Screenwriting : Austin 2018 by Paul Zeidman

You know who the first-round readers are, don't you? Graduate and undergraduate film students at UT Austin. No professionals at that level, and huge room for friends there to "advance" other's scripts.

Classy post, Paul!

James - not all of them are students

It's true Austin doesn't reveal who judges the first round (while I think they provide the actual names of the judges for the other rounds), but UT undergrads? That'd be a scandal, if true. So I don't believe it. On the other hand, I think the reader notes provided by the Nicholl kick Austin's ass.

Eric - believe it!

FWIW, I have a couple of friends who are first round readers, they're experienced writers in LA with MFAs in screenwriting and experience reading for other big festivals as well.

Craig Mazin recently stated that when he was a reader at Austin, he didn't read a single script that was high-quality Hollywood-relevant. That should give some inspiration to those of you who feel your scripts are the goods.

Pamela: Google it and enlighten yourself.

My motives were to share what I know, and to inspire people who feel their scripts are high-quality and salable - because if they are not, then entering upper-tier contests is probably not in those peoples' best interests. How you find that to be "negative" or to question my motives is puzzling and beyond me.

Yes it's true they use college students and anyone else they can find to read the early round scripts. I did some reading years ago and they hit me up every year begging me to read and to ask just about anyone I know to read. They do not include qualifications with their requests. I have actor friends who have been asked. Yes actors. I've had crew people who have gotten asked. Crew people. There have been posts on Facebook groups and elsewhere about this for years. They had over 10,000 scripts this year. How can they find qualified readers?! They have to beg! Also a joke is their 2nd rounder number. 20% of 10,000 is 2,000! Why so many? They go to all of those people and offer them discounts on badges. That's why they have so many! The next cut is 20 people or maybe 30. I'm always awed how many drink the Kool Aid! Your money buys you a read by kids. Being one of the top 2000 gets you a 100 bucks off a badge.

So a side question here. If you enter a contest and then pay extra for feedback\notes, does that mean your feedback\notes are going to be written by one of these unpaid, possibly unqualified, volunteers?

Nate. that is a great question. As a relative newbie, I haven't done it, but would like to find out the answer.

Actually there second round is 100. they sent me a link to the list when I made it that far. How come whenever people make it on a contest, people have to come on a rip the contest. Not me, I have thick skin, but let the others enjoy.

Too many egos on this site.

The number of semi finalists in a given category depends on the number of entries in that category. I'm a semi finalist for a drama pilot and there are only 30 of us. Some have fewer, like podcasts I think is a pretty short list if I'm remembering correctly.

That's right Heidi Nyburg. My point is that usually you'll see a contest where the drop-off from quarters to semis is maybe half the list or 1/3rd or 1/4. In this case it drops from 2000 to 30 or on the high end around 100. It was confirmed to me by the woman who I reported to who left Austin that they do a ton of Second Round scripts to sell badges.

John Iannucci I'm sorry but I was a reader and I received an email asking to refer people. That's it. I'm not trying to bust a bubble. I'm just speaking facts. I don't enter the contest for obvious reasons so it's not about ego! Don't shoot the messenger.

Oh I agree, of course they want their second rounders to attend. They put together a program and they need people to attend the writers portion of the events. People who are invested in some way are much more likely to attend,. It's marketing 101. Same thing happens with film festivals I will say though that I know a lot of second rounders and non-placers who have attended and I've never heard a bad word about it. They have a great time, enjoy the panels and meet lots of other writers. No one has to attend. And quarterfinals usually implies top 25% so they are actually sending out fewer second rounders than they could. The semifinalists are only the top 2%, hardly enough to populate an event of this size. There aren;t many film festivals that incorporate writers into their events, let alone for two-three days and nights of events. I'm just stoked to see writers being included. Pretty cool if you ask me.

I have nothing against the conference Heidi Nyburg. I've been to it and it's fun. I wouldn't go again, but once was fun. I just think that writers should be aware that with so many script submissions, they are getting any volunteer off the street to read. I had one write me privately here today who is scared to post, but she is an actress with no reader experience who was asked to read. I think it's important to hear the truth when possible. It's important for those who didn't make the cut as well to know not to get down! Their script may have been read by a college kid with no experience and they're hurting because of it. They shouldn't. Those who advanced should be proud.

I agree on all counts. And I'm not surprised about the person who wrote you. I know kids who've barely got one screenwriting class under their belts that have been asked to read for contests.. I just think it happens even more often than we realize and of course, it's not exclusive to Austin. I agree no one should feel bad. You never really know who's reading in any contest. Not to mention subjectivity, their taste, even mood. I had notes come back from a pretty prominent contest that said "Well sci fi isn't really my kind of movie but I guess it was good" Pretty funny. Like they weren't even trying to give scripts to people who preferred specific genres. Needless to say I never entered that contest again. Ultimately I just try to look for the note behind the note, but in that case it was a little tricky. With so many contests out there these days, we're bound to run into this stuff.

I was asked to read for Atlanta for free badges. I turned it down.

Unfortunately there is no accountability in place. Film Festivals collect hundreds of thousands in submissions and give little back. Unless one pays for feedback one doesn't even know if the script has even been looked at, and, as shown on this site, even if it is, those reading may have little idea of the craft.

A number of Festivals make direct contact for submissions. This, in my opinion only, is not advisable as this further removes accountability. One just pays - submits - then nothing. I found this with Page having submitted two totally different genre previously award-winning scripts direct. With literally thousands of hopeful screenwriters out there Film Festivals are a wonderful money-making industry. No point in complaining. Nothing will change. But take heed for those imparting their knowledge and experience may not just be sour grapes.

I've been a Second Rounder three times at Austin. Sent the same scripts in again the following two years with hopes of breaking into Semi-finals--unfortunately, no luck. On one of my scripts the feedback I received from the two readers was laughably opposite from one another. One said "fresh and and edgy", the other "tired and boring". That cemented in my mind just how subjective this medium is and how contests are basically like lotteries (although necessary evils in opening doors to getting your work read at a higher level).

I did go to the conference, which I thought was really great. Lots of great panelists, lots of great learning. Really a "writers' conference".

