARACTER/DIALOGUE

STRUCTURE

EXECUTION (format, language usage, spelling).

Scores range from 1 (poor) to 5 (excellent) in each category.

A minimum score of 19 is required to make it past the first cut. Scores of 18 or below are eliminated from the competition.

This year we had roughly 200 scripts that made the 1st cut with scores of 19 or more.

Quarterfinal Round

The scripts that have progressed past the 1st round are then randomized and redistributed among the readers and they're given a second score card with the same 5 categories.

The totals from the two score cards are added together, giving us a total score out of 50. Any score with 41 points or better is published on the SSC website as a quarterfinalist, any with 40 points or less are eliminated from the competition.

This year we had 46 quarterfinalists with 4 that were moved into this round after a debate among the judges.

2nd Round Judging (semi-finals)

Scores are reset and scripts are randomized and distributed to new readers.

Score cards include 6 categories:

ORIGINALITY OF PREMISE

GENRE EXECUTION

CHARACTER/DIALOGUE

THEME/SUBTEXT

VOICE

Score cards also include a brief summary of the strengths or weakness of the script.

The top scoring 20 scripts (any ties are automatically added to the list) qualify for the next level of judging.

All top 20 scripts and writers are cross checked to ensure eligibility per the Silver Screenwriting rules regarding ownership, earnings, options, etc. (LINK TO RULES)

Third Round Judging (finalists)

The top 20 are now printed out in hard copy. Notes, comments and questions are made on the pages. Premise and summary notes are written on the title page or back cover.

Judges include Julie Gray and two top industry readers.

This qualifies the top 10 scripts for grand prize judging.

Grand prize winner, 2nd, 3rd place

The top 10 scripts are each read by a panel of judges including Julie Gray and two guest judges. For the 2010 competition, an executive from Fuse Entertainment and from The Bedford Falls Company will guest judge.

The grand prize winner, 2nd and 3rd place winners are chosen.

Marjory, No reason to leave this site as there are (scroll down) threads on a variety of helpful topics.

Bashing any specific contest is insulting to those participating or those that have won in the past. SilverScreenwriting has made public how its judging process works (rare for a contest to do so).

If you look at the 'reviews' of contests here you'll see the vast majority are from angry people booted out in the early round. They show up to complain -- many about EVERY contest they entered -- saying they are "scams."

What should those writers being doing with their time and money? Taking classes, getting pro feedback, and improving their work.

Instead they chose to externalize blame for their own failure, a common psychological weakness in our society, rather than take responsibility and work to do improve as writers.

Where will that get them? They'll bounce around contests and boards for a couple of years failing again and again. Then conclude it's all "who you know" and "nobody has a real chance."

The truth? Screenwriting is the most democratic of professions. You can't successfully perform a surgery and be called a doctor. You can't win a legal case and be considered an attorney. But you can write a great screenplay and the world will consider you a screenwriter.

All of the success or failure is your responsibility.

Best of luck!

My screenplay finished 2nd last year in the contest.

Track screenplays from other contests. If many of the same scripts are advancing in contest after contest, is that a random event? Or does it show that quality scripts are making their way up the ranks with multiple judges.

The Done Deal Pro thread was an absurdity. After two reads, scripts were still given an opportunity to get past a judge. Some did; most didn't. What's unfair about that? People lose and get mad.

I know of no contest that doesn't include coverage (or coverage for an extra fee) that requires a reader to go past page 30 with the exception of Nicholl (as stated by Greg -- the admin -- on this site). Do you?

UPDATE:

Spoke with Matt, contest admin, today. Gave me some useful notes as I continue with my rewrite. Bright guy.

Guaranteed $200 for making the finals and $250 travel reimbursement.

They set up a phone call with a manager this week and are going to follow up with the rewrite next month as well... help with the logline... and have connections around town.

Very happy with this one and just posted a positive review here.

Good luck to everyone that enters next year!

James (alter?),

Are you describing yourself?

