How to Win Screenwriting Contests

by Christina Hamlett

On any given day, a screenwriting contest is probably being held somewhere. Should you pay a fee to enter such a contest? Who are the judges? Will you get a critique whether you win or lose? And when all is said and done, what do you do with your winning (or losing) script? These are some of the questions that plague writers planning to enter screenwriting contests.

The enticement to participate, of course, is the fact that these scripts are actually being solicited, as opposed to the customary pitching route of writing copious letters, making telephone calls, and knocking on doors to see if someone, anyone, might like to read your material. The even better news is that, with certain exceptions (usually tied to direct association with the sponsor or regional/membership restrictions), they are open to all and are extremely well publicized on the Internet and in trade magazines.

The prizes awarded are as diverse as the material being sought and range in significance from a nice chunk of change and/or an option agreement (Hurrah!) to a cheap certificate and complimentary plastic comb (Oh). Somewhere in between are scriptwriting software packages, agent representation, expense-paid seminars, mantle-worthy awards, screenwriting books, and consultations in person or in print by industry experts. I think the delightful irony here is that although your lack of experience/credits could preclude you from getting a Disney exec to even read an unsolicited letter, your participation in a Disney-sponsored script contest will assure that your material is reviewed, judged, and maybe even selected!

There is also a lot of latitude in terms of entry fees, most of which go toward administrative processing costs, reimbursing the judges for readings/critiques, and paying for the prizes. While your personal budget picture is obviously the determining factor in how many contests you choose to enter, those which will yield some measure of professional feedback on your work are generally well worth the cost of admission. (And don't forget that you can deduct those fees on your income taxes as writing expenditures, along with membership dues, subscriptions, and supplies.)

What can you do to increase your chances of winning?

1. Follow the instructions!

2. Enter early as opposed to waiting until zero-hour. The same psychology of theatrical auditions curiously applies to the order in which scripts are read; those viewed first tend to set a precedent for those that follow. Toward the end, the judges are more rushed and impatient to get through the stacks. Suffice it to say, a lot of scripts begin to look exactly the same at that point.

3. Fill out the requisite releases and contest forms legibly and in black ink.

4. Include the appropriate contest fees in the same envelope with the entry forms and the script. (You'd be surprised how many people forget to do this.) Your check should be paper-clipped to the entry form, not submitted loose where it could accidentally be tossed out with the envelope.

5. In the event that you move or change your phone number during the competition period, it would be prudent to let the contest officials know that via mail. If their letter of congratulations comes back returned or they call only to hear the message that your number has been disconnected, do not count on them investing a lot of time to find out what happened to you.

Sam Quo Vadis, whose script "The New Faerehaven Witch Trials" was selected for Telluride IndieFest 2000, adds the following advice: "With literally tens of thousands of screenplays being written each year, the challenge of getting one's script read has exceeded the challenge of writing a solid, marketable story. Placing well in a contest is almost on a par with a personal recommendation. It lends a writer an aura of legitimacy. For me, it means that influential people in the industry are much more receptive to reading my work and, in some cases, will even seek me out. It's also a great affirmation. Every writer encounters those who doubt his or her ability to succeed in an industry where the vast majority fail. In that environment every success becomes a vindication. One of the nicest accomplishments is to see the doubters slowly become believers!"

Ready, Set...Write!

Nearly every screenwriting site listed has an announcement section for upcoming competitions. My own favorite in terms of user-friendly features is the contest section found at http://www.moviebytes.com, where you can find the rules and advance information on contests held monthly, yearly, internationally, and even those which charge no fees to enter. The brief sampling below will give you an idea of what's in the works for aspiring contestants:

Nicholl Fellowships in Screenwriting
http://www.oscars.org/nicholl/index.html
The Nicholl, an international contest held annually, is open to any writer who has not optioned or sold a treatment, teleplay or screenplay for more than $5,000. Up to five $25,000 fellowships are offered each year to promising authors.

Austin Heart of Screenplay Competition
http://www.austinfilmfestival.org
This contest invites entries in both the Children/Family and Adult/Mature categories. Cash prizes and passes to the Austin Film Festival are awarded to the lucky winners.

Chesterfield Film Company Writer's Film Project
http://www.chesterfield-co.com
Up to five winners (in any genre) are eligible for $20,000 stipends for one-year fellowship based in Los Angeles to learn more about the craft of screenwriting.