I also was contacted after the fact about reading. They ask previous Second Rounders to volunteer to read. You cannot have a script in the competition in order to do this. I guess they figure if you got to Second Round, you know what you're doing. But that doesn't necessarily mean you know how to analyze a script. I liken the whole contest thing to playing a game of pinball: you can get batted up one or two levels only to be batted down again.

Has anyone had any experience with Slated.com?

Mary: that sucks, and clearly illustrates one of the issues with contests, and also the nature of artistic interpretations. "Fresh and edgy" and "tired and boring"....ouch....that's as weird/sad/telling as it gets.

It seems like this forum topic could be a good learning experience for those who are trying to run credible contests. Double the entry fees - even triple them if you have to - and start off with paid known/named judges from the get-go. I have no problem with people trying to promote their contests/conferences/film fests,/websites through screenwriting contests, as long as they are being as ethical and as beneficial to writers as they can be throughout the process.

Amanda Toney from Stage32 should do a survey among a select group of Stage32 members to find out if they would pay $100 or more for a contest IF (insert a few well-known names here) were the judges. The results might surprise her, and lead to some positive changes in the screenwriting contest world. And before anyone mis-interprets what I just said....I'm not slamming Stage32 or making negative comments about Amanda Toney - I'm just trying to provide a possible solution and make the world a better place for writers.

Bill Costantini I would rather spend $100++ on dinners and drinks. Get to know working people because this business is and will always be a people business. Contests and websites feed off desperation.

Henry Winkler’s speech at the Emmys: “If you stay at the table long enough, the chips come to you...”. Just be around working people. Someone will ask “what do you do” and then you do it.

Hi Bill Costantini - One thing about being involved in this business for so long is that you get to meet so many people who have worked for other organizations. This is true of contest readers as well. Unfortunately, what's been mentioned above is VERY true. Many "respected" contests hire readers who are not qualified and even more don't require to read past page 10. Sad, but true.

Every single one of our readers is vetted thoroughly and MUST have at least 5 years of reading experience at a production company or studio. We also require them to provide multiple coverage samples. And we always post our finalists readers right within our contests. They are all industry executives with their bios clearly laid out. And all of them meet with the winners and are therefore familiar with their work intimately before meeting with them. Honestly, I think this is one of the reason we have such a high success rate getting our winners/finalists signed, optioned and placed in writer's rooms.

So there's no need for us to raise prices. We always strive for complete transparency. And again, we would never bring in any reader who didn't fit our high standards. For us it is completely quality over quantity.

On a related note, if you didn't see it, RB posted a thread about our most recent comedy contest writer here. She's not only signed and getting a huge response on her script, but we have her meeting with such companies as HBO and Lionsgate on a variety of other projects!

https://www.stage32.com/lounge/screenwriting/Our-Comedy-Screenwriting-Ch...

I think Amanda already has that information and their contests are already being judged by well known producers. I won Stage 32's pilot contest and I can tell you this, they are very well-connected and the people who read for and judge their contests are experienced. And the people I met with as a result of that win were well known names in producing. FWIW I highly recommend Stage 32's contests. The connections I made are priceless.

Lol I wrote my reply before I saw Amanda's and she said it much better.

Amanda: I hear you, and have frequently praised Stage32 in my long history of posts. The only reason I personally continue to put forth posts here is because I'm a believer in Stage32's efforts to make the world a better place for writers and other creatives. I've put hundreds of hours into my posts here over the years because I believe Stage32 deserves my time and efforts, and because Stage32 greatly satisfies what I expect, want and need from a website for creative people.

It would certainly be extra-nicer - at least to me, and probably others, too - if Stage32 could do that public identification of the judges in the beginning rounds, too. That would be an extra cherry on the cake, and I at least never mind paying more for extra cherries.

And I did see that thread about the contest winner, and previously posted to it. That's as good as it gets for any writer, and especially those who might be questioning "is this long trail of blood, sweat and tears really worth it?" Well, Stage32 proved once again that, with your help, it certainly can be worth it for passionate and dedicated writers, and thanks again for that.

Amanda, I like Bill's comment. If Stage 32 has a pledge that only qualified readers judge the contest they are affiliated with (including the first round), I think it would be a huge marketing edge if you posted a short bio on each of the readers. This could result in pulling in more participates to your contests that might otherwise enter a "not so transparent” competition.

It would also give newbies, like myself, comfort that we are not just funding the contest so networked people can get ahead. If I lose a contest and I know my reader was a 3 timed optioned writer\ 5-time award winner etc. I can live with that and will damn sure take their comments\ feedback to heart. It’s all about that seed of doubt which has been planted based on several recent lounge discussions. You guys have an awesome site, take your contest transparency to the next level and take over the world! Figuratively speaking, don't really do that cause that would be bad.

@billcontstanti & @natemiller - I see where you're coming from. We actually did used to do this with our early contests. What started happening was the readers started getting hunted down through DM's on Stage 32, other social media channels, LinkedIn and other places and getting verbally abused by writers who didn't advance. Yes, that happened. Repeatedly. So, we took it down. Many readers, understandably, stopped reading as a result. A few actually feared for their safety. (These are some of the things that we deal with behind the scenes that nobody gets to see.)

I'm grateful that you are all so supportive and believe in what we're doing. As I mentioned in my last post, what we do for our contest writers as well as those who use our services and are members of the Writers' Room, I think, speaks for itself. We're proud of the fact that our standards for our readers are higher than most and that because of this, the scripts and writers that have earned the right to be at the top are now getting the recognition they deserve.

Thanks for listening and have a great rest of your week!

Amanda: wow...that's really scary and sad. I hope that never happens again.

I am going to Austin as a second rounder this year. I don't expect much, but I look forward to the experience. This is my first year entering a script into contests. And it's been doing really well in all the top contests, (quarterfinalist up to finalist in Nicholl, Page, Bluecat, Screencraft, Slamdance, Finishline) but I still have realistic expectations. From a pragmatic perspective, getting a bunch of different eyes on my script has been extremely helpful. It has a 62-year-old female protagonist, so I wanted to see what the overall response would be. Whether good or bad, from an experienced reader or not, in my case, all opinions are appreciated. I hear all the negative opinions on these contests and respect the opinion, yet take it with a grain of salt. With the way the entertainment industry is changing daily, how much content is now needed, and how easy it is for people to produce their own projects, I think remaining expectation free, yet cautiously optimistic isn't unreasonable. Since I started this journey this year, I've watched Heidi Nyburg's successes and see how much she actually puts into this as well. So far I personally have no complaints regardless of outcome. P.S. Thank you Paul for the kind words. I wish you the best of luck as well.