Professional reputations take years to build. Libel is published false information intended to harm the reputation of someone which can result in civil damages being awarded. Crazies calling contests "scams" simply because their poorly written drivel is tossed aside = intentional malicious act meant to harm that business.

Right?

If you can't cut it, quit and stop wasting your time and money.

Best of luck to you, sir (?).

Starting a new thread for people who made the semifinals.

If you are complaining about the contest or posting something negative, visit the other thread. Thanks.

Here you go, everybody! The top 50 scripts of over 1,000 submitted. So this represents the top 5% and that's quite an accomplishment! The 20 semi-finalists will be announced on August 1st.



Abeyta, April & Kim Nunley — Super Ted

Amdahl, Joseph- A Boy in the Woods

Axelrad, David & Michel Plaxton — Machine Gun Kelly: The Real Story

Barlowe, John & Irin Evers — Miss Christmas

Bauer, Kristin — Edultery

Booth, Thom — Jaunt

Bowlden, Kelli — Venus Envy

Brown, Harold — Dewey and the Magic Library

Burningham, JR & Tess Ortbals — Terra Incognita

Cambria, Craig — Canaries

Catz, Sarit & Gloria Ketterer — Instant Karma

Cecchini, Ron — Blue Lady

Dilier, Matthew — The Sandbox

Donald, Mike — Cortex

Donald, Mike — Shadow Trade

Donnelly, Scott & Joe Douglass — Cows

Downs, Christine — The Jupiter Syndrome

Evans, Corey- Death's Horizon

Farrand, Carol — Nobody in My Family Has Sex

Fass, Rick- Love Erasers

Figel, Rich — The Doll

Fortune, Jules — Better Than Broadband

Headley, Jason & Michael Tumino — Seniors

Hoover, Stephen — Buried South of Galatians

Hoover, Stephen — Ghosted

Hoover, Stephen — To Live, Press 1

Luu, D.N. — Faithful

Jackson, Ryan — Fix

Knutson, Forrest — Samurai High

Lammey, David — Shotgun Wedding

McCoy, Michael — Under the Rising Sun

McMinn, Dave — O Boy

Moore, Sherry Lynn — Hunting Season

Nolan, Tom — The Quick Way Home

Puterbaugh, Joseph — The Jack Johnson Story

Ridone, Steve — Colby on the Potomac

Rosen, Jane — Ancestral

Sayle, Allie & Liz — Troublemakers

Sheehy, Rich — The Intake

Simpson, R. Ian — Paraplizzle

Spiegelman, Bruce — IsiS

Stein, Christopher — Moment of Conception

Shyu, Tony — Macau Twilight

Stirling, Bruce — The Embalmer's Apprentice

Wasserman, Daniel — Stowaways

Watson, Robert Keith — Bank Robbing for Dummies

Wiggins, Joseph — Amsterdam XXX

Wolfe, Celeste Chan — Spotnik

Tze Yun, Sun — The Sun Rises East

Zakalik, Marc — Drumadoon

Banquet is on the 25th of July -- 7 pm.

20 finalists and 4 winners. So... 20% shot. Tough group though. FREUD is in the contest (the script; not the man) and it won $20,000 last year at Expo!

Thanks for the added prize!

The 10k grand prize is great. I'm in!!

This was a great book and DVD. Believe it's streaming now on Netflix.

No comments on this? Was good advice!

Next cut is coming up! Next week.

Anyone hear anything?

New COMPETITIONS section opened up on the site.

A free monthly contest.

Next cut is August 1st.

Results of this in late August.

Anyone else enter?

Results of this in late August.

Anyone else enter?

Going on now. Chance to write a pilot that'll air on the network.

Scripped.com is the busiest screenwriting-related website on the net. Yeah, I hadn't heard of it either!

Three weeks away on the Nicholl first cut announcement.

I took WEDDING KNIGHT down to do some rewriting.

Sometimes you take a step back in rewriting. It's tricky. Plus, different judges will respond differently.

Thanks, Chris!

Update on this:

Won the Grand Prize and I'm being flown to Los Angeles in two weeks for the event.

