41 Responses to “British Feature Screenplay Competition”

1. JP FIFE on Wednesday: 30 July 2008|0428

   Pay £65 to enter a competition? Not on your nelly.

2. Unk on Wednesday: 30 July 2008|0457

   JP FIFE,

   I hear ya but I would look at it like this… Your screenplay is DEFINITELY going to be read. No, it may not win but if it’s a great screenplay, you just never know.

   This is not your Mommy’s screenplay contest.

   One look at the judges should tell you that.

   In other words, this one submission TO ME would be like trying to market your screenplay to 20 different prodcos. Just that — in and of itself — would be roughly the same cost with no guarantees either.

   However…

   If one’s screenplay is NOT (admittedly) up to snuff — hell no you shouldn’t pay £65 to enter.

   What would be the point?

   Unk

3. Christian Howell on Wednesday: 30 July 2008|0933

   That’s a thought. I have entered a few. BlueCat was my most recent. They give some feedback but I found that the issues the reader had were so petty that it should have gone forward.

   It actually seemed like the person has never read a serious screenplay before (drama vs. comedy).
   If I can get a UK money order easy enough, who knows.
   Maybe I’ll search for an online site that does currency exchange like PayPal.

   Thanks for the heads up.

4. Mark on Wednesday: 30 July 2008|1223

   UNK,

   Sorry, but I wouldn’t get involved in a contest that requires the winner to sign away their rights to the script. Most reputable competitions allow winners, finalists, etc. to retain all rights. Which is smart for the writer. You just never know.

   Now, if you’ve just finished a great screenplay, and feel it is good enough to have a real shot at winning, then why sell it for what will probably wind up being less than the $15,000 (you bet on your life they’ll bring in other writers and you’ll share credit) when you could instead enter it into other competitions that allow you to retain rights, or shop it around to prodcos, agents, etc.? If you don’t think the script is good enough to win, why even bother in the first place?

   I really think if you truly have a great script, there are definitely better avenues. BUT, I will say this…if retaining rights and/or MUCH more lucrative $$$ for the screenplay are trivial compared to a guarantee that the movie will be made (there should be a proceed-to-production clause in the contract), then by all means go for it. Just look into it, see who the director/cinemaphotagrapher are scheduled to be, if they’ve already been assigned to the project, see what their track record is, all that good stuff. If you actually get your movie made, you don’t want someone with a bad track record butchering your passion.

   Just my advice.

5. Unk on Wednesday: 30 July 2008|1255

   Mark,

   Dude… This is for screenwriters who enter screenplay competitions. If you’ve ever been to my site before and read through my shit, you’ll see that I always say that if a screenplay is worth entering into a contest — it’s worth marketing to a producer.

   Be that as it may…

   There are still MANY MANY MANY screenwriters who tell me they are looking from some OTHER kind of VALIDATION.

   Whatever that is.

   Other screenwriting competitions do NOT turn your winning screenplay into a film.

   This one does.

   Hence, the reason I said IF you are going to enter a screenwriting competition in 2008 — THIS BE THE ONE.

   Most first time screenwriters sell all their rights to said screenplay when they sell that first script anyway.

   If your screenplay doesn’t win — no harm — no foul.

   I know screenwriters who’ve sold their first screenplay for less than a grand… LOL. What makes this so fucking different?

   Unk

6. Mark on Wednesday: 30 July 2008|1309

   Unk,

   I just thing the premise is bad, not the competition or the people involved in it. Personally, if I were organizing a competition like this, it would be a must for the winner to have signed over the rights to the script. The worst thing that could ever happen would be for the grand prize to be getting the screenplay made into a film, and then the screenwriter says, “nah, I’ll go elsewhere.” So the organizers have eliminated that possibility, which for them is definitely the right thing to do.

   But, from the screenwriters perspective, by and large it’s also a no-win situation, and that’s why I think the premise is flawed.