I didn't even submit and I got a rejection letter. (rimshot)

Actually, I think Coverfly played games and submitted for me - gotta look at the credit card records closer.

Nicole Jones With a track record like that I think you can put a crew together and make a decent film. You obviously don't need a director and I'm sure you already know a crew. see if you can get everyone to work off a percent of the box office. Better yet, a percent of the profit (but don't expect them to work for you again).

Amanda Toney I submitted a screenplay, paid, and never did get a response of any kind back (short script coverage) - over a year later.... Guess when they said "short" they meant it (:

The script either really sucked, or (s)he really hated it too much to even respond or something happened. I'll never know.... It got semi-finalist at a couple of comps with the same screenplay, but... you know how that goes - stuff happens.

I hope these characters that harass the judges at LEAST get banished from your site... Waiting for the right moment to come.

Nicole Jones Congratulations. I wish you all the very best.

Does anyone else use their spec scripts as just writing samples? I am curious if writers submitting to contests believe their specs will lead to a movie deal.

Dan- You always cut through all the verbiage here and get right to the point. You keep it simple and direct. Because you have done it. Not every body will always agree with you. And you have called me on my stuff time and time again. And I am grateful for that. And you are right. This business is more about politics than anything else. Contests &Festivals don't mean as much as connecting with people one on one. Grateful that you share your experiences, strengths and hopes here.

It's a great point, Dan, and one that is lost on many writers. I would point out it does work on the contest level as well. Going to be posting more on this soon, but our Feature Contest writer last year signed with one of the top spec sales agents in town off a meeting we set up for him. Due to the subject nature/genre of his script, there were very few homes for this material, but we set him up at meetings where we felt he could get traction working in tandem with his agent. Ultimately, he has had two meetings at a major studio which has led to paid work on another project. And he's had over 10 meetings with production companies who don't work in the genre of his original script, but loved the work as a writing sample and are interested in using him on other projects. That's as far as I can take the story right now until the ink is dry on the first one and discussions move forward on another project he is possibly going to be attached to, but the point is, ultimately, his winning script served as a writing sample that opened the doors and now has his career in overdrive.

Thanks Patricia. Regarding Dan's point, I just used one script of mine that I am open to any and all possibilities. Whether it be representation, sold as a spec, or in order to help me produce it myself. We will see. And to Kevin, not sure if you're being sarcastic, as my placements are good but not winning anything. But I am trying to produce it as well, so we shall see. And just fyi Austin isn't on Coverfly. I wish all this stuff was only so you could just tell people to look on the site to see where you placed in what. I'm torn on whether or not you list these accomplishments separately to "pitch" yourself or not. I'd rather just link to a site that lists it all. Would feel less tacky in the long run.

Laura I agree with you.Many use contest as a way to just see where they’re at. It can never be an end all, but placing and winning does add a couple of lines to the query letter. Not as good as being sold already or optioned but a couple of lines.

Dan, a lot of us don’t have the money to [produce our own script, many like me wouldn’t know where to begin and some of us only look at ourselves as writers.

Nothing wrong with what you’re doing - it’s just not everybody’s gig.

Though I agree with you in theory Laura, times are changing and as of today, with the amount of content needed, queries are as much a shot in the dark as a contest is. Killer logline and commercial script mean nothing if the place you send it to doesn't accept unsolicited queries. So contests are just another avenue. The notes one can purchase when entering make it worth it to me. Even if the notes suck, it causes me to think of ways I would defend my choices if I had to in a meeting. A random query, though free, doesn't offer anything, but takes my time, which to me is a cost. Just my opinion though. I understand many may disagree.

Laura, I would be inclined to agree with you, if it weren't for the fact that this is already working for me for what I need. And things are changing fast. Whatever was the case just a year or two ago, does not reflect accurately what is going on today. I'm hearing daily different reactions to all of this. Reminds me of dating websites. They were a tacky embarrassing thing no one ever spoke of, and now everyone uses them. But again, I've been around for a very long time working in this industry in another capacity, so I hear you and don't think you are wrong. I'm simply aware of how much times are changing.

(P.S. Side note, I've been getting a number of young people, interns and new hires, who are wanting to find new scripts, and talent from large agencies and production companies and they all have said they found me through contests.) I think younger people perhaps may not be as turned off by it. And they are the ones coming up. So there's that to consider as well.

Nicole Jones

No, I'm not being sarcastic. I would sconsider making your films.

Heidi Nyburg thank you for your measured response! I enjoyed the back and forth and am happy to see that we agree to agree!

Amanda Toney you have my enduring respect. You brought so much class to this thread. I recoiled when reading about the readers being abused. Thank you for explaining.

Then there's the all knowing Pope! Laura Scheiner hijacking yet another thread with her my way or no way bs. How many threads can you spew the same things about contests and put down writer's accomplishments? I swore months ago I would never post in a thread with you involved, but since I was on this one previously, I'll allow myself an exception. You're suggesting blind queries now! I do hope people are getting wise to you!

Nicole Jones if you are finding a positive reaction from your efforts and what you have achieved, keep going! Don't let the seers like Laura bring you down or kill your positive momentum!

Thank you Kevin and James. I am truly grateful for the encouragement.

Nicole, thank you for the mention. Best of luck to you in your writing, sounds like you are on the right track.

James: Laura has brought a lot of great insights to the forums - from how the biz works, to film references, to writing tips and techniques. No need to get super nasty, bro.

And some of us have had success in blind queries. Maybe not you, but I have, and a few others - like Dan Guardino, Phillip Hardy, Dan MaxXx - have mentioned it as well.

We're all under a lot of stress....us writers and other creatives.....at least none of you have Trump a few blocks from your houses today, like I will. In the immortal words of Sam Kinnison.....AHHHHHHHHH!!! AHHHHHHH!!! AHHHHHHH!!

