DO NOT ENTER - YET
When it comes to screenwriting contests, make sure your screenplays are ready to SUBMIT!
Each screenplay you write will hone your skills and nudge you to polish any older ones you might have. At some point, they will be ready to send off for coverage, enter contests, or re-enter those you’ve improved.
I recently joined a writing circle and got schooled on the opening pages of a script that had previously won several laurels. A few members pointed out where I could tighten things up. This inspired me to set time aside daily to revisit the other scripts in my portfolio. Portfolio? Yes. You never know when you might have an opportunity to pitch to a producer who might say, “This is great, but we have something similar in the works. What else do you have?” Have something.
Writing groups provide a safe place to learn, teach, and connect if you’re open to well-intentioned, thoughtful critique. Writers need thick skin and open minds to succeed. They also need the confidence that comes with learning their craft.
When group members are at different stages in their writing development, there’s a risk of being overwhelmed - or overwhelming.
If you’re a beginner, don’t let info dumps paralyze your pen or enthusiasm.
As a retired teacher and a woman who writes in multiple genres, I know that writing groups can be similar to a multi-age class of students. Interests and skill sets vary. Information that’s shared isn’t always sequential. It’s best to stay calm, be curious, and write on.
If you’re new to screenwriting, as with any craft, treat your homework as an adventure. Find resources that teach you the basics, but don’t give up on your group. Be patient with yourself and with each other. Each member has something to offer including opinions, enthusiasm, and fresh eyes.
If you’re interested in how my writing journey started and the resources that guided me, take a look at two of my first blog posts: “Convergence” and “Fear of Failure.”
They’re a bit lengthy for blog posts, according to some, but heh, everyone has to start somewhere.
I wrote them when I launched my website in November of 2022.
I planned to write about the convergence of my physical and spiritual pilgrimage on the Camino Ingles, my pilgrimage of the pen as I wrote Wayward, and the pilgrimage of the heart I was on with my younger brother’s impending death. He was homeless, suffered from schizophrenia, and battled addiction and failing health. I was his medical representative, carrying a heavier burden than the luggage I took to Spain.
I followed through with my plan and now my approach is more open-ended.
In our upcoming writing circle, we will be discussing coverage and contests. This topic is best suited for those who have already written a script or two. Still, it’s important to know that there are coverage services available to help you revise your scripts before submitting them to contests. However, coverage can be expensive. If you’re new to screenwriting, it may be better to invest your money in how-to books and online courses. These resources will help you learn the industry jargon and provide insights into story structure, character development, and proper formatting. If you already have a screenplay, revisiting the basics will help you polish your script before you submit it for coverage.
May I suggest that you…
Buy a print copy of “The Screenwriter’s Bible” and “Screenwriting for Dummies.” You can read, highlight, dog-ear, and slip sticky notes in them. These books, and others, can help you when you’re stumped. While Google is useful, it can be overwhelming and get you sidetracked.
Read “Save the Cat” by Blake Snyder - it’s a fun, informative, eye-opening read. The sequels are good, but the original book is the most beneficial.
Identify your genre and learn about its tropes and the storytelling conventions associated with it.
Identify your target audience and watch “comparables” - movies in the same genre and tone as the one you aspire to write.
See if you can get the scripts for them online.
Brainstorm your plot ideas and build a beat sheet using the three-act structure. Ensure there’s enough conflict to hook and keep your reader’s attention.
Use a matrix to flesh out your characters’ wants and needs, likes, dislikes, aversions, wounds, goals, dreams, triggers, vices, skills, diction, etc… You won’t use them all but they will inform your writing.
Make sure your characters have dissimilar names, mannerisms, and catchphrases. Final Draft makes it easy to “find and replace” some of these.
When you’re ready to write, use one of the standard formatting apps. The investment is worth it. There are several out there, but Final Draft is my app of choice - and most of the industry’s.
Show, don’t tell - in the present tense - and keep narration visual (flashbacks are also written in the present tense).
Resolve all conflicts by the time you type: “The End.” That includes each storyline as you would with movies with ensemble casts.
Correct spelling, grammar, and punctuation as your schedule allows. When it won’t interrupt your flow, run your script through an app like Word (grammar & spell checker), Grammarly, or ProWriting Aid when you're done. Be mindful that the apps may give you suggestions that can mess with your characters’ syntax.