   Let’s be honest here, everyone thinks their screenplay is great, and they are a great writer. Most of the gurus and book writers are encouraging, but the truth is most people can’t write and/or the script they think is the next big thing sucks, and they just can’t see it…and nobody can convince them otherwise.

   So if you REALLY do have a great screenplay, get it picked up elsewhere. The people who say they are “looking for some other kind of validation” probably have a bad script to begin with.

   BUT…

   There is ONE way I could see this being a good avenue to pursue. If someone has a script that really is good but so different, movie people like it but aren’t willing to take a chance on it, then something like this could work for them. That doesn’t mean a new, more gruesome type of horror, or any other kind of ordinary fare. I mean it really would have to be cutting edge but risky.

   Anyways, just my opinion.

7. Unk on Wednesday: 30 July 2008|1328

   Mark,

   I have to disagree… I don’t think everyone thinks their screenplay is GREAT.

   They may SAY that it’s great.

   They may be PROUD of it.

   Mommy said it was the best thing she ever read…

   These are BABY STEPS… Baby steps leading to the real thing.

   While I certainly do understand there are those out there who write screenplays JUST TO WRITE SCREENPLAYS and for NO OTHER REASON — I’ve never met one of them.

   The fucking MINUTE that person who writes screenplays just to write screenplays enters some bullshit competition — they no longer write screenplays just to write screenplays in my super fucking humble opinion.

   They want something. They expect something. They need something.

   Even IF that something is a rejection.

   The British Short Screenplay Competition has an outstanding reputation WHICH is why, I will say again — if you’re GONNA enter a screenwriting competition in 2008, enter this one.

   And no matter what you say — there are those screenwriters who FEEL good enough to enter a competition but not good enough to market the script OR simply do not have the time to market it because they have to put food on the table.

   Trust me… If this was some backwater screenplay competition, it wouldn’t have even been mentioned here.

   Unk

8. Benjamin Ray on Wednesday: 30 July 2008|1517

   Hello Unk and all…

   I agree, all writers must deal with the truth.

   I just read a script that sold for around $500,000.00.

   The script was written by a first time screenwriter. It’s a brilliant script. The first-rate actors and director attached to this project are all excited.

   It’s very simple — every morning I read four TRUTHS, real LOUD, in the washroom before shaving. They are…

   TRUTH#1… My script still SUCKS if I haven’t gotten an AGENT yet.

   TRUTH#2… My script still SUCKS if it never placed in the finalist list of the major screenwriting contests.

   TRUTH#3 My script still SUCKS if does not get made by an experienced/popular producer and director.

   TRUTH#4 I must apply to all reputable Screenwriting Contests after each rewrite. It’s a good place to start.

   And we must ask this question — how come my script has not sold for a cool $500,000.00 yet…WHY? WHY? WHY?

   If it’s that good, how come it’s not selling or being made?

   Bye for now.

9. Ryan on Wednesday: 30 July 2008|1542

   I’m seeing a lot of good’s and bad’s:

   I’m only a rookie and have never looked into a competition before cause I was never ready. Now I feel that this deadline might work. If anything the second will for sure.

   What are some pro’s and con’s?

10. Unk on Wednesday: 30 July 2008|1643

    Pros:

    You could win the competition — a film will be made from your screenplay — you would be a PRODUCED screenwriter — you’ll be paid anywhere from $15K to $40K — you could lose the competition but a producer might like your screenplay — possible opportunity to network with some outstanding contacts.

    Cons:

    It’s expensive for a screenplay competition — there can be only ONE winner — you will have no more rights to your WINNING screenplay once you sign them over.

    *NOTES:

    Still not a lot different from selling a first screenplay to a prodco.

    Just because you sell a screenplay doesn’t mean it’s gonna get made into a film.

    Many screenwriters sell their first script for NOTHING. Sometimes they sell their second, third, and fourth scripts for nothing too.

