Meeting: The Aftermath...

So my reps had their meeting with Mr. Bigshot Producer yesterday. This is the guy who raved about my two scripts...and had all sorts of ideas for getting them produced...and said he wanted to get rolling on things as soon as possible...and he makes the trip to Los Angeles specifically to talk things over and get the ball rolling. But after a rather lengthy, rambling meeting, my reps just looked at Mr. Bigshot Producer—no, sorry, I have a new name for this guy: Mr. Wannabe Loser—and they said, “Why are you wasting our time?” No, really, that’s what they said. See, he suddenly wasn’t quite so keen on producing my scripts. Oh, he still liked them both very much, but he had absolutely no intention of actually plunking down any kind of option money. No, now he’s got other projects he’d rather work on...one of them being a historical drama. OK, so lemme see if I’ve got this straight. This fella is all hot and heavy over my two scripts...and he thinks they’d make bang-up movies...and he’s got all sorts of money to spend...and all sorts of ideas about shooting locations and casting...and he flies all the way out here specifically to meet with my people and talk business. But wait! Now he suddenly wants to produce some low budget movie about Mary, Queen of Scots? Wow, what a nut. Worse yet, he’s a time-wasting nut. Actually, I halfway expected this. Yes, I’ve experienced this sort of thing before. Fact is, there are people in this world who desperately want to be part of the film industry. They want to have the meetings, the lengthy creative discussions, they want to boast about all the money they have (or have access to), and they want to tell their golfing buddies: “Hey, look at me, I’m working on this movie!” But when push comes to shove, they turn tail and run, scampering back to their little hovel—or as in this case, their plush estate on some island back east. Excuse my censored French, but f*ck him. Onward and upward. He can stick ol’ Mary, Queen of Scots up his rear end for all I care. Anyway, I have a meeting with my reps next week and we’re gonna come up with other avenues on these two scripts. Welcome to Hollywood, boys and girls.

MAKING THE CONNECTION...

PART ONE: My reps recently made a connection with a producer who was on the hunt for solid, producible screenplays. He wasn’t looking for anything uber-budget with exotic locations and a cast of thousands. No, he wanted stories—preferably in the horror and thriller genres—that could be shot relatively low budget. That means few locations, a handful of actors and no outrageous FX. Well, I just happen to have scripts that meet those criteria. So my reps sent this gentleman two of my scripts: one a creepy horror story and the other a psychological thriller. A few days later, the producer calls and says he’s just read the thriller. He thinks it’s fantastic; it fits perfectly into what he wants to do. In fact, he’s so enthused he’s already discussing production possibilities. A couple days after that, he calls and says he loves the horror script. He says—so I’m told—he “got the chills” as he was reading it. I’m also told he’s very enthused and very much wants to get both scripts off the ground as soon as possible. In fact, he’s coming to Los Angeles in a week or so for a meeting with my reps. They’ll all get to know each other face-to-face and, hopefully, hammer out some sort of initial deal. Well, this is all very nice and hopefully it all works out, but I’ve been through this sort of thing before and know very well that—good intentions aside—it can all evaporate in the blink of an eye. But my reps have a good feeling about this one. I told them, “I’ll feel good about it when paperwork is signed and I’m able to cash a check.” That’s when you know it’s real. Until then, it’s all talk, talk, talk. So, we’ll see. I’ll keep ya posted on any progress.

PART TWO: Some of you might recall an October 2007 blog entry about a table-read I had on a sexy-thriller I was hired to write. Well, the producers have just started sending the script out to “the money people.” Of course, we all hope these initial money people have sense enough to know a really terrific script when they read one, and that they’ll jump on board and write a check. Alas, that’s not how it works 98.7% of the time in this town. This sending the script out to potential investors can, and probably will, drag on and on for at least a handful of months. After all, they might find a funding source that’ll put in the first half of the budget rather quickly, then it takes a loooong time to find a funding source that’ll put in the other half. This could drag on for a year...or two...or three. Then finally, after about five years of madness, my producers will say something like, “Sorry, Jim, nobody wants to see your script gate made. Please go away and never darken our doorstep again.” OK, so I’m being just a bit dramatic there. But really, this is a nifty script and, given the right production support, it’ll make a hot thriller. It’s gonna sell....and if it takes two or three years, that’s what it takes. After all, this is the movie business.

IT’S OVER!

OK, strike’s over, everyone back to work.

Actually, I’ve never really stopped working. I’ve been going pretty much full-strength since the first of the year, writing, rewriting, taking notes for future projects, and reading a bunch of great scripts. But...how many of you used the strike as an excuse to not do a bloody thing? I know some of you said, “I’m not doing anything until the strike is over.” I actually met a guy two weeks ago who told me, “I’ve been kicking back the last couple months, waiting for the strike to end.” Um...so why exactly did he do this? He wasn’t even a member of the WGA! Don’t get me wrong, I admire his support of the Guild—if indeed that’s what it was— but c’mon. (I should point out that this particular writer had completed just three unsold/un-optioned screenplays since he began writing in 1999.)

If there’s one thing I’ve learned in my years of screenwriting, it’s this: Don’t waste time. (Actually, this is just plain great advice for life in general.) This might seem obvious to most of you, but you might be surprised by how many people fail to heed this bit of advice.

