Recommended Screenwriters
What’s It Take to Win?
- June 8, 2010
- Posted by: HalCroasmun
- Category: Articles
For winners of the big contests, Hollywood doors open magically and suddenly, your work is considered, read, and sometimes even bought. It can be a dream come true. Even the medium sized or smaller contests offer some industry exposure and bragging rights. But with 500 – 5,000 entries, the competition is fierce.
Before we discuss what it takes to win, let’s hear from two of our contest winners who both took First Prize in well-known contests. This is what it is like when you win.
“You get up to 100 requests for your script, your name in the trades, and you are the flavor of the week. The Academy pays all your expenses to fly you to LA for a week. They put you up at a great hotel. You go to fancy dinners and casual lunches at the Academy itself. Agents, producers, managers, other writers, will come speak to you at the Acade my and be there to answer your questions. It is a magical week…an incredible experience.”
Patricia (Pooks) Burroughs
Winner Nicholl 2001
http://www.patriciaburroughs.com
“Winning this contest has helped me build a new level of confidence – I feel that it’s an outside endorsement that I do have writing talent. And I get requests for reads when I queried people with the words “Read Screamfest’s “Best Horror Screenplay” Winner.”
Jami Deise
Winner “Best Horror Screenplay”
Screamfest, 2002
Winning a contest takes you one step closer to the possibility of selling a script. It validates your talent and provides credibility when you speak with agents or producers. It can also be evidence you call upon during tough times that you are doing the right thing. And that can keep you in the game when others give up.
That’s the good news.
WHAT’S THE BAD NEWS?
Sadly enough, most screenwriters have little knowledge of the contests they’re entering or what strategies will work best for them. Some are just tossing the dice and hoping a fluke will get them a prize. Listen to what the Chairman of one contest said about scripts sent to contests:
“The vast majority are uninteresting, derivative, poorly executed, and/or unprofessional in their presentation.”
Jim Shea
Chairman of Producer’s Outreach
http://www.ScriptWritersNetwork.com
So we went in search of a solution.
After many years of creating “Expert Models” for Fortune 500 corporations, I’m fully convinced that if one person can accomplish something, others can…if they gain the necessary experience, understand what the “expert” does, and takes the correct actions.
Our panel of experts includes winners, readers, and contest administrators from contests like Nicholl, Austin, Final Draft and other contests. Understanding their perspectives on contests can give you an advantage in preparing your script and creating strategies to win. Quotes from those interviews are in this article and are the basis for an extensive report called “51 Tips For Winning Contests” which you can get free below.
If you’re new to contests, this is a rare chance to get advice from those who have been behind-the-scenes and know what causes success in contests. Let’s start with the reader.
WHAT DOES A READER WANT IN A SCRIPT?
Some people speak harshly about readers, as if they are the enemy, but listen to what they really want as they open your script.
“My strongest wish when I sit down with each script is that “This is the winning script. I found it. I helped it climb.”
Paula Hamilton
Second Round Reader
Austin Heart of Film Screenwriting Contest
I’ve been a reader before and I know Paula is telling the truth. You want a script that blows you away, takes you on a journey, and that you can feel proud recommending. Those are a joy to read. But they only happen when the writer does a great job on screenwriting basics.
“Each time I open a new screenplay, I hope to be surprised by a truly well-written script. I hope to be impressed by a script which includes all of these qualities: competent script-writing; craftsmanship that signals a serious writer; real talent in the writer’s ability to make me care, laugh, cry or cringe; and freshness of voice and imagination.”
Elizabeth A. Stevens
Reader for Final Draft competition,
Fortis Films, Bel-Air Entertainment and others
While there are flukes where a great script gets denied because of a reader’s personal taste or some other system problem, in most cases, there is a huge difference between the finalists and the majority of the other scripts.
WHAT’S THE DIFFERENCE THAT MAKES THEM SO SUCCESSFUL?
If you haven’t read or judged for a contest, it is hard to know the level your script needs to be at to win. Without this experience, most people are just shooting in the dark when sending in their scripts. Maybe some of our panelists can shed some light on this.
“The difference between finalists and the vast majority, is an engaging story, told well versus something that fails to hold your interest. That means hooking the reader with an exciting, unique premise, engrossing characters, an escalating tension, leading to an apparent defeat, an unpredictable twist to a do-or-die effort (usually doing the thing he least wants to do) to overcome his flaw, and achieve his goal in an emotionally satisfying resolution.”
Jim Shea
Chairman of Producer’s Outreach
http://www.ScriptWritersNetwork.com
We’re talking about the basics of what needs to be in a good script. And if you do them well, you’ll deliver an experience to the reader that they won’t forget.
“One particular screenplay that I read and loved was about a female James Bond type hero. She was sexy, funny and exciting. She leaped off the page. I could picture her, the situations, and action sequences. We were only given the first 30 pages to read in this round and this was the only screenplay out of 50 I had read where I wanted to read the rest of it.”