Walt Disney Studios Fellowship Program
http://www.members.tripod.com/disfel
The people responsible for that famous mouse also hold a screenwriting competition every spring. Like the Chesterfield, the prize is a residency program in L.A. for eight lucky writers, with round-trip airfare and one month's accommodations provided for those who live outside of Southern California.

Writer's Digest Writing Competition
http://www.writersdigest.com
The television and movie script division of this annual contest is still fairly new, but already attracting a high number of applicants. Unlike other contests in which the entire script must be submitted, WD calls for only the first 15 pages plus a one-page synopsis. Cash awards, books, and WD subscriptions are in the offing, with the Grand Prize being an expense-paid trip to New York City to schmooze with publishing industry execs.

Moondance International Film Festival
http://www.moondancefilmfestival.com
The objective of this international contest is to promote and encourage women screenwriters and filmmakers. Screenplays, animation, stage plays and short stories are all eligible for review. (Helpful tip: Moondance judges encourage non-violence as a solution to conflict, and place high emphasis on character-driven, intelligent, and non-stereotypical roles for females.)

Slow But Steady Wins the Contest Race

New screenwriter Betsy Morris shares her experience of entering the Nicholl, Austin, and Moondance with her scripts, "Access Denied" and "New Hope:"

"The Nicholl is a little like playing the lottery when the jackpot gets really high. You know someone has to win, but you also know it isn't gonna be you. Still it's compelling, and worth the price just to have a few months to play the 'what if' game in your head. And the Nicholl is always so professional -- Greg Beal, the program coordinator, is just amazing. But after 'Access Denied' tanked in the first round of the Nicholl, I didn't expect much with Austin; I was dancing when B.J. Burrow, the competition director, called to say it had advanced! That was the first real confirmation that I could write scripts well. I've had lots of support from other writers, but to make that cut was so validating.

"Shortly after that, I learned that 'New Hope' had advanced at Moondance. And then it advanced again and again, and suddenly I was a finalist in another contest. I went to the Moondance Film Festival -- who can resist Boulder in January? Again, I was a still a bridesmaid, but again, it was a valuable experience that I'll remember forever.

"After Moondance, there was the inevitable let-down. I didn't expect my phone to ring every hour on the hour, but I did think that some agents would care that I had just been a finalist twice, with two different scripts. They didn't. Some producers called, but that route moves slowly when you're not represented. Finally, two things happened. First, John von der Lehr of Joe Naar Productions called after reading 'Access Denied,' and asked me to do a 'quick' rewrite on a script they had called 'The Bottom Line.' I did, which made me an officially paid screenwriter. Not highly paid, but paid nonetheless! Second, a producer named Steven Pearl called and asked if I minded him showing the script around. He took the script to Shawn Hopkins at Artists Management Group. Shawn read it, called me, and now she's my manager."

Betsy's words of wisdom:

"1) It's trite, but take the time to learn your craft. Learn what is generally effective, and what typically compromises the script. Don't assume that, because Quentin Tarantino broke the rules in 'Pulp Fiction,' so can you.

"2) Read lots of scripts -- there are many available on the web. If possible, try to read early versions of scripts for movies you know. I remember being amazed by an early version of 'Ferris Bueller' -- it was clear why they cut certain things, resulting in a much stronger piece.

"3) Don't be afraid to show your script to trusted writers. I work with several writers online whom I trust completely. I know they tell me what they like, what they don't like, and why. But, on the other hand, don't change your script because of one person's opinion, unless they are validating something you already suspect. That's what is great about a site like American Zoetrope -- I had 16 reviews on my last script. When one person says 'I hate the name of this character,' I can blow them off. But when five or six people point out that something's wrong with one scene, I have to listen.

"4) You must grow a shell. People will say awful things about your script. People will say awful things about you. People will tell you how they would write your script. Don't let them wear you down.

"5) Before you start, ask yourself if you're ready to last for the long haul. Because most overnight sensations are anything but. They succeed because they work longer and harder than anyone else.

-- CH
©2001 Christina Hamlett

Christina's book, It All Begins With the Script, a user-friendly guide on how to take your idea from the printed page to the silver screen, is now available as a download or CD-Rom from Zeus Publications, Australia.
www.zeus-publications.com