If you’re still trying to learn what this whole screenwriting thing is all about, you should be reading some good how-to books, reading some great pro screenplays and, of course, slapping your own words down on paper.

If you’ve got a hot idea for a screenplay, it’s not going to write itself. You’ve got to come up with ideas, sketch ‘em out, plot, plan, and get it all poured into solid script form.

If you’ve written a script that you think is really hot, don’t merely send out a few queries and then sit around waiting for the phone to ring. It won’t.

You need to get your face out of your computer screen, get out into the world and make things happen. You’ve got to send e-mails, make phone calls, mingle, schmooze and meet folks in the film industry. This has got to be your way of life on a consistent basis. Sure, this all takes time, effort and a heavy dose of creativity, but that’s what your screenwriting career is all about. If you’re not prepared to do these things, you probably need to find a vocation that better suits you. Not everyone in the world is meant to write movies. But if screenwriting is what you want in life, you now have one less excuse for not getting things done.

The strike is over...get cracking.

Buy Q and A: The Working Screenwriter here!

Yet another fab review for my book!

Via e-mail several times each month, I receive a fairly steady stream of flattering reviews of my book, Q & A: The Working Screenwriter – An In-the-Trenches Perspective of Writing Movies in Today’s Film Industry. Most of these messages are fairly succinct: “I really enjoyed your book!” So glad I picked up a copy of your book!” “I learned a lot!” “You suck! Your book sucks, too!”

But yesterday I received an extra special review from a budding young screenwriter—the type of review that reminds me why I wrote the book in the first place—and here it is:

Hey, Jim...

I picked up your book this weekend and just finished it.... I loved it! I found it rich with insight and very entertaining. At times I would laugh when the writers would hit the nail on the head and discuss some of the very problems I've had either presently or in the past. I was also surprised to find great opinions and views that improve the areas of my writing that I'd already felt comfortable or content with. It's a very enlightening read, and a fun one, too. I haven't been so immersed in book since Agatha Christie's Ten Little Indians. It does in fact feel like you're in the same room with these writers—a fly on the wall, if you will—and free to soak up any and all that you consider to be helpful. Your book goes well with what you've taught me: find what works best for you. This addition to the books I have on the subject is invaluable, and is without question a new favorite. – Cody Buckingham

Big thanks to Cody for that wonderful review!

Now then, to those of you who have yet to pick up a copy of my book, I ask you: What are you waiting for? No, really, what? I wrote Q & A: The Working Screenwriter to be read...to be an educational tool for screenwriters everywhere...and not disregarded and left moldering in some book warehouse. So go ahead, pick up your copy today. You’ll be glad you did! You can order from:

Amazon.com
Barnes & Noble.com

And finally...to those of who have already purchased a copy of my book, thank you. To those who are about to order my book, thank you. To those who will never order my book...well, I’ll remember that when your book comes out. (Just kiddin’.)

MORE READER QUESTIONS...

Q: Does the type of scene you’re writing affect your mood? What I mean is, if you’re writing a scene about a murder or someone dying, do you ever get depressed?

A: I’m a pretty happy, even-keeled guy, so what I write usually doesn’t affect my mood much. I’ve been known to write scenes of graphic horror and violence and then go into the next room and joyfully eat a tuna fish sandwich.

I do know I can write comedy and get a good case of the giggles. Then again, I’m not sure if it’s because what I wrote was funny or if it’s because I’d been working too hard.

I do recall once writing a rather touching scene between a young girl and her father and it kinda tugged at my heartstrings. I guess that one brought up some warm memories about my own daughter.

But sure, I once killed off a character I especially liked and felt a modicum of remorse: “Ah, that’s rather sad. I sure liked that guy.” Then I realized how ridiculous I was being. After all, it’s only make-believe, right? So I laughed at myself...then went and had myself another tuna sandwich.

Now, I’m not saying you should be as heartless and detached as yours truly. I honestly think it’s a good thing if you’re having an emotional reaction to what you’re writing. It means you care—or it means you’re reasonably unstable and need immediate psychiatric help. Either way, you’ve found the right career path!

Q: What do you think of some of the computer programs that supposedly make crafting a screenplay easier?

A: Hey, if they work for you, great. However, I feel many novice screenwriters fool themselves by thinking, “If I have that cool program, I’ll crank out a killer script!” Sorry, but it just doesn’t work that way. If you don’t have the initial talent to begin with (and believe me, most people don’t), there’s a good chance that none of those programs will make a darn bit of difference.

See, that’s precisely the problem with the screenwriting game nowadays. We’ve got Final Draft, Movie Magic, et al. (which are most definitely a necessity these days), but we also have all these plot generating/story outlining/character development programs. Now pretty much every Tom, Dick, and Mary thinks all they’ve got to do is come up with some half-baked idea, input it into their computer, click the mouse a few times and—voilà—all the work is done! Again, it just doesn’t work that way.

Any which way you slice it, writing a screenplay—one that could actually be viable in the marketplace—takes a lot of hard work. It also takes thought, planning, organization, and a steadfast belief in oneself. Face it, it takes guts.

Now, I’m not saying that these programs don’t have a place in a screenwriter’s toolkit, and I’m not saying these programs are a waste of time and/or money, but—and I might be completely wrong about this—I do think it’s necessary for all of us to learn how to craft a screenplay without all the “tech” stuff getting in the way. I just happen to think you’re shortchanging yourself when you let a computer program do most of the work. After all, toughing it out on your own is one of the most efficient ways for us to learn and grown as screenwriters. But hey, you gotta find out what works for YOU.