Read your work aloud, pausing to correct as needed. If you use Final Draft, you can assign voices. Don’t rush. Go line by line, scene by scene, and then as a whole, correcting as you go. Check that you’re not making new errors, particularly when you cut and paste. Save as you go, and label or date each new version. I made the mistake of submitting the wrong draft of one of mine to a contest and it didn’t advance.
Use resource material like those mentioned above for tips on formatting montages, flashbacks, inserts, and more. Formatting is far more than just messing with margins.
Consider taking a class online or at a community college or university. You could end up with a notebook full of random screenplay ideas. And NOT by poaching them. One moment you’ll be focused on the instructor, and the next your brain might go wild with ideas. Permit yourself to jot them down. Online courses range in price and content, from Udemy ($) to Masterclass ($$), and more ($$$).
There are also groups you can join or follow online, blogs, vlogs, and mentorship programs - too many to list. Many charge subscription fees and offer incentives, while others rely on advertising and donations. They can be rabbit holes and a distraction, and easily overwhelm you. When you feel ready, check for ratings and reviews.
Whoa, right?
Consider doing the heavy lifting, monotonous edits, revisions, and rewrites yourself before you pay for coverage. You’ll save a bundle and feel a stronger connection to your project. By investing time and effort into crafting your story, a coverage provider can focus on addressing other issues like missing plot points, stagnant action, weak story arcs, static character development, unlikeable protagonists, continuity errors, and underwhelming conflict. As the writer, you might be too close to the story to notice these problems, which is where professional coverage can be valuable. Embrace the process and your progress.
Be cautious about sharing your script with family and friends “before its time.” It’s better to pitch them a few versions of your logline. Wait until you’ve received a round or two of coverage notes and revised the script before inviting them to be your beta readers. This will be more of a help to you and spare them from some of your growing pains.
You’re Ready for Coverage…
When choosing coverage, opt for companies that offer “multiple reader” packages to get more diverse opinions simultaneously, and check out their bios. There’s are usually added fees for requesting specific readers, but it is often worth it. It’s also worth paying extra for female readers as they may better understand your work due to their preferred genres. This also supports women in film. Some comments will resonate more than others. Others may downright irritate you. It’s okay to disregard some, play around with others, or revisit them in a later draft.
Coverage packages typically include a logline, a brief synopsis, a few pages of notes, and a scorecard similar to those in competitions. Your script will usually be rated with a PASS, CONSIDER, or RECOMMEND, along with points in multiple categories. Sometimes they may give you a “consider with revisions.” These services profit from return customers. Some even have a HIGHLY CONSIDER category to aim for, but a simple RECOMMEND puts you in the top 5%.
Screenplay Readers Script Analysis Grid
This was the analysis grid for “Broken Glass,” my first RECOMMEND.
I’ve used several coverage companies over the years, and most have been helpful. I recommend googling a variety of them and checking out their pricing and client reviews. Also, ask other screenwriters for recommendations.
Screenplay Readers was a favourite until the owner refused to apply a discount coupon and harshly berated me. I wrote a negative review because of the incident. He then refused to refund my money unless I retracted my review. Instead, I assured him I’d update my review based on the new coverage. He refused. Other than being out of pocket and humiliated by him, I was glad I stood my ground.
There is great concern about coverage companies that use AI. Most of them are owned and programmed by men who don’t often understand or enjoy the type of movies women prefer to view. The bias scares me.
AI coverage is inexpensive. Some companies even offer a free demo on a few scenes. But the bots don’t understand nuanced writing, subtext, accents, syntax, ect. AI has trouble tracking sluglines, time shifts, and scenes with flashbacks. They even mix up characters. Though some of their comments are helpful, most of their reports are generic.
Stay tuned for my next blog on AI and the fun I had schooling one.
After I receive and act on the coverage, I enlist a few beta readers such as family, friends, or other writers who are interested in exchanging scripts. I sometimes give them with a kit in an envelope containing a hard copy of the script, a pen, a highlighter, stickies, and a sheet with open-ended questions. This is to ensure that I received detailed feedback rather than quick yes or no answers. Some of the questions I ask include: “Which parts of the script took you out of the story?” and “Which parts were too slow-paced?” I also ask for their thoughts on the characters and which parts made them laugh or moved them emotionally. The only closed question I ask is “Did it feel like a novel or could you picture the scenes as if you were watching a movie?”