Bill Costantini I'm happy to hear that. I think occasionally, Laura has some nice thoughts as it relates to writing, but business wise I think she can be dangerous. She's out of touch and her black and white approach to everything is BS. I'll bow out. I have writing to do! Before I go, I love Kinnison! It's a good note to clear out on. Have a good day.

Bill Costantini Thanks, Bill. I think I’m gonna take a subway ride tomorrow to Kaufman-Astoria Studios, wait by the security gate and pray someone shouts, “Who wants to work today?”

That’s how they discovered actor Charles Bronson, standing on Bronson street outside Paramount Studios.

Not aimed at you, James, but at all writers......when I lived in L.A. from 1998 - 2008, I lived on a block where a lot of people converted their garages to guest houses. In those guest houses, there lived many writers and other creatives. A lot of them were really smart people. Some had multiple degrees. And a lot of them were really talented, and even nice and humane.

Not a single one of them lasted a year. Not one.

There must have been at least a hundred of them. They all came in upbeat and positive, and they all left beaten down and negative. But they all left. Except for one - he committed suicide in his guest house.

Quite a few of them even left most of their belongings and moved out in the middle of the night, because they were behind on their rents. One even left his dog, and fortunately the landlord adopted her.

It was such a pretty block, though - tree-lined, clean, and nice houses. Minutes from Universal Studio. You can see it all right in front of you - Hollywood, the mecca. The extravagant mansions. The famous stars. The beautiful hills.

You can see it. You can hear it. You can smell it. Mmmmmmm.

But not a single one of them got to taste it. And not a single one of them got to touch it.

That was really sad, watching that same story repeat itself, over and over and over. Ten years, over a hundred of them.

Man....us aspiring/novice/intermediate creatives have it so tough. The new pros have it tough. The old pros have it tough.

It really sucks to have your dreams ultimately shattered. It really sucks to leave your dog behind. And it really sucks when you find out that sometimes things aren't really what they appear to be, like how some of these contests really work.

I really hope all of you make it and fulfill your dreams.

Dan MaxXx

>I am curious if writers submitting to contests believe their specs will lead to a movie deal.

I assume my chances are better getting hit by lightning in a coal mine.

Bill – That is a truly sad story (no sarcasm). Maybe not the time to suggest this to you, but to me, it sounds like you have the base of a damn good screenplay. “The block”?

Also, I wonder, not including the poor individual who took their life, if those people regretted taking their shot at Hollywood? As far as my life goes I would always rather say “At least I tried” instead of “I wonder if”

Bill Costantini There's a sitcom or TV show in that post of yours a la' "Desperate Housewives" but instead "Desperate Writers".

Laura Scheiner Agreed.

My problem with Contests is advice is contradictory at best, or just plain thoughtless or even harmful if some reader suggests re-writing something that actually is pretty good, but they just gloss over the whole 100+ page work. Or they're obsessed with a title, , or seem to have no interest in structure.

But, with that said, sometimes the feedback is really, really good.

I've "kind of" given up on them... Just from that basis. They're fun but the frustration they induce is getting to not be worth the hassle.

I am thoroughly appreciative of this thread. My hope is that it represents many different perspectives so anyone new can assess themselves what is right for them. I do appreciate your experience Laura. I too have a great deal of history in this industry in other ways as I mentioned before, so I do understand why you are so strong in your opinion. Though my opinion does differ from yours, I don't think either of us are necessarily wrong. Speaking for myself, I'm not preyed upon. Most people can nowadays look on line, (and they do,) and they can see for themselves what works and what doesn't and how they themselves can make things work for them. No two paths are the same. Best of luck to all. And thank you Pamela. I love your optimism. I like the term cautiously optimistic and use it often.

Pamela. No he has to go after the sun goes down and sneak up on them with a baseball bat.

This thread is amazing. It has spun off in so many directions. Hard to remember what the original thread was.

Steven Harris Anzelowitz True, but it gets a little too rowdy sometimes.

Seems like the hottest topics in screenwriting are festivals and scriptwriting software....

Bill, what a truly sad story. Some of us are fortunate enough to have our own homes or live with relatives, or have jobs to offset the depressive state of a screenwriter who does not make it in the time-frame they give themselves. I pray for them and all those struggling, for whatever reason.

Steven A - I agree

Paul- Think it was something to do with not winning the Austin Film Festival. I'll say this for us "HAPPY WRITERS" we are not a glum lot.

Think I'm going over to ANYTHING GOES to start a FANTASY thread. See you ladies and gentlemen next time for a CRAFT question.

And talking about DEPRESSION which this post did not set out to be... I submitted a script for evaluation. The reader has made in excess of 25 factual errors and his/her advice... DON'T RELEASE THE SCRIPT! Now this script has also won awards. I think I'm in keeping with the thread in respect to incompetent, unqualified, inexperienced readers. After drawing the errors to the organizers' attention they suggested that we, try and work it out. There is no way I could conceivably do this as, his/her evaluation makes for a very different script. I'd love your comments...

Patricia: yes, the failures/departures were sad, with regards to people not fulfilling their goals and having their dreams busted. And who knows what happened after that for them - other than the one ultimate tragedy. Many might have gone on to fulfilling lives in other ways, or might have regrouped and succeeded in their original quests . I don't know.

If I read the recollection I previously wrote as if someone else had written it, it wouldn't have deterred me one iota from trying to accomplish my goals. I wasn't trying to discourage people from chasing their dreams. I was trying to make people think about their own personal existences; how sometimes some things don't appear to be what they actually are (some contests in this instance); and about their own personal myths and realities regarding the potential risks and rewards on what it takes to succeed as a screenwriter. I think I succeeded at that - at least to the couple of people who told me so.

And even though it wasn't the original intention of the person who started this thread, the greatest reward of this thread is the demystification of the integrity of some contests that was confirmed by some contestants, and that was also confirmed by authority figures. Many of us suspected and even knew that privately, and it was great to see that confirmed and shared publicly. This forum topic, in that regard, was a breakthrough topic because of that.

And just to add something that I've said here many times: there has never ever been, in the history of cinema, television and new media, a better time to be a writer. Ever. The amount of films being made globally keeps going up every year, and reached over 10,000 films in 2016, according to UIS, the most authoritative keeper of such data. And in more countries than ever before. And with better racial and gender ratios than ever before. And on more subject matters than ever before. There are so many more avenues and outlets for so many more people for stories and content. It's profoundly amazing, inspiring, and exciting, and keeps getting better and better and better.