Patrice Williams
Reader – Carl Sautter Competition
Did you see that? One out of fifty scripts caused her to want to read past page 30. Believe it or not, that’s typical. So many people just throw a first draft or a “work-in-progress” at a contest and hope for luck to be on their side. But there’s a better way. You’ve heard the saying “luck is when preparation meets opportunity?”
What if you write and prepare your script so well that can compete with that 1-out-of-50? That’s what it takes to win. Remember, if a contest has 4,000 entries, then there are eighty of those 1-out-of-fifty scripts you’re competing against.
HOW DO YOU PREPARE YOUR SCRIPT TO WIN?
To be a finalist in most contests, you need to be in the top 5% or better. To win, you need to be the best out of all the entries. It is important that your script is exceptional and that requires serious preparation.
“I prepare by following the eight rules of screenwriting: Writing is Rewriting, Writing is Rewriting, Writing is Rewriting, Writing is Rewriting, etc.. Naturally, I also had a lot of critiques along the way. My advice is to look around for inexpensive critiques. A hundred bucks spent here or there isn’t much but it has really helped all four of my scripts.”
Jack Bennett
Winner eShay’s 2002 Screenwriting Contest
Wisconsin TV Pilot Contest, 2002
“Information is power. So before entering, it is essential that your script be read and evaluated by someone within the industry who can give you some frank feedback. It you vet your script in advance through a good coverage or script consultation service, you can potentially identify and eliminate many of your script’s weak points.
One place to get good, yet free, feedback is the new Helium screenplay peer review site, http://www.heliumpeerreview.com. Users give and receive critiques to and from other screenwriters. The feedback I’ve received there has been outstanding, and extremely helpful. And it’s free (for now, at least). You can’t beat it.”
Al La Sorte
Grand Prize Winner
Fade In Screenwriting Awards 2002
“The script is ready when no stone has been left unturned and I’m satisfied, and the consultants I use say they think it’s ready too. Submission criteria are the same as for submission to a studio or producer.”
Sean Rooney
Winner
Breckenridge Screenplay Competition 1998
These writers are contest winners. They’ve done their homework. They’ve had critiques, consultations, and been through other contests. In some cases, they’ve had actors do public reads of their scripts or taken it through a writing group. They know that winning a script takes a high level of writing and their commitment was paid off with first place wins.
SELECTING YOUR CONTESTS?
How you select your contests can also make a difference in your results. Of course, the smaller contests are easier, but they don’t provide the status and credibility that the larger contests provide. However, smaller contests may still provide such things as:
• Industry exposure
• Critiques
• Prizes
• Publicity
• Attendance at festivals
• Public reads of your script
Think strategically when you select a contest. You may want to go for the smaller contests to get some of the benefits they offer and to get a few successes under your belt before tackling one of the “big four.”
“The reason I entered the eShay contest was because, number one, you only sent in ten pages. (If you advance they ask for the whole script) Number two, it was only $25, and number three, most importantly, they critiqued the ten pages whether you advanced or not.”
Jack Bennett
Winner eShay’s 2002 Screenwriting Contest
Wisconsin TV Pilot Contest, 2002
Go to http://www.moviebytes.com for a list of contests, then check their Web sites for specifics. If you’re worried about how reputable the contest is, Moviebytes.com also has report cards on each contest that are filled out by last year’s contestants.
“You have to know your contest. The type of scripts that win at Nicholl aren’t necessarily the same type that win at Austin. There are more contests opening every day, but just because a contest is small or new, doesn’t mean that it’s not worth entering (but sometimes it does… do your research). Genre-specific contests, like Cinescape or Screamfest, are good for scripts that are sometimes looked over in the bigger contests.
Nicholl-winning scripts are in the Academy library… if you have your heart set on this contest, you have to read these scripts. Read the report cards at Moviebytes.com. When you’ve decided which contests to enter, enter early! If you get your script in before the tidal wave of scripts, the judges tend to be a little more generous.”
Jami Deise
Winner “Best Horror Screenplay”
Screamfest, 2002
Remember, the larger contests bring status and respect in the industry, but the competition is fierce. The smaller contests have less contestants and give you a better chance of winning. Often, they provide other benefits that may make them a valuable choice for your screenwriting career.
WHAT DOES IT TAKE TO WIN?
There are many different opinions on what it takes to win. Here are a few that will be helpful. We’ll start with the “don’ts” and move to the “dos.”
“The scripts that stand out are those that not only have an intriguing story with characters that are whole, but ones in which the screenwriter worked to make every scene count. When a reader goes through a script, that script should be so well written that the reader is never pulled ‘out’ of the story. When that happens and it happens frequently, the spell is often broken.”
Paula Hamilton
Second Round
Reader
Austin Heart of Film
Screenwriting Contest
When Paula refers to being “pulled out of the story,” she’s talking about writers who do things that distracts the reader. Things like giving camera directions, typos, improper formatting, confusing description and a host of other written distractions. When they read your screenplay, they should be so involved in the story that they forget to eat.