So go ahead, spend some of your hard-earned cash on the latest plot generating/story outlining/character development programs. Perhaps they’ll work for you. If they don’t, well, it’s all part of the learning curve, right?

Hey...it’s four o’clock in the morning and I’m just spouting off my opinion here, so if any of you have a testimonial regarding the effectiveness of any of those plot generating/story outlining/character development programs, then please feel free to send ‘em my way.

Finally, a bit of silliness...

Here's something I recently found posted on a screenwriting/filmmaking forum (unedited):

Fiction Writter for hire
I am looking for an opportunity to compose a short storie and turn it into a film.
I don’t mean to poke fun at the poor guy who posted that, but c’mon...

HAPPY 2008!

IT’S A NEW YEAR!! As much as I love the holidays, it’s really good to get back to business. This is gonna be a great year, too. Business-wise, I’ve got some exciting things on my plate: scripts to complete, ideas to develop, a project or two on the brink of a green light, and a whole bunch of blogs to post. On a more personal note, a very wonderful thing that’s happened to me recently was reconnecting with a fabulous young lady I dated back in the early 80s. As nice as things were between us back then, it’s all so much better now. This relationship is all very familiar, yet very new—and very exciting. Yup, my year is definitely off to an excellent start!

As for you, my blog-reading friends, I hope you all have good things going on in your own lives. I hope you all have health, happiness... and some fabulous screenplays to get completed and sent out into the world!

ENTOURAGE: REEL VS. REAL

I was in this ultra-hip bar in Hollywood last night, celebrating my friend Craig’s birthday. We were sitting at a table—I was sipping my customary cranberry juice, of course—when a man brushed past me on his way to the restroom. I glance up and noticed it was Rex Lee, the actor who plays Ari’s Gold’s assistant Lloyd on the hit HBO show Entourage. This got Craig and I talking about the show and how much we both enjoy it. Then I suddenly remembered a question that a reader to this blog asked me a few weeks ago:

“Can you elaborate on how true of a depiction the HBO show Entourage gives of Hollywood?”

I thought this was a fun question. I mean, I really enjoy the show. At first, it was a bit too raunchy for my taste, but I’ve grown to love it. (C’mon, how could I not love it? After all, it’s about the movie business!) If you’re not familiar with the show, here’s the plot summery:

In this sitcom, the suddenly risen film star Vince Chase, a jeune premier of humble origins, learns the ropes of the business and the high-profile world of the wealthy happy few in and around Hollywood, but not alone: he brings from his native New York his atypical entourage (hence the title), not glitterati or professionals, but a close circle of friends since childhood, and his agent, Ari Gold, finds they often make his job harder as the Queens boys not only sponge off the star but also have his ear, so Vince is much harder to counsel.

Yes, Vince and his entourage roam the chic restaurants, bars, and glittering palaces of Los Angeles as a constant stream of established stars, wannabes, and a bevy of beauties fill the 1:78.1 aspect ratio HBO frame. OK, so how realistic is what we see on the show? Well, based on my own personal experiences and observations...pretty accurate.

Yup, it all exists: the self-important, temperamental film director, producer, and/or cinematographer...the budding, poser actor...the fair weather associates...the arrogant, high-strung, mile-a-minute agent...the bratty, snobbish mail room hustler...the sycophantic phonies...the smarmy pseudo-studs in their (usually rented or borrowed) $300,000 sports cars...the vacuous bimbettes shopping Melrose Avenue. At one time or another I’ve known, or at least met, all of these archetypes. (I want to make something clear: there’s a high population of generous, wonderful and creative people in this town. I’m fairly confident they outnumber their counterparts by about 8 to 1. Well, maybe 7 to 1.)

I’ve also been to many of the “trendy” locales featured on Entourage. If you’ve watched even one episode, you’ll be well aware of how producers tend to fill many of their scenes with unbelievably gorgeous eye candy. For the most part, when it comes to this eye candy, I find that true life is represented fairly accurately. (Ladies, please don’t ask me about the men in this town cuz I simply don’t notice them. I just don’t.) Believe me, there are hordes of gorgeous women in this town—there’s more plastic in L.A. than you’d find in a couple dozen Mattel toy factories—but I do think the show exaggerates it all just a tad bit. For instance, if Vince and the guys are walking along a street in Santa Monica or strolling along the Venice boardwalk (both of which are situated right on the edge of the Pacific Ocean), you’ll see nothing but bodacious, bikini-clad beauties. But there’s one thing you probably won’t see: the homeless and the psychologically impaired. Ugh, it’s a bit of a mess in that part of town.

But...can you see Hollywood movers and shakers driving along Sunset Boulevard in their high-priced convertibles and SUVs, cellphone to ear, working out the details of some big film, TV, or recording deal? Yup, you sure can.

Can you have a drink at a trendy west-side watering hole and find Harrison Ford nursing a drink a mere couple chairs over? Ask my friend Craig, he’ll tell you it’s absolutely possible.

Can you go into any one of the chic restaurant/bars and find yourself sitting next to Lindsay Lohan, then a couple hours later run into Bill Murray at another chic restaurant/bar? Sure, Craig will tell you that’s totally possible.