    If YOU’RE INTO screenplay competitions and regularly enter, this is simply a good one to add to your list.

    Unk

11. Mike Scherer on Wednesday: 30 July 2008|1658

    Folks,
    Although I am guilty of entering screenwriting contests like most wannabe screenwriters and, I have come to believe they are a waste of time. Here’s why:

    1. Early on I found that I would send my ‘babies’ out into the cold cruel world then – wait. And wait. And wait some more. No writing, just waiting. Waiting to get that inevitable letter/e-mail stating—Ahhh, nice try sucker, maybe next year. What a waste of time. Now I write. Every day. No waiting.

    2. The money spent on contests can be put to better use. Say you enter 5 contests and an average of $35 a pop. $175 total dollars. Dollars better spent on selling your script. Sign up for a week’s trial over at the Hollywood Directory. Do some research. Buy quality paper. Buy quality envelopes. Buy a roll of 100 stamps. Send out 100 query letters to ProdCos, Managers. Write another script. Someone will ask to read your script. Someone may buy your script (odds probably better than entering contests) and you’re networking. Building a web of industry pros who may help you down the road.

    That’s it. Do I follow my own advice? Sort of. I’ve done my research. I’ve bought my supplies. I’m ready to take the plunge.

    Good luck and
    Keep Writing!

12. Ryan on Wednesday: 30 July 2008|1718

    I’m intrigued. A contest is more than what I’m doin’ now. I’ve got nothing to lose… Except for the entry fee.

    What the hell…

13. Susan P. on Wednesday: 30 July 2008|1737

    Hi guys,

    My response to the issues is as follows.

    My experience in other forms of writing both as author and as examiner/reviewer suggests that its a fairly foolish pursuit to assume your script is the perfect bees knees. It won’t be.

    Thus, I seek commentary or would enter a competition for the potential of invaluable feedback. One may not get that feedback however; it may be a simple rejection slip. I haven’t read the details (as yet) to know.

    If the comp. made ALL who entered sign off their rights whether they won or not I would avoid entering BUT, I wouldn’t have a problem signing off on this. Why? Because of the (again) invaluable opportunity.

    Sure, we can cast $500K examples out there but honestly, on pure stats alone that is going to be long long odds and I’m NOT convinced I have that talent as yet. I’m a darn hard worker though and determined (and maybe better than I think!) but I do work hard to pay for consultancy and I would be ok paying this entrance fee. I mean, look at the standard of the reviewers!! I would pay that fee with no expectation of reward, BUT, for both the experience AND because sooner or later I believe we need to take a risk.

    And in this kind of competitive industry, a foot in the door is invaluable. If you won this comp, your second script would be so much easier to pitch and find its way to the right people.

    The outline I’ve just done is aimed at a British film and actors interestingly enough but I doubt I could get a script done on time that is up to standard. Not without a little more critical expertise and I doubt I could locate a secondary reader in the period of time left. But, ya never know.

    If I was ready I would go for this and appreciate the heads-up.

14. Susan P. on Wednesday: 30 July 2008|1738

    Go for it Ryan and good luck!

15. Clive ($1,000) on Thursday: 31 July 2008|0118

    Er Guys… you’re looking at the rights issue all wrong in this competition.

    Basically, because the competition is producing the film as the prize, they are in effect optioning the script… the whole point of optioning a script is that you give up your rights to take it elsewhere for a set period of time.

    So, this is no different from sending your script to a producer and them optioning it… except that in this case you are paying £65 to guarantee getting the script read… and you know that one of the scripts has to be optioned.

    Now, whether to enter a competition or not is another matter… but I agree with Unk, this one is better than most

16. Susan P. on Thursday: 31 July 2008|0159

    Clive, I later looked at the matter from another perspective. What does one *expect* to get from a competition? Let’s say people would prefer a straight out prize. Would this necessarily mean the script will be optioned elsewhere (with eyes to major $) simply on the basis the script won a comp? Whilst that logic is provocatively delicious, I’m not sure it always works out that way. I’d prefer to enter on the guarantee the film would be made. I have seen small theatre script comps where you didn’t get anything really aside from seeing your work acted out and you still had to sign off on the rights.