Have a meeting with Gary Golstein (producer of PRETTY WOMAN, UNDER SIEGE). Looking forward to this as I took Gary's mentorship workshop last year.

Gary's website: http://garywgoldstein.com/

The table read event (taped reading of the screenplay by pro actors) is on the 25th.

The contest pays for travel and hotel.

There were other prizes as well (more details on the website).

Will update everyone on how it goes. Great folks running the show on this one.

Update on this:

Banquet is the 25th. I'll be attending. Finalists receive $200 with a shot at the FOUR grand prizes of $3,500.

Lot of extras (script consults; promotion of the script; great networking) included as well. Pro operation and Matt (the director) has been great. Also get a $250 travel prize.

Will update more soon.

Doing this so people that are looking to enter contests next year know what happens to the winners (their follow through and good things that happen not listed in the prize package). So far... so great!

Thanks, Karen. Glad to still have a shot. Tough competition getting through any contest.

My entry, COURTSHIP, is posted on Circalit.com. I discuss that site in another thread.

The average pro takes ten scripts and ten years to break into screenwriting.

Saw Rossio and Elliot speak at the Nashville Conference (great event) in '09. They gave themselves ten years to break in. Wrote ten scripts they never showed to anyone before they had one they felt was ready. They broke in the business in five years -- well ahead of schedule -- and went on to write Shrek and Pirates of the Carribean.

10,000 hours. The book The Outliers has a chapter discussing the early years of The Beatles. Grinding it out hour after hour in seedy Hamburg clubs is where the developed into pros. Studies show it takes ten thousand hours to master something -- anything.

So if you write 10-20 hours a week (assuming you have a day gig) that's ten years of consistent effort to hot those 10,000 hours.

If you can go at it full time -- average working year is 2,000 hours -- you can get there in five years.

Are you writing this many hours? If someone asks you, "How can I become a writer?"... Now you know what to tell them.

Ten years. Ten scripts. Ten thousand hours.

1. Silver has a two-tier rejection system -- TWO judges are assigned the script before it's given the boot. With many contests you get ONE shot.

2. According to Julie, Margaux was looking at the 2x rejected scripts (a third look) to triplecheck the judging.

3. Participate in peer review sites (TriggerStreet, Zoetrope, Circalit, Talentville, Scripped) and you'll be able to read amateur scripts, many entered in contest, and get an idea of what these scripts are. Most are first, occasionally second, drafts of first-time writers.

Those of us at this long enough know you finish that first draft and it's ready to take on the world... and you get back coverage that points out the flaws... and you've got ten more drafts to do.

Now people are bashing Julie as a "scammer" for having a third reader make sure the two judges did their jobs.

4. How many contests explain their judging process? For most it's a mystery. Silver has theirs on the website.

5. Not sure who is showing up here to attack or defend or what their motivation is. If you read the 'reviews' of contests you'll see many people show up to bash after they get booted.

I spoke with the director of the ScriptPIMP contest this week. Someone showed up here on MovieBytes and posted a horrible review of that contest on the basis they didn't email a list of the finalists. Of course, this person didn't make the finals. Of course, the list is on the website.

Contest admins work long and hard hours to make sure their contest is run well. Writers need to spend similar effort on their screenplays before they join the 'bitch and moan loser' crowd.

Thanks everyone.

Not just a 'victory lap' here. Trying to let people know for NEXT YEAR what happened after a win. Will help future entrants know if it's worth shot.

So far, so great!

ScriptSavvy gives great feedback. Worth the price of admission for that. The contest part is just a nice extra.

Update on Table Read Your Screenplay: Won the grand prize in this. Great follow up from the admin and I'm being flown out for the event in two weeks. Very modest entry fee for this contest and these personal contact events are better than the cash prize. I've got a meeting with Gary Goldstein (producer of PRETTY WOMAN and UNDER SIEGE) as part of the win package.

ScriptPIMP. $200 for making the finals and $250 travel reimbursement. Banquet is on the 25th and there are FOUR grand prize winners from the 20 finalists. Grand prize is $3,500. Feedback I received so far was helpful and they do a publicity campaign for all finalists.