Can you be casually strolling through a Halloween pumpkin patch one moment and caught up in a Paris Hilton/paparazzi maelstrom the next? Been there, done that.

Can you walk down a street in Beverly Hills and nearly collide with Sean Connery as he emerges from a restaurant?

I think you're gettin' my point here, aren't ya?

Buy Q and A: The Working Screenwriter here!

SCREENPLAY COMPETITIONS...

If you've read the Questions & Answers section of my other screenwriting blog, you'll know that I'm not exactly a huge fan of the myriad screenplay competitions. It seems contestants always pin so much hope on something that, ultimately, delivers very little return, if any. Sure, I do feel some of the better-established competitions definitely have their place, but still...

I've always been a bit hesitant to go further into my opinion of script competitions simply because I've never actually entered one. So, with that in mind, I interviewed ten screenwriters who have entered competitions, getting their points-of-view, both positive and negative, on what they thought of it all. These screenwriters are: Bob Saenz, Cindy Keller, Jacob Keller, Joseph Calabrese, Larissa Olick, Lonnie Turner, Matthew Stoker, Rob Bentley, Robert Newcomer, and Stephanie Dube. So, if you're thinking about entering your new hot script into a competition—and even if you're not—I think you'll find what these folks have to say both interesting and illuminating. OK, here we go...


Q: Which screenwriting contest(s) did you enter?

BOB: BlueCat and Cinequest.

CINDY: I've entered quite a few over the past four years. They are: Write Movies, 20/20, Scriptapalooza, A Feeding Frenzy, Gimme Credit, American Gem, PAGE International, and Hellfire's Short Horror Screenplay Contest.

JACOB: A short list includes: Fade-In Magazine Screenplay and Fiction Competition, Fade In Awards, Script Magazine’s Open Door Contest, 9th Annual ASA International Screenplay Competition, Slamdance Screenplay Competition, Slamdance Horror Competition, 13th Annual Writer’s Network Screenplay & Fiction Competition, and the Waterfront Screenplay Competition.

JOSEPH: Nicholl, Austin, Slamdance, Cinequest, PAGE International, Filmmakers International, Script PIMP...

LARISSA: Along with my writing partner, I’ve entered The International Shriekfest Film Festival, The Waterfront Film Festival, The Screenwriting Expo, Cinequest Screenwriting Competition, Acclaim TV & Film Competition, Austin’s Heart of Film Competition, Kairos, and of course, the Nicholl.

LONNIE: The 2005 Shriekfest Film Festival screenplay competition. The concept of the fest is to promote and/or discover up-and-coming talent in the horror, sci-fi and fantasy genres.

MATTHEW: BlueCat and the Nicholl.

ROB: Myself and my co-writer have entered Creative Screenwriting AAA Contest, Scriptapalooza (both TV and feature film), Project Greenlight 3, Nicholl, and Disney.

ROBERT: BlueCat

STEPHANIE: TV Writer.com’s Spec Scriptacular and the People’s Pilot competition. Also the Disney Fellowship and the Final Draft contest, among others.

Q: How many screenplays had you written prior to entering your first competition?

BOB: I had four completed when I entered BlueCat. Eight or nine when I entered Cinequest.

CINDY: One. And looking back on it now, it was a real stinker. The funny thing is that it advanced further than the first round of judging. So I don't think they actually read it. Another funny thing about that contest [which is purposely remaining anonymous] is that I had ordered a screenwriting booklet from them, and never received it. What I did get from them was a copy of someone else's script. They never answered my e-mails about it either, so I haven't sent them any more of my scripts.

JACOB: I would say three or four. But I don’t often count those because the source material wasn’t my own and I never really took it too seriously. At that time, I was in this strange limbo between hobby and career. When I finally decided to get serious about two years ago, I treat that as the official start of my screenwriting career and in that case my screenplay was really, really good.

JOSEPH: One.

LARISSA: None. My partner and I entered our very first script—a sci-fi thriller— in the Acclaim TV Competition, and we ended up being semi-finalists. This is what really encouraged us to continue writing. It was a weight off my shoulders to know that our writing was at least “okay”—not great, but it wasn’t a complete waste of paper either. Acclaim gave us detailed notes about the script—what worked and what didn’t—and we used those notes when we did the rewrites. After our experience with Acclaim we decided to go ahead and try writing a feature script. With what we learned from Acclaim’s notes and a scriptwriting book we won, we wrote a horror script that eventually placed as a finalist in The International Shriekfest Film Festival.

LONNIE: I had stopped and started on at least a couple dozen, but had completed only one. The script I entered was only the second I'd ever completed. Screenwriting was more a hobby for me than anything, at the time.

MATTHEW: I had written a few practice scripts, none of them were very good.

ROB: None. We self-published our own comic book before trying our hand at screenwriting.

ROBERT: I entered the first feature-length that I had ever completed. But it was a third draft, and amended based upon feedback from readers at SimplyScripts.

STEPHANIE: Quite a few. I was a scriptwriter for a weekly children’s program at a megachurch, which was led by a man who used to write for a popular TV sitcom. Everything we wrote was in professional format, so I was quite familiar with the style before entering any competitions.

Q: If you sent one of your first script attempts to a competition, is this something you regret?