    A question though. There is a upper end limit I gather to the financial investment offered here. What if your film cost a lot more to produce?

17. Clive ($1,000) on Thursday: 31 July 2008|0322

    This is a European production, they’re not going to make anything that costs over $12M regardless of what they’re saying. In fact I’d expect the budget to be in the $2M to $10M range.

    My only quibble with the payment structure is it is 1% of the production budget when the industry standard is 3%…that’s a bit naughty, because 3% of a European budget is peanuts compared with the kind of fees you’d expect with a similar US script sale.

    So, the 2 point reduction from scale is harsh.

    The other thing is, the European film scene is very different from the US industry… and the British film scene is sort of unique, even in Europe.

    So, the European film scene is definitely art house, festival led. The British scene is massively political, with an emphasis on Political Correctness!

    When I look at the judges for this competition I can pretty much guarantee they’re looking for something that will play well at Cannes and Berlinale. They’re not going to make a US based slasher flick… or a zombie movie… or a $54M plus action movie.

    They’re going to buy a piece of character driven drama, which plays well to established british acting talent…

    I’m not going to be entering, for two reasons… one is I don’t need to… but mainly because I can read the subtext, and I understand the mindset of UK producers (and their links to soft funding)… this prize is going to be won by a UK born, female writer, who is under 26 years old… you wait and see… they are not going to award the prize to a 46 year old, established writer/producer who has a twelve year reputation for slagging off the UK film industry and their inability to tell a good script from a bad one.

    They’re also not going to award the prize to an American… but, I could be wrong about that… I often am.

18. Susan P. on Thursday: 31 July 2008|0332

    Fascinating commentary Clive. Knowing the way ‘things’ are judged as they tend to be, then if one believes ones script is going to cost more than $12million then there is no point in entering. Now, my current script idea actually meets a couple of the points you raise - depth of character and intended towards British actors - however, being in the antipodes I wonder if there is a point in submitting. I am an Australian and certainly not under 26! but I take the point you are making. I would have to take the cost on advice. Does costing as you have set it out include actors fees? I presume so but I will ask.

    I do agree that the comp should, as an industry matter, assign industry standard percentages. I didn’t know the figures before your post.

19. Susan P. on Thursday: 31 July 2008|0453

    Unk said this..the comp Clive says up to $2 million. That is not a big budget (in relative terms). I have some effects in my script - the rest isn’t x’y as such - but given costs as I know them I doubt mine would fit the 2 million.

20. Clive ($1,000) on Thursday: 31 July 2008|0503

    Yeap, but actors get paid much less in Europe… so even a Hollywood regular like say Judy Dench will go out for a much lower fee for a European director.

    The truth is, European films tend to have better roles for actors… more in keeping with say european theatre traditions… so, the pull is different.

    Most English actors are taking US roles purely for the money… if I approached them with the same script, but at European rates they’d laugh me out of the meeting. (not true of all roles, but in the main)

    These days it’s easier to be a European or even Australian screenwriter than it is American. The US studios have bought up almost all of the large indie sector players and then systematically closed them down when they couldn’t turn profits. So that really leaves the indie/indie sector which is a mess… and the major players who are terrified of opening the gates to a flood of wannabes. (don’t get me started on the role of agents in the industry!)

    In Europe right now there is a much greater diversity of films and film makers… all working in the $2-$14M dollar range… but pulling great European acting talent… and the business is open enough for you to get direct access to the players (if you know how)

    When you think about it, some of the most fascinating character actors working Hollywood right now are either French or English.

    Now I’ve seen actors like Jean Reno take very odd roles in european films… simply for the opportunity to work near to home and for a director who isn’t being run by the studio.