If you give a camera direction, it requires that they visualize a camera and a director, maybe even a movie set with thirty crew members scurrying around. That’s distracting! And from a writer’s point of view, it is a bad marketing move. Do you want them saying “Wow! That story was amazing.” Or do you want them saying “Here’s an amateur who couldn’t write well enough.” It is the same with scripts with music direction. As a writer, you need to write so well that the story is better than the music you’re suggesting…and then leave the music out. Otherwise, you’ll have a reader or judge (who is also a producer looking for screenplays without music listed) thinking about whether the script can be made if that specific music isn’t available. You don’t want that.
“The ones that make the finals are ones that have been written, re-written and re-written again. They have created compelling characters, situations and ideas. The ones that don’t make it are run of the mill stories, poor formatting, no knowledge of structure, development or compelling story-telling.”
Patrice Williams
Reader
Carl Sautter Competition
Ah, the need for the basics. Don’t waste time trying to do cute or tricky writing. Instead, focus on mastering the basics. If you don’t want to worry about formatting, get screenwriting software that will take care of the formatting for you. If you don’t understand structure, read “STORY” by Robert McKee. If you’re not sure how to tell your story in a compelling way, consider the classes we offer at ScreenwritingU – particularly our “ProSeries Screenwriting Class.”
“The entire story, the plot and the main characters are on the first few pages of exceptional scripts. The title is catchy. We are hooked by page 5. The story is unique or has an unusual angle, great characters, and the promise of an interesting read. The script is cinematic, and is told visually. It has a satisfying ending. There are few if any typos, spelling and punctuation errors.”
Elizabeth English
Founder & Executive Director
Moondance International Film Festival
Read that quote again. Do people say those things about your scripts? Do they say “great title” when you tell them the name? Do they keep reading past page 10 or 30? Do they rave about your characters? Are they excited by the ending? If so, you’re close. In fact, you may be there. If not, there is still room for improvement.
“What makes exceptional scripts stand out? It is either an unforgettable character or a really unique story, or the combination of those two things. If I find myself, later, thinking about how a character seemed alive and real, that’s exceptional. If I find myself remembering an amazing situation or scenario that a writer dreamed up, that’s exceptional.”
Elizabeth A. Stevens
Reader for Final Draft competition
Fortis Films,Bel-Air Entertainment and others
This is the level that wins contests. Unforgettable. Unique. Exceptional. Amazing. When your script causes readers to say those words, you will be winning contests. While I’ve included just a few tips here on bringing your script to that level, if you’d like more, take a look at the rest of our articles.
WHAT DO YOU DO ONCE YOU’VE WON?
So many times, I’ve heard screenwriters say “I won a contest and no agents or producers called me.” That shows a misinterpretation of what the contests are really about. While they do provide some industry visibility, your job is to provide the rest.
“I would recommend that a contest winner create his/her own buzz – write a press release, send it out to the trade magazines. Use it in your queries. Contests are only one part of the equation. You need a multi-pronged marketing approach.”
Jami Deise
Winner “Best Horror Screenplay”
Screamfest, 2002
Jami is right. What the contests do is give you a few introductions and the credibility to make a lot more introductions yourself. Producers and agents want to see that you have already been through one selection process. That means that you stand out from the pack and represent an opportunity to them. More important, it means that they aren’t going to have to read another script that is terrible.
There is one more requirement for your success – You have to make the contact.
“Soon as you win, go on a blitz campaign to gain agency representation; if you’re already repped, have your agent push your winning script hard, and if you’re nor repped, market it hard yourself.”
Sean Rooney
Winner
Breckenridge
Screenplay Competition 1998
Once you’ve won, don’t sit back and wait. Be proactive. Send out your query letters. Make calls to producers. Attend Sherwood Oaks programs where you can meet producers and agents face to face. Go to pitch fests. Market yourself.
FINAL QUESTION:
What if you win and no one wants your script? This happens often and there is no reason to worry about it at all. Just have your strategy in place.
“It is not uncommon for the industry to pass on scripts that win competitions, so having other work ready is paramount.”
Sean Rooney
Winner
Breckenridge
Screenplay Competition 1998
Instead of being sucked into the “Get rich quick” myths about this business, think long term. You’ve just won a contest. That means your writing is pretty good. Keep working to improve it. And since you were smart enough to market yourself and use the contest win to establish some relationships with producers and agents, you’ll want to get your next script ready as fast as possible…and make this one a High Concept scriptthat will lure producers into optioning or buying it.
In the meantime, enter more contests and keep winning. From the moment you win your first contest, you could be in the game. All it takes is to continually put your name/face out there with another win or another marketable script connected to it. Sooner or later, if you keep winning and writing highly compelling scripts, someone in Hollywood is going to latch onto you and the buzz will begin.