BOB: If I hadn't learned early on that I shouldn't send my first one in, I probably would have wasted my money and done that. Luckily, I had some very good advice from competent people very early in my career.

JACOB: The very first contest I entered with my very first screenplay was in 2001, with source material that was not my own. I was 18 years old and I had absolutely no idea what I was doing. Ignorance is bliss, but knowing stuff is a lot more fun. Compared to now, what I didn’t know then is staggering. And, of course, as a result, I failed miserably. I was crushed, to be sure, but I don’t regret doing it. I needed that failure to reaffirm what I didn’t know so I could fix it. I spent the next few years collecting all the information I could on all the ins and outs of writing for and entering a contest. I poured myself into my first original project and got a “do-over” in spring 2006. This is what I consider my first real contest of something I wrote from scratch all in my head. My “second” first-time was much more successful.

JOSEPH: Not really. My first script written specifically as a spec for sale (prior I wrote for my own productions) just happened to win third at Slamdance. It was a great career boost, not to mention an ego boost. I realize though it was a happy fluke and very rarely does a first-time writer win anything.

LARISSA: No way! It was a great learning experience. Even if we ended up not even reaching the semi-finalist stage, we still would’ve received feedback (it was guaranteed for all entries). That feedback was an opportunity to see what people (besides our friends) thought of our writing.

LONNIE: Definitely. I did well in the competition—I was told that though only the first and second place winners were named and awarded, my script was right in there up to the very end—but as I read back over that script now, it's easy to see why it didn't win. I still get compliments and read requests for the script and though it has its strengths, it also has some major weaknesses.

MATTHEW: It was probably my fourth or fifth, but no, I don’t regret it. I didn’t expect to win at that point. I mostly entered on a lark.

ROB: No regrets due to the feedback we received from PGL 3.

ROBERT: Not at all. But then, it was a decent script, too. A novice effort, to be sure, but polished and competent. I had taken the time to research the craft, which is an important step that many first-timers undervalue.


Q: If "yes" to above, do you feel it would have been best if you had more completed screenplays under your belt before entering?

BOB: See above answer.

CINDY: Of course.

JACOB: No. I know as a writer now, that if I had not taken the wrong path, I wouldn’t know what the right path looked like. Personally, I think that anyone in any business that either tries to avoid failing or ridicules those that do fail doesn’t really understand what real success is.

JOSEPH: Yes.

LONNIE: Yes. I honestly don't see how the script did as well as it did; I look at it now and am almost embarrassed at how amateurish it is. It may have been my story, but I wasn't a good enough writer at the time to do it any real justice. I think if I'd had more experience with the actual craft—building a story up, drawing a reader in, "showing" and not "telling"—the script may have done better.


Q: Did you receive any type of feedback on the script(s) you entered?

BOB: Yes, from BlueCat. It was interesting. I wasn't one of the finalists, yet the "review" of my script said it was very, very good and suggested only a few very small changes that didn't effect the overall script at all. My thought was, "If it was that good, why didn't it make it to the finals?" I let it go, but never entered again. Cinequest politely told me I didn't win anything and thanked me for entering. I optioned that same script to a large L.A. production company about a week later.

CINDY: Yes, from three of them, but the only useful feedback I received was from Gimme Credit and A Feeding Frenzy. Gimme Credit sent me my scores as well as a few paragraphs of helpful notes stating what they thought worked and what didn't. A Feeding Frenzy went way above and beyond (sending ten pages of notes). Both sets of notes helped me with the rewrites, and the scripts are much better now.

JACOB: No, and that is my number one complaint. I know there are businesses that offer those services for a fee but they are often very expensive. I just wish there was someplace to go online where you could post your screenplay or specific scenes and ask for feedback from people that are in the same boat as you, kind of like leaving comments for a video on YouTube or Break. But I also understand that it’s a double-edged sword too. There is a part of me that wants to know what people and professionals think. However, there is also a part of me that quite frankly is embarrassed by what I write, the subject matter I write about, and the way I write. It’s all very complicated in my mind.

JOSEPH: I did on Slamdance and ScriptPIMP. It’s really helpful to see what others think, especially those with some insight into the biz.

LARISSA: Acclaim and Kairos both gave written feedback. With Shriekfest and Waterfront we received feedback directly from the competition directors when we attended the festivals. Carrie Cook and Dina Chapman, the directors of Waterfront, were very happy to discuss our screenplay. They pointed out the weaknesses and strengths of the script, and provided comments that we took into consideration later when we did another polish on the script. I know some people didn’t like the feedback they received from Acclaim, but I thought ours was right on the money—professional, specific, detailed. With Kairos, though, I was disappointed with the quality of the feedback, especially since it sounded like the script wasn’t read past page one. This came across as a crummy deal to me, since it had a hefty entry fee. Recently, though, my opinion has changed about Kairos. I posted my experience on MovieBytes, and was surprised when Michael Trent, the competition director for Kairos, contacted me via e-mail. He read my comment, went back and looked at the feedback and sincerely expressed his distress at my negative experience. He informed me that the panelists who wrote the feedback were no longer with the competition, and assured me that he truly cared about writers having a positive experience with Kairos. And to prove this point he invited me to enter a script of my choice in this year’s competition sans entry fee. I thought this was a nice gesture.