    Don’t read too much into my cynicism about the competition… your profile is PC enough to give you a shot… you tick a lot of the right boxes! LOL

21. Susan P. on Thursday: 31 July 2008|0520

    I did laugh out loud..I guess you know the empire well enough and of course I AM a female :-) I actually have a specific actor in mind though the age group is a tad dodgy. :)
    I have a cool script consultant..I will check with him as to whether he thinks this is a good move to go for and of course see exactly what it IS I need to get in by Sept. I may need much brow wiping and numerous flat whites. :-)
    I figure with currency exchange it is about AUS$140 to submit and I am ok with that. Coming to this late in life has its drawbacks but also its pluses.

    Jean Reno was so cool in the Professional.

22. Susan P. on Thursday: 31 July 2008|0538

    Ok, one needs to READ. In reality I have until November until I wish to save $50.

23. James on Thursday: 31 July 2008|0712

    Unk said:

    “I have to disagree… I don’t think everyone thinks their screenplay is GREAT.”

    I agree.

    This is kind of off topic, but I wanted to toss my two cents into the fray.

    My best screenplay is probably my least marketable one. Some of the screenplays that get me meetings are somewhat hokey ideas that I put together because the premise was strong — or fun — or easily envisioned as a movie — or I just wanted to write it.

    I know what is a good screenplay and what could use work. But I also know what should sell and what is a tough sell.

    And I think that is as important as knowing if your script is good or not.

24. Susan P. on Thursday: 31 July 2008|0728

    James said,

    “My best screenplay is probably my least marketable one.”

    What is your definition of “best” in the quote James?

    Do you mean well crafted and written? Or, reading between the lines, are you referring to what is current flavour of the day and being able to pitch ahead of the pack (thus predicting what is to come)? I may be sliding past your meaning of course.

    To me (and I am young at this), a good script is powerful, well written (and acknowledged as such by others with experience and expertise), efficient (compact) and introduces some new mechanism or character issue to an audience (something potentially never portrayed before).

25. Mark on Thursday: 31 July 2008|1043

    Clive,

    Yes, I agree with you about the optioning thing, that’s what I was saying as well. It’s a must for the competition organizers. I just think the payoff isn’t there. There’s no bargaining power for the screenwriter.

    But, as Unk was saying, if someone likes to enter screenplay competitions as a habit, I guess this one’s a good idea.

    I’m just leary of people who say they are “looking for some kind of other validation.” My guess is 99% of the time their writing isn’t good or at least isn’t marketable.

26. Susan P. on Thursday: 31 July 2008|1705

    Mark,

    Surely it’s repeated success, which, after all is generated from external validation, that enables the vast majority of people to reach a place where they no longer need external views as such?

    Perhaps “validation” has negative connotations. If we just said ‘critique’/confirmation it may be more acceptable.

27. Mark on Thursday: 31 July 2008|2236

    Susan,

    Yeah I agree with you about that. But if you want feedback and validation, give the script to your friends, family. Then to people who know a thing or two about screenwriting. Then hire a pro to analyze it for you.

    The connotation I definitely get when I hear “some other kind of validation” is the person who just doesn’t have a good script or scripts, has tried to sell them but they aren’t good and don’t sell, and then they blame other people and start looking for the screenwriting equivalent of a get rich quick scheme, i.e. little work lots of reward. Not gonna happen. Anyways, that’s the connotation I got from that.

    But, I hate writing all this negative stuff. So I need to finish with a positive. The fact that we’re all on here talking on this blog and wherever else we post, is a good sign that we’re all looking for ways to get better. That’s the only way to make it. Keep writing, keep trying to get better, and one day it’ll happen. People who can’t write don’t even try, or if they do, they aren’t on here trying to get better. And if we can write, as long as we keep at it then it’s impossible not to make it at some point. The only people who fail are the ones who give up, or get tired of rejection and stop trying to improve, thinking that it’s everyone else that’s wrong, and people just don’t realize how good they are. If Edison stopped on his 100th try with the light bulb…

    Someone told me not too long ago that he stole that idea anyways. I don’t know if it’s true, but…anyways that’s a wrap!

