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WHAT'S IT TAKE TO WIN? 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.
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:
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.
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.
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.
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.
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.
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:
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."
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.
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."
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.
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 ScriptForSale.com.
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.
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, get our report with"51 Tips." 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.
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.
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.
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 script that 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. 
51 TIPS ON WINNING SCREENWRITING CONTESTSThe article above only touched the surface of the value our interviews uncovered. We've organized 51 tips from our experts that will help you move to the top of the contest world. They are free to those who subscribe for our FREE ScriptForSale newsletter. To get the "51 Tips" and the ScriptForSale newsletter, click here. |
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