LONNIE: Not really, no. I was kept informed during the judging process of where my script stood, but I never received any kind of coverage or analysis. Denise Gossett, who founded Shriekfest, told me in subsequent e-mails that the script stuck with her and she's referred me to a few prodcos and/or filmmakers. But the real feedback came subsequently, as I posted the script on various screenwriting message boards. Which I should have done before submitting it, because at the time I did so, I'd yet to take any time away from the script to be able to look at it objectively. People who've read it since, mostly compliment me on my style of writing and the strength of the general story, but the weaknesses are apparent to just about everyone who reads it.

MATTHEW: With the BlueCat competition I did receive a written feedback for my script. It was clear the reader had actually read the entire script from the feedback. They wrote both about the good and the bad aspects of the script. It wasn’t the most in-depth analysis I’ve received, but I did realize a few issues with my script that I hadn’t before.

ROB: Project Greenlight 3 was probably the only contest that we received enough feedback to fix problems in the script.

ROBERT: Yes, and I was satisfied with it. I was convinced that the reviewer had read the script, and they picked up on many of the things I was trying to accomplish. BlueCat may have a tendency to be a little too nice, beginning every review (that I have seen) with praise that may or may not be warranted. But there are worse sins, I suppose. And the second half of the review does offer suggestions for improvement that are generally sound.

STEPHANIE: Only on the Spec Scriptacular and the People’s Pilot. Larry Brody, who runs TVWriter.com, sent me feedback on both my entries. One of them was ranked as a semifinalist and was only .25 points away from third place! His feedback was incredibly helpful, pointing out areas that needed improvement and affirming areas that were strong.

Q: Did the competition try to hit you up for any pay services, such as script consulting, proofing, representation, etc.?

BOB: No, they didn't. If they had, I would have had some fun with them before blowing them off.

CINDY: No.

JACOB: Slamdance offers those kinds of services but never tried to pressure me to get them or tack them on when I entered the contest online.

JOSEPH: No. Stay away from those. Do research before sending the check. Some services such as feedback for an extra fee is worthwhile if the competition is a noteworthy and legitimate one.

LARISSA: No.

LONNIE: Not at all. I was at least aware enough of scam contests to check up on the comp. I can't vouch for any other script comps because I've only entered the one, but Shriekfest is on the up and up. I was never asked to pay for anything other than the entry fee, and there were no hidden clauses or tricks or confusing fine print. The comp is what it presents itself to be: a chance for aspiring writers and filmmakers to have their stuff seen.

MATTHEW: Nope, both competitions were completely professional and seemed legit.

ROB: I would hazard a guess that maybe one or two maybe have offered coverage through a third party when the e-mail arrived to announce the winners had been chosen.

ROBERT: I still get e-mail from BlueCat pretty regularly, but the feeling you get is more that they are trying to foster a relationship with the participants as opposed extract more money—although there are certainly opportunities to spend more, should you desire to do so.

STEPHANIE: For the TVWriter contests, you could pay a small extra fee for the feedback, but it was certainly worth it. The other contests involved no additional fees aside from entering.



Q: If “yes” to any of the above, did you take advantage of any of these services? Or do you feel like you were the one being taken advantage of?

JACOB: I have, once, through Slamdance. I never felt I was being taken advantage of. Perhaps, it was because of my naiveté. However, I probably won’t do it again simply because of the cost. At the time it really wasn’t beneficial to me because they were unable to answer the questions I had. It was too impersonal. But it’s certainly not their fault, it’s just the nature of the game. It’s kind of like high school. When I went to high school the classes were packed—30+ students—and the teacher would do the best job he or she could, giving notes on essays and such, but it was never anything personalized or one-on-one. It wasn’t until I went to a private college with 8 to 15 students per class did I get the kind of attention that I think every student deserves. But I don’t blame my high school teacher, it was just the nature of the game. With all the people that enter these contests, it’s just impossible to offer real, constructive, personalized notes for each and every person, especially when you don’t know them.

ROB: I never took advantage.

ROBERT: No, I have not. But I do not mind the messages, either. Occasionally they contain items of vague interest.

Q: If you won, or even placed high in the competition, did it have any positive effect on your budding career?

CINDY: Sure, I'm getting more reads, and isn't that what it's all about? Getting your script into the right hands. The problem is that there are a lot of wrong hands, too; so I've learned to be patient and how to deal with rejection. I'll keep on writing, sending out e-mails, and entering contests in hopes of finding the right hands.

JACOB: The highest I have ever placed was a semifinalist, beating out 1,700 other writers, but so far nothing has resulted from this placement. But that is the number one reason I enter, to get recognition. I think I am like most writers who enter contests, in that it’s not so much for the prize money (which is still nice) but the plethora of industry contacts that will follow.

JOSEPH: With Slamdance, yes, but only because I went to the festival and networked. If you win a script comp and don't toot your horn, no one will notice.