28. Susan P. on Friday: 1 August 2008|0759

    I have decided I wouldn’t enter this comp. Why? Well, a couple of reasons. Not intending per se to push a political barrow, for me it contradicts hard won industry standards to support something that undercuts those. If I accepted a lower rate then doesn’t that actually suggest I accept my work is less than those being made say in Hollywood? And, if it is, its not actually a compliment to win.

    I think there is a difference between humility and feeling grateful (in this kind of context). I may have humility about my work but I should not feel grateful that I have won a competition. Gratitude (which tends to lead to acceptance of undercutting payment standards) doesn’t really seem appropriate. At the very best, the film company should be happy to have a quality work.

    I know there are costs to competitions but your fee should meet those, thus, one can’t even accept lower payment standards on the premise of supporting a comp.

    This topic certainly got me thinking!

    I would not have family or friends read my script in order to garner feedback by the way. I think that a pretty empty and pointless exercise and sets both sides up for potential pain! :)

29. Mark on Friday: 1 August 2008|1235

    Susan,

    You absolutely should have family and friends read your script. Sure, their feedback isn’t going to be based on any knowledge about screenwriting…but, their feedback is going to be representative of what the average movie goer would think about your story. Some might say that people close to you will just say its great no matter what, but if you really know someone you’ll be able to tell if they are honest or not.

    It’s a must to have every day people read it. You can’t make a film if most people aren’t sold on the story.

30. Ryan on Friday: 1 August 2008|1411

    Is it just me, or are Mark and Susan clicking like no other lately? :)

31. Ryan on Friday: 1 August 2008|1411

    Click, click, click, click, click…

32. Susan P. on Friday: 1 August 2008|1616

    Ryan, that’s a comment worthy of the school yard.

33. Neil on Saturday: 2 August 2008|1934

    Pluses:

    I’m half British and understand how the film industry in Britain/U.K. works.

    Love Indie films from England and just about everything British.

    Minuses:

    Don’t have anything in the works that could be remotely made for under $2 million. :(

    My only qualm with the contest is that I suffered through three seasons of “Project Greenlight” only to come to understand that it’s REALLY FARKING difficult to make a good movie in “the system” for $1 million to $2 million dollars. Sure, some talented directors (Aronofsky and Rodriguez) made some great true indie movies, but they did not have to work in the system.

    The primary reason I want to enter is that one of the judges is Sir Kenneth Branagh. For 65 pounds I sure hope that the JUDGES actually are going to read the fucking scripts, and not some intern readers.

34. Susan P. on Sunday: 3 August 2008|0355

    Neil, only the finalists are read by the judging panel that includes Branagh.

35. Susan P. on Sunday: 3 August 2008|0402

    Neil, I just noticed on you blog you talk about (and I paraphrase) now that your script is done looking to the chemistry between characters before you consider casting.

    I admit being a little surprised at this. I am reworking a script outline to orient it from UK to US and I find I have a fairly strong sense of that chemistry. Admittedly I complete more extensive notes than one liners or bullet points but didn’t you have a strong sense of the interrelationships as you were writing your script?

    I observed a writer here posting on a bulletin board about having had to rework parts of her script because the actors she hired tended to make the script sound ‘off’ in various sections. To me that is a really expensive way to undertake a script review!

    Perhaps I misunderstood your meaning.

36. Jeremy Paterson on Thursday: 7 August 2008|1610

    Whilst I may enter into this competition, I am highly cynical of screenwriting competitions in general. I have just recently been scorned by Bluecat Competition who provided shockingly poor feedback, outlined in more detail in:

    http://dreams-of-a-nobody.blogspot.com/2008/08/screenwriting-competitions-wtf-plus.html

    Basically, there is no true way of finding out how legitimate the competitons truly are.

