The Grand Prize Is….A Script You Can’t Sell!
April 14, 2009
I am asked all the time by writers who want to get their script made if it’s worth it to enter all the screenwriting contests they can find and my quick answer to them is NO. Because here’s the thing about screenwriting contests - in general, the scripts that usually win – never get made! The only exception to this might be Nicholls, where many of the winning scripts have been produced including the recent winner “Butter” which is going into production.
Why won’t they sell you ask? Because what a contest looks for and what studios and the marketplace look for are very different which is why I don’t feel contests are decent barometers for successful writers. Good writers? Maybe. But successful writers? No.
Now, if you’re interested in simply breaking in and getting noticed and landing some meetings with representation, my answer would be different. Contests can be a fantastic stepping stone or springboard for a writer, not to mention make them some extra living money. Nicholls especially has launched many a career, including Susannah Grant, Jacob Estes, Ehren Kruger, and Karen Moncrieff.
There are certainly some contests out there that mean a great deal in the industry and will get you noticed if you place high enough or win, like Nicholls, the Disney Fellowship or the Creative Screenwriting Expo Contest. But because in general, the project you win with is probably never getting made, you need to have other scripts already written that you can pitch and send to all the people you’ll be meeting with. FYI, if you just placed as a semi-finalist in the Iowa Regional Screenwriting Bonanza – no one gives a shit. And you should definitely not write this blazing accomplishment in your query letters.
Small or statewide contests are fine if you just want to practice writing, or it’s just a hobby, or you really want to win the $250 grand prize and free dinner at the local steakhouse. But if you’re serious about screenwriting, don’t waste your time. And being a quarterfinalist means nothing no matter what contest it is. If you only made it to the quarterfinals in a competition where only 50 or 100 scripts were submitted, then that tells us you weren’t good enough. Even quarterfinals in Nicholls, where there are 5500 submissions, still means that over 1000 other scripts were better than yours. So why would that be a selling point?
Do you know what kind of scripts win most contests? Sweeping period dramas, war movies, quirky low budget character pieces, intricate multi-character prestige pieces, or loving family films. You know how many of those are made at studios per year? Like 5. And I guarantee almost none of them were contest winners. So I don’t understand why competitions put uncommercial material on a pedestal. It almost encourages writers to write against the marketplace, and therefore hurts their chances of selling something. Now good writing is good writing and the cream will rise to the top and be noticed, but you’re never going to see the winning script of the Disney Fellowship be a raunchy college comedy, a slasher movie or an erotic thriller, no matter how well they might be written. But guess what – that’s what sells!
I met with a writer who placed really high, if not won, the Nicholls fellowship a few years ago. And I asked her what prompted her to write that screenplay. What inspired her to tell that story? And to her credit, she was completely honest and told me “Because I knew it would win the Nicholls and I really needed the money.” This was not a first time writer – she had been around – but she hadn’t sold anything, so she was still eligible to submit her stuff. And because she knew that she was good enough to make it to the finals, all she had to do was match her skills with the type of story that contests drool over, and she knew she had it made. And she did. She made thousands of dollars off that script from different contests – but it never got set up and never got made.
Part of me got angry at her for being so smug and screwing over other writers that maybe should have won but didn’t because they didn’t have the right genre of script, but more of me was so impressed with her savvy, knowing what types of projects would win the contest, that I couldn’t be angry with her. She wrote a script without having irrational or ridiculous hopes for it. She wrote a script for one purpose – to win $10K in a contest. And she did it.
I was a judge for Scriptapalooza years ago – okay actually my boss was, but guess who read every fucking script they sent over and told him who to pick? That’s right. And what I learned was that you’re not really picking the great script, you’re picking the best script from the pile you’re given. I honestly hated every single one I read. I remember thinking – these can’t be the finalists! So, especially for smaller contests where there aren’t five thousand entries, being the best doesn’t necessarily mean you’re that good. It just means these other people sucked more.
Yes, it’s worth it to enter into a National (usually LA-based) screenwriting competition, just know what you’re getting into and be realistic about the outcome. Always give preference to your career in the long run as opposed to that single script.
As a tip, the following contests are the ones execs are more likely to pay attention to:
Nicholls Fellowship, Disney/ABC Writing Fellowship, Sundance Feature Film Program, Scriptapalooza, Screenwriting Expo – CS Contest, USC Competition, UCLA Competition, Final Draft Screenwriting Contest, Austin Film Festival Screenplay Competition, Slamdance Screenwriting Competition, Screamfest (genre specific), Page International Screenwriting Contest, Nickelodeon Writing Fellowship Program, International Family Film Festival (genre specific), Moondance, Visionfest, Acclaim, Creative World Awards, BlueCat Screenplay Competition.
Let the comments commence…Am I wrong? What are your thoughts on the best contests to enter? The worst? Leave them here!
Well, I won the Final Draft competition and was a finalist for this year’s Disney Fellowship. And neither one got me any meetings whatsoever. And at the Disney finalists mixer, I talked to last year’s winners, who were still trying to land agents. Seems like when it comes to screenwriting competitions, the brass ring is the Nicholls.
I think if you’re going to enter a contest, it should be one where those who are running the contest have a list of people that have committed to reading the winning/finalist scripts. That will increase your chance of getting meetings without you having to do your OWN PR. That being said, if you have won a big contest, that’s your hot time to strike. Use any connection/referral you can - or maybe a friend who’s a lawyer - to make calls on your behalf and get that script read. You’ve gotta be your biggest publicist!