LARISSA: When my writing partner and I attended Shriekfest, Denise Gosset (the founder and director of the festival) made sure that we met everyone during the networking parties and pointed out all the publicity opportunities available. Along with some of the filmmakers, we did an interview with Tomorrow Pictures Television, and then an on-line interview with Dark Romance (http://www.darkromance.com/). I met a lot of great people at Shriekfest and Denise made sure to e-mail us referrals from filmmakers interested in scripts similar to ours. So, Shriekfest was definitely a positive experience for us. With The Waterfront Film Festival, we were very excited with our finalist placement. This was a big moment for us because the competition wasn’t just opened to new writers, but to professional writers as well. Our script actually placed above a couple of professional writers, including a WGA screenwriter. I have to admit, it felt pretty cool. We really got to see how our work stacked up next to professional screenwriters, and since the prize was a possible production deal, whether or not our script had a commercial concept. From The Waterfront Festival, we made a lot of contacts, both at the parties and just walking around the venues. Another writer we met, whose script also did well in the competition, was kind enough to give us a referral to an agent friend of his. This was another big moment for us because it was our first agent referral. Placing in Shriekfest and Waterfront certainly didn’t hurt us any. Only time, though, will tell if any of these placements will benefit our “budding career.”

LONNIE: Yes. I didn't win, but the festival promoter (Denise Gossett) has subsequently contacted me several times referring me to prodcos and filmmakers she thinks may be interested in my script. And being able to mention having been a finalist in a comp in the "experience" portion of query letters garnered me several reads for other scripts. I even made my first script sale last year after a small prodco read the script and asked if I had anything else. I did, and they bought the next script I showed them. I didn't get rich—it was my first sale and I was (and still consider myself to be) an amateur writer, but it wouldn't have happened if they hadn't read the script I'd entered into the comp and asked for more based on that script's strengths.

ROB: The script we entered into Project Greenlight 3 made it into the quarterfinals of AAA and Scriptapalooza, but it didn’t advance further. The only positive effect it had on us was to continue to keep writing.

ROBERT: I did not win, and have no idea where I fell within the spectrum of entrants.

STEPHANIE: I am taking the feedback I received and am using it to improve my script, so I can enter it in future contests.

Q: Whether or not you won, what are some of the positive aspects of the competition you entered?

BOB: I took a chance. I was willing to put my original writing into the hands of contest judges to see if they liked them. That's a positive thing. To have enough faith in your work to put it out there.

CINDY: A chance at getting produced, representation, feedback, and money.

JACOB: Positive? I guess the only really positive outcome thus far is that I have refined my contest skills. I know the routine, what’s expected, the fees, dates, and basically all the little fine details that show I am no longer an amateur. I also know what the judges like and don’t like.

JOSEPH: The ones I placed on—even semi-finals—do give you something to add to a query, the ones you get feedback from give you insight to make your work better.

LARISSA: Well, since we placed in film festival competitions, we received tickets to the festivals as part of our prizes. This was a great opportunity to meet emerging filmmakers, new actors, and other aspiring writers. I’ve never done well in Nicholl, but it was still a necessary experience in my opinion. I think every writer should enter Nicholl at least once, and just see what happens.

LONNIE: Placing as a finalist in my first-ever script comp, using only my second-ever completed script, was a huge confidence booster. Though my day job and family life have prevented me from really pursuing a screenwriting career, that competition, plus the subsequent selling of my third-ever completed script, has led me to think maybe I can make a career out of this. And man, if I can get away from my day job long enough, I'd love to give it a go.

MATTHEW: The feedback from the BlueCat was helpful. Other than that, I can’t say it was really positive. It didn’t really change anything at all.

ROB: Positive aspects were getting some solid feedback on the script and seeing our names under the quarterfinalists.

ROBERT: I found the contest to be well run, and they delivered the results when they said they would.

STEPHANIE: Deadlines from competitions push me to complete my scripts much faster than I would on my own. By entering these contests, I have developed a list of spec scripts that highlight my talents. In addition, I received feedback that is valuable to improving my writing. These contests were definitely not a waste!

Q: What do you feel are some negative aspects, if any, of entering a competition?

BOB: The rejection might slow up a writer that wasn't as self-assured. BlueCat at least gave a little feedback. I've seen other feedback from them on other scripts by friends who entered, and it was like they hadn't read the same script.

CINDY: Not all contests are equal. Anyone who wants to enter a contest should check them out beforehand at MovieBytes.com. Check to see what other writers have to say about them, and make sure they are a reputable competition.

JACOB: Any negative aspects that I am forced to complain about is the intangible that often plagues any creative-based industry. What makes a good script? What makes a winner? Often those scripts that are picked to win are for reasons that often escape the judges. On the same token, scripts are chosen to either be bought or produced, not because they are the best written, or the most brilliant, but a million other reasons that beginning writers have no control over. Unfortunately, there is only so much talent, hard work, and studying one can bring to any contest. The other parts we have no control over and it is often just pure luck based on the reader’s tastes, how your style comes across, and how well the image you are trying to create is communicated.

JOSEPH: The time it takes to hear any news on it. There are a lot of no-name and, dare I say, scam contests. Be picky and do research on the comps you choose and choose the ones which have a track record of having scripts in your genre that have won. Don't submit a horror script to Nicholl—it just won’t get any tracking there.

LARISSA: High entry fees annoy me. One of the things I like about The Disney Fellowship is that there is no application fee. Also, I don’t think competitions can really determine if a person is a strong writer. Advancement depends heavily on the opinion of readers—or sometimes just one reader. A person with a solid script might not make it past the first round, while a person with a mediocre script makes it farther. So, contest placement isn’t really accurate in gauging whether or not a person is a good writer, and the same goes for not placing in a contest. Look at Euripides—there were a number of dramatic contests he did not place in, but today he is considered one of the greatest Greek tragedians.