    My cynical self does have an inclination that only specific scripts can win and only by writers of a specific demographic, but I have no proof either way…

37. A H Qureshi on Thursday: 14 August 2008|1315

    As there’s a lot being said about this competition I thought this may be of interest to you guys.

    United Agents Join Kaos Films & BFSC
    Kaos Films is thrilled to announce that one of the top UK literary and talent agencies UNITED AGENTS who’s client list includes: Keira Knightley, Ewan McGregor, Tom Stoppard and Alan Bennett are joining forces with the British Feature Screenplay Competition.

    United Agents will offer the winner/runner-up guaranteed representation. This is a fantastic opportunity for screenwriters and one that is unprecedented in any screenwriting competition.

    Entry forms, rules and full details of the competition are now available on the Kaos Films website. The early deadline for entries is September 12th. Just four weeks away.

38. Susan P. on Sunday: 17 August 2008|0341

    Could anyone enlighten me on why certain competitions require you submit a photo of yourself with your entry?

39. M A CLIFTON on Friday: 31 October 2008|1544

    I’ve had a go at it and I keep trying and trying that’s all you can do till they give you Screenplay the greenlight. All major Filmmakers ask you to sign a form before sending material for Screenplay off to them it’s for them to verify that it is yours. My Synopsis was created by Angela Bond who has 6 links in Hollywood. I’ve got an Agent that has contacted me I’m just waiting for another reply next week or sometime after to see if I’ve got one from there or not. And I’ve enjoyed writing it and I get a thrill out of writing my Screenplays. It’s become more than just a Hobby now. Kaos is a true Filmmaker it is with Pinewood Studios in Buckingshire and I’ve seen one of the CEO from it on The Book Awards that got showed with
    Richard & Judy Show on Channel 4 in the
    United Kingdom.

40. Santo on Wednesday: 12 November 2008|1839

    This competition seems to be run by somebody who doesn’t understand, or doesn’t want to understand, how the film industry works.

    In the interview at Moviebytes, he says that “producers must have ownership before production can begin” and that they are “going right into production” and explains this as the reason why all rights are signed over for free instead of simply an option to acquire the rights on first day of principal photography as is normal in North America and Europe. He seems not to understand that there is a difference between pre-production, production (commencing and ending with principle photography), and post-production. They will be going right into PRE-PRODUCTION.

    The logic is inescapable:

    1) If they are making this movie for sure — which means the money is in place — then pay the full amount up front.

    2) If they are not 100% certain about financing (nothing wrong with that — that’s reality), then option the screenplay for a year for a token dollar so that if things fall apart, the writer is not screwed and lose the rights to their work for ZERO money — and have to PAY FOR THE PRIVILEGE with the contest entrance fee.

    And one last thing:

    If you run a contest “for the writer” then you do not, under any acceptable circumstances, EVER EVEN SUGGEST that there may be some clown brought in to write them out of their own movie. NEVER EVER do you do that.

    You will not have another competition if you do that. You will not have any sponsors or entrants. Not with the internet to police you.

41. HuskyJohn on Monday: 17 November 2008|0935

    Helloooo,
    I too am a cynic, I do believe that a certain demographic is by and large at an advantage in these comps. I also believe that most of the scripts are read by some intern or other and are at a disadvantage immediately. If you are someone who loves Steven Seagal movies you aren’t going to get a script such as “Sideways” and that will immediately be pushed to the “No” pile. Even having a degree in a creative subject doesn’t guarantee an understanding of the craft or the business. Lets face it, this is an expensive competiton for little reward. You are better off spending the cash posting your script on somewhere like InkTip, where it has, at least a chance of being read by an industry professional and where the strength of the script far outweighs the age , sex and looks of the author!!!

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