James,

Thanks for stopping by my post -- though you aren't a participant in the contest and really not part of this.

This thread is for people who have advanced in the contest to share information and updates.

Thanks for stopping by and for NOT posting on my thread in the future.

Childish? Perhaps. But this thread is for "Winners Only."

Good luck next year in your contest endeavors.

Any other writers here in the area?

Of course, those who don't but still want to exercise their First Amendment Free speech rights are feel to stop by this thread.

:-)

Disenfranchised? LOL!

Okay, that's my laugh for today. Sure show up and have a party here.

That really is a classic.

My point was there's a CONTEST taking place. What's the topic of this website? Contests. Right? MovieBytes = contests.

But you guys are cracking me up. Keep it up.

Taking it seriously because screenwriting is my chosen career. I'm not here for shits and giggles.

You insult a contest or contest administrator, you're causing personal and economic HARM to someone. Words cause injury to others and the law recognizes this.

Julie sums it up nicely in her post today on the Huffington Post:

I am a screenwriting consultant. That means that I help aspiring and established screenwriters and hobbyists alike write better scripts. I help them test their ideas for originality and write characters (and dialogue) with more believability and depth. I coach writers through the rough patches and keep them encouraged and writing. I help them structure their scripts in the way that both hews to classic Greek storytelling ideals but that also best serves their story. I make sure writers see to the boring details like the very specific formatting of scripts, proper language usage, spelling, and so on. Some people would call me a story analyst. Others a writing coach. I think of myself as a therapist, teacher and story analyst. There are many people like me, who work in and around Hollywood. Such is the flow of content coming in to Hollywood each day. And the vast majority of it is just terrible. So writers seeking a better shot at entry into one of the most exclusive industries in the world come to people like me to get a leg up and have a better shot.

But in an industry with seemingly dwindling returns, box office disappointments, and built in exclusivity, it's tough to provide encouragement to those outside the bell jar (LA) much less those in the bell jar - but not inside the citadel.

It is so far beyond my ability to manipulate the vagaries of an industry to achieve the sale of a script for a writer that it is mind-boggling. I would have to be the equivalent of Allen Greenspan, God herself and maybe Sumner Redstone - combined. Even then, Hollywood is a bitch.

It is a Herculean feat to keep trying to break into an industry that for the most part, guarantees exclusion. Except for sometimes. And it is those sometimes stories that keep writers (including myself) trying. It's a lot like Las Vegas. For writers, the desire to express is as powerful an addiction as that to gamble.

Counter-intuitively, innovation of new venues for content exhibition (the iPad, the Kindle, Netflix Instant Queue and of course the holy grail that is the internet) fuels a demand for content that is rising as quickly as opportunities for writers in Hollywood are narrowing.

Writers trying to break in feel patronized, excluded and frustrated. Hollywood is unfair, not nice and does not care how hard you try, how smart you are or awesome you think you are, but rather how successful, connected and talented you appear to be. And this sticks in the craw of aspiring writers like a bitter pill.

Some of the most excluded, bitter writers hang out on online chat boards. They vent by writing epic and epically emotionally violent diatribes about whomsoever or whatsoever seems to be standing between them and Hollywood. It is never the case that their writing is not up to snuff, no, it is that a writing competition was judged unfairly, a consultant gave them feedback that they didn't like or that various learning tools or software were a "rip off".

For the most part, these internet trolls, as they are known, appear to have endless hours of free time in which to verbally filet anyone stupid enough to come into their sights. And god forbid the target should try to defend him or herself. If words could draw blood, their keyboards would be drenched with it.

Online attacks have nothing in common with the wicked sarcasm of Oscar Wilde or the biting wit of Noel Coward. There can be no response, there is no personal contact and there is certainly no reason or intelligence behind the cascade of red hot words. Online attacks bear nothing in common with the most fiery presidential debate you've ever seen. Cyber bullies operate using fear, intimidation and the pure force of their words and sheer perseverance. Cyber bullies post for hours upon hours.

