Screenwriting Contest Advice

Subscribe to the MovieBytes Screenwriting Contest Newsletter for weekly deadline alerts and other screenplay contest news!

Is Contest Feedback Worthwhile?

By Jerry Traynor, Associate Editor, Moviebytes.com

Aspiring screenwriters are often drawn to screenwriting contests, hoping to gain recognition, industry access, and valuable feedback. Many competitions offer script evaluations as part of their entry fee, while others charge extra for more detailed coverage. But are these contests truly a good source of feedback? The answer largely depends on the contest, the writer’s expectations, and what they hope to gain from the experience.

One of the main advantages of screenwriting contests is that they provide an external perspective on a script. Writers can become too close to their work, making it difficult to see structural flaws or underdeveloped characters. A contest judge or reader, approaching the script with fresh eyes, may highlight issues the writer hadn’t considered. This can be especially useful for newer writers who haven’t yet built a network of trusted peers or professionals to critique their work.

However, the quality of feedback varies widely. Some contests employ experienced industry professionals, while others rely on junior readers or interns with limited expertise. High-profile competitions, such as the Nicholl Fellowship or the Austin Film Festival, tend to have more seasoned readers, making their notes more insightful. Smaller contests, on the other hand, may not have the same level of rigor, which can lead to inconsistent or even superficial feedback.

Another potential issue is that feedback from contests often lacks depth. Many competitions provide only a few paragraphs of analysis, which may not be enough for a writer looking for in-depth guidance. A note about a character feeling “underdeveloped” or dialogue seeming “unnatural” is useful only if it comes with clear explanations and actionable suggestions. Without this, the feedback can feel vague or even frustrating, leaving the writer unsure of how to improve their script.

The subjectivity of contest feedback is another factor to consider. Screenwriting is an art, and different readers will interpret scripts in different ways. One reader might love a script’s originality, while another might see it as too unconventional. Some contests provide multiple evaluations from different readers, which can help balance out subjective opinions, but many do not. Writers who receive conflicting feedback may struggle to determine which notes to take seriously.

Cost is another consideration. Screenwriting contests can be expensive, with entry fees ranging from $40 to over $100. Feedback services often come at an additional cost, making it an expensive way to receive notes. Professional script consultants or coverage services may charge more, but they typically provide more thorough and personalized analysis. Writers should weigh whether contest feedback is worth the investment compared to alternative options, such as hiring a consultant, joining a writers’ group, or participating in workshops.

Despite these concerns, contests can still be valuable if approached with the right mindset. If a writer views contests primarily as a way to gain exposure or advance their career, then feedback is simply an added bonus. Some competitions, particularly those with industry connections, offer mentorships, networking opportunities, and introductions to agents or producers, which can be far more beneficial than the feedback itself.

Ultimately, screenwriting contests can be a useful source of feedback, but they should not be relied upon as the sole means of improving a script. Writers should research contests carefully, consider the reputation of their readers, and evaluate whether the feedback aligns with their goals. While some contests provide constructive and insightful critiques, others may offer only surface-level comments that do little to help a writer grow. The best approach is to view contest feedback as one of many tools in the revision process, rather than a definitive judgment on a script’s quality.