Hey, thanks so much for this, it’s really helpful, esp. the list of script-writing comps. that don’t suck. Also hearing honest opinions is always nice, I did well in this scriptapalooza tv thing a few years back (was too lazy to go the extra mile and write a feature script), did nothing for me except make people more receptive to having me read scripts for them.
At any rate, thanks again. I’m loving the blog!
it’s “Nicholl” for the record
“Even quarterfinals in Nicholls, where there are 5500 submissions, still means that over 1000 other scripts were better than yours. So why would that be a selling point?”
This is incorrect.
The QF cut in the Nicholl in the past has roughly been the top 5% of all submissions for that year.
So the QF cut out of 5,500 scripts would be closer to 275… not 1,000.
FWIW.
I really enjoyed your blog. I’m a 1st time screenwriter just about to enter any and every contest I’ve come across. Your blog gave me a lot to think about. Thanks.
The scriptapalooza tv competition blows ass. I was a finalist in last years reality show division i.e. top 8 out of 700 plus entrants and I received no responses about my show concept. I’m not a naive dumbass (I hope, lol) but I know this concept could be something special. I haven’t pushed it because if you can’t generate heat as a finalist then what’s the point. Somebody option this shit. Haha
Bluecat is the worst I’ve entered. Not only did they cost more to enter than most, but twice over I received no news of the winner and no feedback as promised. Twice. I think my script went straight into the can. Both times. Also, poking around the internet, it appears to me that they chose their winner for 09 almost 4 months ago…yet I entered in December. Oh, and the founder of Bluecat is big brother to Philip Seymore Hoffman. This further reinforces the notion that in order to make it in Hollywood, it’s not what you know but who you know. And then we’re stuck with films like Mall Cop. Brilliant.
Thank you for this blog entry. It further cemented my opinion that competitions are a waste of time and money. My question is, however, what are we to do? I’m done with college and have no intention of getting a degree in writing. That doesn’t, however, make me any less worthwhile than the hot writers that are emerging. I know what I’m capable of and what my potential is. So what are we screenwriters to do? Buy $6000 cameras and make our own films only to realize that Hollywood wants nothing to do with amateurs? I’ve resigned myself to book writing as of lately. At least as a novelist I can PAY to have my book published if nothing comes of it in the world of publishing and then hope that my advertisement skills get me somewhere with my work.
And to boot I have a pile of screenplays that I am constantly improving upon with no one to share them with. And as for publicly displaying them on registration sites–read the terms of agreement first. Most of them clearly state that they will not be held responsible (your right to sue is forfeit upon entrance) if your work is stolen by a staff member or anyone else of that nature.
So short of chasing producers down the street and finding crafty ways to get our scripts into mail boxes…what suggestions do you have for screenwriters who want real work? I’ve even given acting a shot and it wasn’t nearly as difficult to get close to “the real thing” as it is with writing. Writers are treated with disregard anyhow. Once our scripts are sold they’re scrutinized by script “specialists” who then pick the work apart, change it up and rearrange it in ways that are an insult to the writer.
Any advice will help.
My suggestion is to be a mult-tasker. While writing and polishing my original screenplays, for a number of years, I have thoroughly reseached the craft, as well as the business itself, educating myself. I’ve solicted agents, entered a writing competition now and again (including Nicholl and Disney), continue to write new scripts and now, with a partner, attempting to produce an indie feature. I also entered the Nichols again this year. My background, before delving into the screenwriting arena, dealt with television production, talent promotion, music production and a number of other creative venues. I’ve been a media instuctor and graphic artist to help pay the bills. My feeling is that you got to keep at these pursuits if you really believe in yourself no matter what others feel or think. I’ve had limited success but the odds are in my favor. You have to grow a thick skin in the writing or any other industry. There’s mass rejection; grow and learn from it. I like to tell stories and a few of my scripts “borrowed” ideas from my own experiences. I’m careful to fictionalize them as much as possible and use a lot of creative license. I also have written plays. So in closing let me say to all my fellow screenwriters DON’T GIVE UP OR IN. You opportunity may just be around the corner. At the very least you are doing what comes natually and hopefully you love. That’s a reward in itself! And if and when you sell something don’t forget other writers who struggle like you did. Be a mentor to others; show them the ropes and share good advice.
btw - It’s Nicholl, not Nicholls.
Wow, someone set out to write a script that would win the Nicholl, and they did it? Can we just for a moment consider what this says about that writer? 95 percent of being a professional screenwriter in Hollywood is the ability to give the producers what they want. This writer clearly has the ability to deliver a very good script within the parameters of a certain set of expectations. Sounds like a very talented writer. You don’t say whether you hired her, but I would have in a minute, and said “Now set out to write a good script that will make a lot of money.” !
Hi there. I was just wanting to kindly ask anyone here if they can help me with this query.
Do you have to be a film school student to enter the Nicholls competition? What I’ve noticed is that 99% of all the winners come from some film school. If this is the case, then there is clear bias towards them, which is unfair. Why do you have to be a film school student to win? There is no logic in this.
There are plenty of people out there with great and talented writing skills but cannot afford to go to film school.