And that's no myth.

Best of luck to you all! (And see what you started, Paul? Heh-heh.)

Contest winners = cheap new labor for employers. It gets you into rooms.

Whoever started this thread must be some kind of diabolical genius...

I agree Pam. It’s an avenue. If you have an 1 in 100 shot and a contest can make 1.5 in hundred it’s still better odds.

John, I think Laura is right. I found this site https://goodinaroom.com/blog/screenwriting-contests/ which lists the top 14 screenwriting contests for 2018. I can't attest to the validity of the statistics but my "smell test" says they are probably fairly accurate. Here is one example based on the one contest many of the professionals say is reputable (or at least probably the most).

Academy Nicholl Fellowship Odds of winning (based on previous entries): 6915 submissions, 5 winners = 0.00071685

OK, as a former data analyst that Good in a Room article annoys me to no end. That is not how odds work in a qualitative and subjective environment. Using odds in that way implies that I could enter a 90 page script with a bunch of gibberish on every page and it would have the same chance as a well written script. IMHO the only thing to really consider when entering a contest are legitimate success stories and interviews with past winners. I've won three contests and placed 3rd and made top 10 and (I'm saying this not to brag but to let you know my experience) And I can tell you from that experience that the only thing that matters prize-wise is introductions. That's how I met my manager, from a contest introduction. That's how I've gotten script requests, from contest winning (Stage 32, Script Pipeline and others) introductions. If you don't want to go the contest route, I get it, doesn't work for everyone but I wouldn't dismiss it all together as it has worked for some. Outside of contests, I think networking is the best option for breaking in, that and finding managers who accept blind queries. Bruce Gordon made a list of them on Facebook. Everyone has a different way in and the most important thing will always be your incredible, not-put-downable, must read script. And yeah subjectivity is rough but if you think contest readers are subjective just wait until one producing partner loves your pilot but the other one.. meh not for him. That subjectivity will always be there. This comment isn't really directed toward anyone, I just wanted to chime in on the Good Reads odds thing and then I threw in some other stuff.

I'm noticing there is NO majority opinion at this point in my own personal experience as of today. Because of that, THAT is why I prefer the Coverfly route. (I don't care who knows about Coverfly or not Laura, as that's not why I use it or like it.) I have already said in letters, "click her for contest placement info if interested." Then I link to Coverfly where my placements can be verified. I've had someone at Zero Management, Vertigo, and Kaplan Stahler respond recently. This thread is full of a lot of opinions, but I'm deciding to back up my points with current facts that relate to me personally TODAY. I'm not interested in what was going on years ago. The interest from these companies may go nowhere, but it was my placements in contests that made them take note.

Thank you Heidi for chiming back in. I think it's important to stick to stories of current people with current situations. The contests I've dealt with this year 2018 do get involved and are the opposite of predatory. Page, Nicholl, Austin, Screencraft, BlueCat, Slamdance, Finishline, I can personally say they all have actively supported me and been very helpful.I have won none of these contests. I placed quarterfinalist and up but no wins. Yet they all have actively helped me in any way they could.

Pam stranger things have happened. When producers wouldn't see the. The Marx brothers got into movies by holding a producer's office hostage. When he finally showed up they were sitting in their underwear roasting marshmallows on what use to be his desk. Guy thought it was hysterical.

First class I ever took on screenwriting was taught by an optioned writer. His friend got a different screenplay optioned and made by literally standing on high end LA streets and coffee shops and handing out the first ten pages of his story to every star and producer he saw.

Not recommending either as you may be arrested. But it just shows how crazy it is out there and not to cross off any possibility. (a friend who knows a friend who knows a friend.)

There are tons of crazy stories like this and a lot more that failed.

Laura Scheiner Max Adams won Nicholls and Page the same year with 2 different scripts. She’s been in this game for 20++ years.

Laura, your question "How many of these winners and finalists have optioned, sold or been hired to write something as a result of their contest win?" Implies that is how you measure success.For some of us we are looking for a number of possible outcomes. IF i'm able to produce this, I've raised over half my budget. These contests are a directly responsible. IF I'm able to produce this, I have a great casting director named Michelle Lewitt who is going to Austin with me, who wants to cast this film. She would not have read my script or given it much thought, had it not done as well as it's been doing in contests. She can help me get it into the hands of established 60-something year old actresses who are looking for material. (There are a plethora obviously, but I wrote it for Frances McDormand.) I'm being specific in order to humanize myself and to help others see the many different ways things can be done. My hope is to get you to see things in a different way. If I am unable to, then so be it.

Laura Scheiner The math is the same for other paths. It is not an easy career. Career meaning making a living. 500,000++ stage 32 members, I am guessing less than 50 here are WGA, DGA, PGA, Academy members. It is all long shots.

Less than 6000 WGA members claimed income for 2017.

Dan MaxXx

I think it's virtually impossible to "get in". Example;

My neighbor is International Marketing for Arri... Knows ALL the directors. Yes, even "HIM" and "HER". I basically watch his house for him when walking and jogging while's traveling the World.

Should I "nudge" him to ask someone to read a spec script?

Hell no... Although I did give him one to read that he liked. He said he'd "pass it" to an indy director but I never heard beck.

That is absolutely as far as I'd push it. His friendship is more important than pushing spec scripts.

People don't like to be "used". I'm no different; Neither is he. I'd lose a good neighbor friend, He'd lose a director account (possibly) and connections are burned.

It's been my observation that even those that are "in" don't know how to get "in".

There may be a reason for that....

Oh that Paul Zeidman. "Diabolical genius" indeed. Heh-heh.

Thanks Pamela and Bill for responding to my dilemma. However, the organizers are having someone else do an evaluation and although I don't know the result yet, I would not have expected someone could get more than 25 facts wrong in a script 94 pages long. They're also giving me a credit - so must agree something very wrong. Be that as it may, perhaps they will not give this reader any more work and that saddens me.

Never thought this post would explode the way it did. Appreciate everybody's contributions. And to think it all stemmed from me talking about a contest.

Next time I'll mention something non-controversial; like pizza or The Last Jedi.