It’s important to show appreciation to the beta readers when they return the feedback. This could be in the form of a box of chocolates, flowers, a lunch out, or thoughtful gesture based on their preferences. They deserve to be recognized for their time and effort, and it’s crucial to let them know how much their feedback means to you. This, in turn, will make them feel more invested in your success.
ARE YOU READY TO SUBMIT?
If you’re considering entering a screenwriting contest, it’s best to wait until you receive a positive response from a coverage service and your beta group. This will improve your chances of success as you’ll likely be competing with writers who have received a positive recommendation. Once you’ve decided to enter, check out local film festivals first so you can have the opportunity to attend, volunteer, and support them. Even if they don’t have a screenplay contest, you’ll be able watch some great films, mingle, network, and possibly make a few like-minded friends.
Many competitions are associated with film festivals, both locally and abroad. Some of the better ones offer more than a laurel in recognition, such as cash prizes, access to the festival, or mentorship programs. Others may help winners connect with producers, agents, or managers, and some may even promote the winners on their social media platforms.
To enter most contests, you’ll need to set up a profile and project folders for each script on a portal like Film Freeway or Coverfly. There are a few contests, like the Academy Nicoll Fellowship, that you can submit to directly. Portals take a small portion of your entry fee to manage your file and make your script accessible to the contest’s judges.
Remember to carefully review each contest you’re interested in, including their reputation and their rules. Keep in mind that all reviews are trustworthy, as some dishonest festival may review themselves. Choose the contests that resonate with you and fit your budget, then pay your fees and submit your script. After that, focus on writing your next script and don’t dwell on the contest results, as it may take months to find out. The portal will notify you of your ranking in due time. If you’re an official selection, the contest is likely to notify you as well.
Film Freeway hosts affordable contests including some of the bigger ones. Coverfly may be more expensive but handles many famous competitions and fewer disreputable ones. Generally, the more prestigious the contest, the more expensive and competitive it is. Some contests use multiple portals. I have personally used both Film Freeway and Coverfly, as well as submitted directly to other contests.
Here is a snapshot of competitions that popped up on my Film Freeway link today.
675 festivals match my criteria, but not all are created equal.
These contests came up first on my Coverfly link.
Please beware of fraudulent festivals. I learned to spot them the hard way. For more on this topic, check out my four-part blog series: Navigating Film Festivals in a World of Online Scams.
Some competitions provide feedback at an additional cost. Check to see if the feedback consists of brief comments from the judges, or if it is coverage from an affiliated or contracted provider. I prefer to know what the judges thought of my work. Sometimes, you may receive coverage back in time to revise your script and resubmit it - for a fee. It’s a big business. Nurturing hopes and dreams can be expensive.
This is one of the reader comments from the Academy Nicholl Competition. Mine was one of several thousand scripts. Even with the “Recommend” I received with the Script Readers coverage, my screenplay still needs work.
I paid for coverage for two scripts that I entered in the Scriptapalooza competition, “Wayward” and “Homing Instincts,” and was disappointed by the feedback I received - not with the competition itself. (You can check out the pitch decks for the screenplays on this website.) The coverage was so similar that I know the reviewer used a template - a poor one. Both scripts were romantic dramas with elements of humor. One was about homelessness and tiny houses, while the other involved travel, lottery tickets, and chance encounters. The feedback, in some areas, was almost identical. They both suggested I study Die Hard before rewriting it, and the reader gave both scripts a PASS. Thankfully, the reader wasn’t a judge, and one of the scripts made it to the top hundred as a semi-finalist. It was one of the biggest competitions out there: Scriptapalooza.
On the other hand, I didn’t pay for the judges’ notes or coverage when I entered “Wayward” in The Big Break competition, and my script wasn’t selected, but it did get this “Boost” that made me wish I had…
Yet another warning: In today’s world, there’s a risk that some coverage companies might use AI to analyse your script, at least in the first round. This is a major concern for women for various reasons. I submitted all six of my feature film scripts through both Greenlight Coverage and Scriptreader.ai. Stay tuned for my next blog post to see how the companies and feedback compare.
Best wishes on your pilgrimage of the pen. I hope you found this blog post useful.
Please share your feedback in the comment section below.
“Learning is for serving.”
Sincerely, Jes — Wayward with a pen.