Cyber jerks tend to group together and create online mobs. Torches are lit and carried through message board villages and whomsoever the unlucky one is, with a slight real or imagined is strung up publicly. Tarred, feathered, and humiliated.

Cyber bullying is something we fear for our teenagers but it happens to adults every single day on some website, somewhere. The wonderful thing is that the obvious is true: when one turns one's computer off, the bullying ends effectively and immediately giving one a sense of powerful control. It's not real if you don't engage it.

But if you own a business which operates on the internet and through word of mouth, these so-called flame wars and character assassinations can cost income, reputation and years of hard work at the hand of ten or twelve cyber jerks with too much time on their hands and enough venom to bring down an elephant in three seconds.

Safely and conveniently anonymized behind fancifully named avatars, one wonders who these people really are. Do they have jobs? Relationships? Pets? Are they normally nice but late at night, online, they morph into Mr. Hyde?

I have recently received a drubbing by a very tiny group of internet trolls whom I have never met who spend hours each day in a virtual world that does not exist. And they were upset about something that I didn't say about something that didn't happen. You can try to follow that logic but you'll need an Advil to do the math. I still can't figure it out. But then, I was never good at math.

As I did my due diligence and scrolled through thirty-one pages of personal attacks and vitriol directed at me, my seventeen year old daughter at my side, read along with me in horror, some of the things said about her mom.

But mom, my shocked teen said - the PSA's for TEENS about the internet say you should never write something you would not also say to someone's face. Are these people ADULTS?

The information super highway is equally as much a utopian town square, a rich banquet of information, facts and entertainment as it is a dank, Byzantine labyrinth of dark alleys and sewers. The internet is the new "don't talk to strangers" and "don't get in the big white van".

Are cyber bullying and cyber lynch mobs a fact of modern life? Do moderators have the responsibility for quality-checking replies on posts? Or do users? Is this our brave new world, in which lives, reputations and businesses can be affected deeply by the rantings of an isolated, unreasonable few who demand "freedom of speech"?

The part I find most appalling is that my educated guess is that internet trolls (as they are known) are in general, regular people who would say excuse me if they bumped into you at the grocery store and who would rather cut off their own arm than say to you in person what they say to you anonymously online. It's a secret identity. It's where the rage goes to metastasize.

If I am a public figure do I have no choice? Does being dismantled personally and professionally, without mercy or dialogue come with the territory? None of my detractors in this particular incident are aware that my brother took his life 7 weeks ago and that I am a shell of myself. None know how many hours and how hard I work to do everything I do with integrity. They do not know how much Scotch-American father from Boston gave me a bootstrap work ethic to rival anything Ayn Rand could have imagined. And yet I have been disassembled and shown wanting. By people I've never met who spend hours each day in a world that doesn't really exist.

Is online rage the new porn? Something done secretly and furtively? Is it where helplessness goes home to roost? We tell our children not to be cruel online and we guard them against it carefully. The definition of a bully is someone of whom you are afraid . A bully is someone you make an about-face to avoid. Bullies leave you dry-mouthed and anxious. Bullies just never quit.

Who ARE these people who live among us by day but cozy up to their computers and commit verbal and emotional violence against total strangers in private? Are you one? If your friend were, would you know it?

Show me an internet bully and I'll show you a frustrated, lonely person who feels utterly powerless.

Like Bruce Banner, mild-mannered and polite, the cyber jerk mutates into the Hulk and all that rage, all the unfairness, all the slights of life erupt online. Could be aimed at you. Could be aimed at your teenager or friend.

All over the world, in an office near yours even now, anonymity is the only thing between the average citizen and a cyber jerk. A delicate filament of decency is easily torn asunder when there are no consequences for or interruptions of our words.

In an increasingly sterile world, the internet allows steam-letting and has birthed a new kind of violence: unchecked verbal abuse in the form of rants, screeds and character assassinations.

What have we done wrong as a society that the internet is the last refuge of the silent, emotionally violent types that have nowhere else to go? And more importantly, what can we do about it?