Contests - Why Enter?
Are they a waste of money or do you get a lot of bang for your
buck?
We know that this month's article is going to sound like a shameless
promotion for our own contest but...we honestly believe that entering
contests is a proven tool for unproduced and/or unrepresented
screenwriters. And that's why we're having one.
Can contests really help you achieve your writing goals? In a
word - YES. Clearly winning a contest has its obvious benefits,
but even placing highly can serve you well. Contests are more
than just a second tier alternative to every writer's ultimate goal -
selling a script to Hollywood and becoming rich and famous. Will
you become rich and famous by just winning contests? Probably not.
But, if you understand what purpose contests serve in the industry and
how to take advantage of them you'll find that they are an invaluable
weapon in your development as a writer and as a means to achieving
your screenwriting goals.
So how can contests help you? Here are several ways:
They are an economical way to
judge how your script compares to the work of your peers.
If you enter your screenplay into 10 different contests and you never
even make the quarterfinal level, you will have been given a clear
message that your screenplay is not competitive with the work of other
writers. This will let you know that there are significant flaws
in your script that need to be addressed. It may be time to get
professional coverage or a full analysis to point out the flaws that
are keeping your script out of rounds one and two in contest
judging. But if you routinely place in semifinals or better, you
can be pretty certain that you clearly have talent as a writer and may
be ready to start marketing your screenplay to Hollywood.
The cash and prizes that go along with becoming a finalist and/or
winning a contest are great. But what is the real benefit of
placing or winning a contest -
validation and prequalification to industry players. Have
you found that mailing out endless query letters get you few if any
responses? Does anyone take your cold calls at agencies and
production companies? Why is this happening? Because they don't
know you and experience tells them that taking time to read your
screenplay is probably a waste of time. You haven't been
prequalified. Most screenplay buyers and agents will tell you
that they only look at work by referral. This is a form of
prequalification. They trust the judgment of the person who has
already read and is referring the script to them. So how do you
get prequalified to Hollywood if you don't have connections?
Contests. Winning or placing highly in a contest prequalifies
your writing. The contest acts as the first gatekeeper to
Hollywood players and lets them know that they won't be wasting their
time by reading your script. We can tell you from personal
experience that winning or placing highly in a contest, even a lesser
known contest, will have people contacting you, instead of the other
way around. Even a quarterfinal or semifinal placement in the
Nicholl Fellowship will get you read requests from well known
companies. Your future query letters and pitches will stand out
from the crowd if you can list that your script recently placed highly
in a contest.
Contests also give you a deadline, which
helps you focus your efforts. Even if you're incredibly
self-disciplined, a deadline can give you that extra motivation to
finish, rewrite, and polish your script.
Another benefit to entering is the simple fact
you're getting your script out there. You're sending it out on
its first adventure, putting it out there for evaluation and judging.
It really helps a novice writer to feel more a part of the
screenwriting community by participating, and the benefits of winning
or placing highly can and have launched careers.
Also, many contests are now offering feedback on your script
either as part of your entry fee or as an optional add-on to the entry
fee. Sending a script in to 10 contests and never placing even
at the quarterfinal level without ever finding out why, can be
frustrating. Getting feedback is a great way to get notes and
clues as to why your screenplay isn't working. Contests that
offer free feedback usually give you 1-2 paragraphs of very general
notes and maybe a checkbox listing of ratings, probably from an unpaid
intern. Contests that offer a paid feedback option, like our
contest, give you 1-2 full pages of notes that more specifically point
out strengths and weaknesses and some guidance as to how to fix your
script. Feedback of this type is usually performed by a working,
paid story analyst. So, for the cost of getting coverage from a
story analyst, you not only get the feedback you want but an entry
into the contest essentially for free.
The image of screenplay contests and the purpose they serve in
Hollywood is changing rapidly. With the rise of shows like
American Idol, Top Chef, The Apprentice, etc., careers are being made
from entering competitions. Quietly this has been happening in the
world of screenwriting competitions for a few years now. Project
Greenlight launched the careers of Marcus Dustan and Patrick Melton
(the writer's of season three's FEAST) who have sold several
screenplays since the show ended. Steven Spielberg is launching
in a few months, along with Mark Burnett of Survivor fame, a new show
called "On the Lot." You can bet that with Spielberg
and Burnett involved, the Hollywood competition has come of age.
The myth that real agents and production companies don't pay attention
to screenplay contests is fading fast.
Writers often travel down a lonely road. We sit at our computers
spinning fanciful yarns filled with heroes and villains, tragedy and
comedy, enlightenment and despair. When we're done, we need to find
out if our work is viable or not -- unless we want to sit in front of
our computers forever! Enter a screenplay contest or six. After all,
wouldn't it be great to have Hollywood cold-calling you?
To read other articles, go to the
articles section here.
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