Blasphemy, Derek!

Paul Zeidman more entertaining than “which screenwriting software is best” threads

Are the AFF readers unpaid? Someone at glass door said this is the case. I just assumed most of the revenue from entry fees would go to pay readers.

No - I was a reader last year. It's alot of work. They do pay you in that you get a pass to the festival. However, reading 60 full feature scripts in 4 weeks and then having to do another 50 second rounders was alot in 6 weeks time. I enjoyed the festival, but definitely there needs to be a bigger monetary payoff.

" none of them were of the quality that would be relevant in Hollywood. " Well this is an interesting convo. I am anti-Hollywood so Mazin saying this is only relevant to Mavin and those screenwriters who want to write for Hollywood. Many years back no one would have this type convo I don't think because they did not want to burn bridges with Hollywood. I belong on & off the one of the Austin Screenwriters groups and they do ask us to be readers. We are all different levels. I have never volunteered so I am unsure what the qualifications are. I may be attending this year. I am doing screenwriting and play-writing and more focused on the latter currently.

Laura Tabor-Huerta: Thanks for noting your bias. Whenever I ask people what "anti-Hollywood" means, they usually gulp a bit, stammer a bit, and then proceed to tell me something like "they make stupid movies." And then I remind them of all the great films that come out of that geographical area known as "Hollywood" on an annual basis and for decades. And then they usually end up hating me a bit - which is okay, cause hatred usually comes with the territory of being the person who makes people think a little more than they like to. And I'm not saying that's you - I'm referring to my experiences with those types of interactions I've had, and won't even ask you what it means to you.

Craig Mazin is obviously entitled to his opinions, and especially when they are backed by experience and cemented in a source like him - a very gifted and talented writer with a track record of great scripts and success, and who also freely shares a lot of his knowledge and industry experiences with places and people like John August.

What is troubling to me, though, is that several people have relayed their first-hand experience with that contest. If it's all true....that's troubling. Your comments about it, which I assume are true, are troubling, too.

I read your profile a bit. I'm a former punk band member, and love the Penelope Spheeris Decline films. I hope it didn't sour you on Penelope, though, when she started making "Hollywood" films like Wayne's World, The Beverly Hillbillies, The Little Rascals, etc. etc. She even directed one that was written by Craig Mazin.

I just hope, though, that contests like Austin's is using qualified and competent readers for their contest, and judging by the first-hand replies here by real people (and not fake profile people)...well, those first-round judges seem a little troubling - at least to me, and obviously at least to the few others who posted here about it (and what you said, too).

I must be missing something here. Anti-Hollywood bias based on a script reading at an Austen Contest - Huh? Hollywood has historically chalked some damn fine films, and even now (rare? yes) they manage to turn out some 'good' stuff - maybe by accident - but 'good' stuff nonetheless.

I'm not anti-anything/body. But in today's world I have to admit that my pro-Indie bias outweighs my Hollywood bias, but that's just me.

Though I respect him as a screenwriter, I don't take Craig Mazin's advice. I don't have anything in common with him. He graduated Princeton. Got his start in the 90's. He's a white man. Not an indictment, I just wish he would only speak about personal experiences, rather than blanket statements. His criticizing something that has proven to work for some right now is not good IMHO. He often tells stories about people from the past, not considering the changes that are currently taking place.

Anti-Hollywood? I personally think Hollywood turns out just as many good films as they did before. It’s just the pure numbers that are turned out now-a-days makes it seems like less. I hear the same agreement in baseball. There are just as many good players as when there was 18 teams but they’re spread out and the 100 or so great players are now only 20% of the total when they were 35% before - thus easily more noticeably.

Nicole: Mazin spoke very clearly about his opinions about the quality of scripts that he read, which had nothing to do with what most of us are commenting on: how they pick their first-round judges.

You seem to be glossing over the first-hand statements made by people regarding how Austin picks their first-round judges. Regardless of if someone advanced/didn't advance/can't believe the comments from the judges/won/didn't enter - those are troubling first-hand statements from verifiable people. Do you find that troubling, and maybe in need of some clarification from the people who run that contest?

Amanda Toney gave an acceptable explanation of how Stage32 vets their first-round judges - that's how I would expect every reputable contest to be doing it. But Stage32's vetting is like the antithesis of what these verifiable people are claiming in their Austin first-hand experiences, and how Austin picks at least some of those judges. I doubt those people are lying to us, or have axes to grind, or anything else, and I think Austin needs to clarify things. (And I have never entered Austin, nor do I have any Austin biases.)

I think the quality of a script is a subjective thing. I can safely assume we all won't agree on what is good or not. But to your point Bill, that is a fair criticism. I don't care as much as others on this thread about who reads the script in the first rounds. A note is a note. I like them all. If it's someone new without a lot of experience, then cool. They are truly fresh eyes. Not jaded. If it's an 80-year-old former studio exec, cool, an old school perspective. Though I too respect the man and his work, I wouldn't want only a bunch of Craig Mazin's reading my work. Yet I do appreciate the concern many of you have so I don't mean to be insensitive to that.

Mazin’s vibe is actually anti-Hollywood. He often speaks negatively about suits and studios, and he hates the Academy. He says his movies (Scary movie, The Hangover) are not considered “real movies” by critics and festivals.

I'm an inch away from abandoning contests.

Some scripts that are complete crap (well formatted, spell-checked, good narrative thread... but crap) hit semis.

Some scripts that are really good they tell me "...we don't like the title... bye"

Really?

Nicole: thanks for your reply, and I hope you have much continued traction and successes with your script that has such a good buzz going. That's awesome.

4 points for the record:

Every reader is given a test to do coverage on a bad script and a good script. (one that has won and one that did not advance).

All readers come from recommendations.

Every script is read twice at the first round.

I am not at liberty to discuss the details of my professional experience with AFF but suffice it to say I have worked for them for 9 years at an advanced level (not 1st round). This year I kicked back maybe 10% of what I read as not being worthy of making it as far as they had - this tells the organizers to address that reader. Point is, there are a ton of checks and balances.