LONNIE: Couldn't tell you. I try to see everything as a learning experience. Losing showed me where my weaknesses as a writer were, while placing as a high finalist showed me that regardless, I'm a better writer than I thought I was. Losing isn't a negative thing; it's an educational experience.

MATTHEW: I just think you need to choose wisely on which contests to enter. Check out the reward, and how many people win, and what the ultimate upside of winning really is. Not just financially either. You want to enter contests that a prospective buyer would find respectable. At this point there are only a few contests I would seriously consider entering.

ROB: The negative aspects for the other competitions (beyond PGL 3) are that they didn’t offer written feedback. I know that’s a lot of work for a lot of scripts. Other competitions offer coverage for an extra fee, but you would think for fees being charged you’d get some verbal do's and don’ts, even if it is a form letter with check boxes.

ROBERT: It is not so much a negative as it is a learning experience, but in the future I will choose the contests I enter more carefully. I am primarily a horror writer, and there seems to be a "drama" bias amongst many of the top-tier contests. I will probably choose a contest that is more geared towards horror scripts next time. And it may just be a sour grapes thing, but looking at the winning entries, dramas are all you ever seem to find—and I cannot imagine that there are not some worthy horror scripts out there. But then, the horror writers themselves also have to bear a fraction of the blame, I suppose. There is plenty of dreck out there in Horrorland, and I am sure just about any reader greets a new horror script with a roll of the eyes—whether they admit it or not.

STEPHANIE: Really, none. I’d caution people who have “thin skin” to prepare themselves before receiving feedback. You have to be able to accept constructive criticism and learn from it.

Q: Based on your experiences, would you recommend screenwriting competitions as a way for budding screenwriters to further their career?

BOB: No. I haven't heard of anyone's career "furthered" by one of these contests. There might be a couple of people over the years, but when I read or hear about a writer "making it," I never hear about any contests they won, but about the quality of their work. I would advise young writers to save their money and spend it on postage to send out their query letters or to spend it on quality coverage.

CINDY: To further their career? I'm not sure about that one. There are some screenwriters who get noticed and produced after entering a contest, but there's no guarantee and the numbers aren't that great. I think a finalist or winner status is helpful in getting read, and I also think that when a writer does well in a contest it sort of gives them a nudge to write some more.

JACOB: Absolutely! Until a screenwriter enters a contest, it is almost impossible to know if you’re even relatively good or have what it takes to be a writer. Unless you know someone in the business, or have read a lot of different screenplays, there is really no other way to tell where you are in the grand scheme. I have learned so much from entering and even the slight amount of feedback I have received has given me the confidence to press on with whatever I am doing and also seek representation, knowing that I am no better or worse than most screenwriters working today.

JOSEPH: Definitely, especially if they are legitimate and noteworthy ones, or if they have festivals that you can network at.

LARISSA: If you do enter competitions, I recommend competitions that are held in conjunction with film festivals. This way, if you place, then you can attend the festivals not just as a “filmgoer,” but as a finalist—or even better, a winner! Film festivals offer great networking opportunities, and the people are usually very friendly. Festivals are the kind of places you can just walk up to someone and initiate a conversation without being considered aggressive.

LONNIE: Based on the sole comp I entered, yes, I would. The entire experience for me was a pleasant one. I know I never would have gotten the subsequent read requests or even had my first sale if I hadn't put my work out there to be seen. You'll never know how good or bad you are until you let others read your stuff and comps—the honest ones—allow you to do exactly that.

MATTHEW: Tough question. You always need to be using the alternative routes as well. Just waiting for those competitions every year is going to be an incredible waste of time and ultimately, probably a disappointment. If you know your scripts are terrific and you can afford the entry fee, then yeah. Just be picky on which ones you enter.

ROB: I would recommend Nicholl and Disney Fellowship as two competitions, since they are free and offer the best exposure. Exposure is better, in my opinion in the end than prize money or fourth place with a subscription to a screenwriting magazine. I would not recommend entering every single competition willy-nilly, I’d recommend looking at the rewards and then make your best choice. If you’re a struggling screenwriter then there’s no need to waste money down the drain on a contest that offers nothing in return. In the end, it’s not the contest that gets you found, it’s the script.

ROBERT: From the standpoint of a pure novice, with no connections, it seems like the only way to get noticed. The Internet is changing that to a certain extent, and I have received e-mails regarding works I have posted on public forums. It seems to be a lot like fishing. All you can do it put yourself out there and wait for nibbles. But I will continue to enter contests now and then. Maybe even BlueCat, should I write a nice drama someday.

STEPHANIE: Absolutely! Screenwriting competitions aren’t guaranteed methods for jumpstarting a career, of course. In fact, the chances of winning are pretty slim. However, the feedback you receive from some can greatly improve your writing skills. In addition, I would encourage aspiring screenwriters to check out http://www.scriptwritersnetwork.org/ and http://www.tvwriter.com/. Both Web sites contain a wealth of information, including competitions screenwriters can enter, where they will receive valuable feedback on their scripts.

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There you have it, a revealing peek into the world of screenplay competitions. I know I learned a thing or two and I hope you did too. Big thanks to Bob, Cindy, Jacob, Joseph, Larissa, Lonnie, Matthew, Rob, Robert, and Stephanie for their participation! -- JV

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