I disagree with your opinion Laura for me. I continue to speak in first person, because I believe it's dangerous to speak with assumptions for all. I've received a ton of notes. I've had veterans skilled in "the craft" who made terrible suggestions based on their rules of right and wrong and stubbornness to accept anything new. And I've had newbies who've given marvelous notes that were insightful, and I could tell they put their heart into it. And I've had the reverse. I think it's more important for a person to know themselves and their voice, then they can read each set of notes pragmatically. I'm not putting this out there to simply debate you Laura, This is in case other screenwriters out there relate. What little success I have had in a short period of time has been due to me functioning this way. If I were to do as your advice insists, I would not be doing as well as I am.

Nicole Jones I couldn't agree more.

But to be fair, I don't think it's just subjectivity that's dragged into a reading - sometimes it's one or more of many things. Some that come to mind;

*. Reader is looking for something in particular.

*. Personal distraction(s) (mea culpa)

*. Unfamiliarity with the genre

*. Expecting the narrative to go one way and it goes another

*. Something just irritates the reader (like a typo or even if it IS a correct spelling, it's not liked; There are many of these... Like, 'intreat' and 'entreat' are both grammatically equivalent but might make a reader want to gag).

Genre comfort I think is important. I wouldn't expect someone who reads horror to just dive into a script about Native American arcana. I usually hope that submitting a logline on an entry helps with the reading.

Understood Laura. I didn't read your words as just an opinion, I thought you were giving advice as an authority. So I challenged it. I apologize. And Kevin I totally agree with you. Especially regarding genre.

I use that word 'worthy' a lot.

Laurie Ashbourne: thanks for your reply and clarification. I miss your posts about writing. Hope all is going well with your company and projects.

Paul- Make mine Pepperoni. So glad I didn't start this thread!! Phew!!!

Personally I never enter contests and read notes unless I am working with someone who is paying me.

I can see your point Laura. You have made it clearly. I see you post on several threads. I have posted on two. So I will leave it be, after this. I'm done with this thread. Thanks for the debate all! I hope anyone who stumbles on it takes what they can use and leaves the rest behind.

Pamela Bolinder - My expertise is in story and how to make it work, regardless of genre which is where any studio coverage mindset is. That said, I prefer drama and comedy over sci-fi and horror.

Bill Costantini - thank you for the kind words, I know I have been absent, but it's not because I don't want to be here. It's September, and I am on my 21st script this year (all different), plus a novel. I have four more on my plate and just signed 2 new contracts this week for two more that will carry over to next year. To say I am grateful for Final Draft's dictation feature, is an understatement. I also am in pre-production and post on 2 other features and post on a short -- and have read almost 400 features and pilots. So just writing in this thread has put me 11 pages behind for the day. But I do watch and when there is something that needs me to chime in, I do.

See some of you in Austin.

Anybody not make the finals in Tribeca? (JUST KIDDING!!!)

Since the comments on this post are still going strong, pardon the shameless self-promotion and feel free to take a look at my blog - http://maximumz.blog. 9+ years and still goin' strong.

I always liked your 5 Stages of Writer's Grief, Paul. And it's pretty relevant to this topic, all things considered. That's how writers should appropriately handle potentially calamitous events. Nice job, bro.

Great read Paul Zeidman - and how familiar.

Well the stats are in!... More than 10,200 scripts submitted to Austin. And others receive almost as many. At an average of $50.00 each plus ticket sales - do the math... Why aren't readers being paid more than badges. Festivals are the most lucrative money-spinners around.

Stiff upper lip, Paul. Here is a 20th Century Fox coverage for "Boogie Nights". https://kottke.org/tag/Boogie%20Nights

That’s interesting because of the poor ratings given it. Makes me feel like a superstar with mine. Okay - I can fantasize LOL - but really bad for a movie to be made,

And to give a little added inspiration to short-film writers and filmmakers: Boogie Nights was based on P.T. Anderson's short film The Dirk Diggler Story, which he made when he was still in high school.

That's amazing and inspiring. I suppose it backs up the William Goldman quote "nobody knows nothing." It's worth watching the Dirk Diggler story to see how an interesting concept and good characters from that modest and somewhat amateurish video was developed in the Boggie Night script to transcend that modest first attempt.

Just got my notice. They sent the nicest rejection letter that I have ever read.

haven't heard anything yet. Guess that's a good thing.

CJ: All you have to do is look at the AFF Success Stories page to see how many people have really benefitted from it. And I'm the person who first raised the question of ethics/integrity in this thread after certain claims were stated by some of the recent judges. And I got a pretty believable clarification from a pretty reputable person (Laurie Ashbourne) to assuage any potential fears that were brought up by them.

Forget the booklet, if that's one of your concerns. Forget the marketing and sales benefits to AFF, too. Of course everyone and every organization that runs contests - reputable or not reputable - benefits from them. Why shouldn't the reputable ones benefit? Forget the pride/motivation/warm and fuzzy feelings, too, as nice as those may be.

For writers, their concern should only be about one thing: verifiable success - and AFF sure has had plenty of that on its Success Stories page for us writers, bro. And that's all that should count for us writers when it comes to entering contests: verifiable success. And that's my only horse in this race, since I've never even entered a contest: verifiable success.

CJ

You know I adore you and stand behind your calling out of suspected sleaze in the cottage industry of scams that preys on screenwriters… but I have to say you are picking the wrong battle by going after AFF.

They are truly one of the most respected events/competitions that the industry does pay attention to. Are they perfect? Not even close, yet year-after-year they provide writers access to many in the industry that would never be open to it at a similar event in LA.

Yes, they get thousands of submissions and so does Nicholl. That is because they are known as supporting and progressing writers. There have been years where both competitions have the same winner. And in AFF’s case many of those submissions are in niche categories such as web series, shorts, or stage plays. They have many first look deals with networks, studios and production companies that DO look at the material year round and not just winners.

While getting a 2nd round bump may be a way to get attendees to the festival – I know first hand that attending the festival is a game changer for many.

The fact of the matter is, it is expensive to run a competition and festival of this size and they are a NON-PROFIT organizaton that holds valuable story and writing events year round. No one is getting rich at AFF’s office – especially at the expense of writers.

There are plenty of scams out there. This is not one.

Is there a meetup - kind of site where writers can hook up with a producer, directer, camera crew, sound crew, production design, editors?

It seems like the issue on the table is thus;

*. there are a hundred thousand scripts being written yearly.

*. there are about three thousand movies being made (with varying degrees of success).

*. there are literally tens of thousands of unemployed specialists with a ton of expertise in producing, camera, sound, boom work, directing, casting and acting.

We live in a day where you can literally buy cinematic-quality cameras at Best Buy, make booms and dollys, etc. And - connect with one another and start shooting.

To CJ's point - there are I think about 250 semi-finalists at AFF this year - 250...

I would be very interested to know how many of those are ever optioned or produced. That would be an interesting documentary in it's own right.

CJ: my goodness, man - for you to call Austin's success stories "borderline embarrassing" is just so wrong on so many counts. Did you even bother to look at the year-by-year results? There are over 100 people who show some really great benefits (like getting meetings/getting representation/getting jobs) . You might as well slam Stage32 and Nicholl now, too, if that's your conclusion of the verified success stories of the Austin winners, and if 100's of success stories aren't good enough for you, bro.

Kevin: you and CJ seem to have the same brainless bugs up your asses. It's not about "quantity". It's always about "quality". And trying to correlate the options/sales numbers with semi-finalists numbers WITHOUT all of the benefits those winners might have received (like getting doors opened/getting meetings/making new relationships/getting jobs) is hardly a complete scientific analysis, bro. If I pulled a conclusion like that without all the data sets, I'd be fired, and rightfully so.

And you and CJ should both be very happy that any contest that shows verifiable results is a benefit to writers. Maybe not to you two guys, since it appears that neither of you have never benefitted from a contest, but it sure is a benefit to all the writers who have moved up the ladder/got agents/got options/got meetings/got jobs. I'm starting to think both of your motives are more personal, and less altruistic.

If neither of you can understand that, then so be it. I imagine at this point you'll never admit you're wrong, but you and CJ both need to re-consider your positions. And I say all this with no personal horse in the race, since I have never entered a contest in my life - I'm just happy when any writer/writers benefit from a contest. But man....come on guys...see the light - at least on Austin?

Pamela - Did you seek the feedback privately, or ask publicly?

See my post from earlier today

Pamela: but their points are refuted by the number of success stories - and not only refuted, but shattered. Decimated. Obliterated. Totally. Both Kevin and CJ should know better - way, way better.

And with regards to any reputable competition...okay it opens a door for someone. The writer gets a meeting/meetings. That's freaking great on its own. That's a step up the ladder. But, as always, that writer who just had that door opened has to prove that he/she deserves to advance another step up that ladder, and now has to show to that producer/agent/exec that they really are someone worth investing in.

So does that script that won or placed in a contest advance a writer to the next level? Absofreakinglutely. Does that writer then advance up to next level of getting optioned/sold/a writing job/making new relationships? Maybe, maybe not...it depends. Opening a door is great, and getting an actual seat is then up that writer to prove that they deserve that seat and can keep that seat. That's how life works, folks. That's how life works.

But looking at that list of Austin Success Stories...man....a lot of those people got writing gigs. So how can any rational person say anything bad about an opportunity like that? Seriously....someone has to have a pretty personal ax to grind if they think that's bad, or isn't rational enough to understand that.....or is just too jaded from years of rejection to just universally reject contests because of their own personal experiences.

That's all I'm trying to say here. Austin, Nicholl, Stage32 and many other contests have lots of verifiable success stories. Hundreds! Please, folks....use your rational powers of logic to deduce that these contests are beneficial to writers, and don't throw the baby out with the bathwater. Don't cut off your noses to spite your faces. But do what you want, because I'm sure some of your are just too jaded and cynical to let rational thinking overtake your deep irrational emotional beliefs. And that's too bad, for you, if that's the case. (Not saying that's you Pam, but I'm saying that to all who disagree with my beliefs on this matter.)

And if either has any substantive proof that a contest is fraudulent, then prove it, boys. I know of only one person who has done that here since I've been a member. ONE PERSON! And that person isn't CJ or Kevin. Here is a link to that old thread to show you how it's done properly, and to inspire anyone else to do it, too.

https://www.stage32.com/lounge/screenwriting/WINNING-SCREENPLAY-GETS-500...

Kevin, You and many people say get a camera and make your own film. Not as easy as it sounds. I’m trying to option my script that has done well in contest and coverage. I think and believe as many have said it’s a quality script. That being said I am still learning this craft. The one of writing. For me to take the script and do it without any knowledge of the other crafts is both stupid for me and belittling to those who have learned the craft of taking a script and turning it into a quality film. This statement actually puts quantity (everybody make a film) over quality (let those that know and want to make a great movie ) I thoroughly love writing, but me along with others on this board have no interest in producing, directing, etc.

John Iannucci

I'm not saying the writer should go out and start filming. Sorry if I implied that.

But, Writers can click with producers, directors, photographers, sound engineers, Production designers, editors... Sometime one connection can put you in with everyone you need to actually make a trailer or proof of concept.

I'm not saying Austin, Nicholl, Cannes or even Las Vegas International isn't a route - but there are other options.

There are like I said something like 250 AFF semi-finalists.

I'm sure those are some mighty fine scripts.

But there were over ten thousand entries. Ten thousand... I'm sure there's a lot of great material that would, could and should make it to theaters that simply got rejected.

Well, if AFF is "borderline embarrassing," I guess the long list of legit WGA writers speaking on seminars are pawns to a huge scam. They all must be too dumb yet they have all the real jobs.

Cmon, AFF is known as a "screenwriter' festival. They treat Writers as Rock Stars in a casual environment. Where else are you gonna drink beers with Shane Black, Linda Woolverton, Jeff Lowell, Danny Strong... a long list of working writers. That's the place to be. Meet Peers you want to work with.

There are some contest that are obvious scams. I keep getting one emails from one that says first place is $5000 and AUTOMATIC script option - They name producer. Well, if you read the fine print - the option is a free option - they consider the $5000 as your option fee.

When I was a boy growing up in Brooklyn, my Father said there are 2 things that you never want to see how they are made one was a LAW. The other was SAUSAGE. I think you can add SCREENPLAYS to that list. That is just my opinion. And let the FIREWORKS continue. So glad I don't start threads here anymore. But Kudos to you PAUL for all the GOOD work you do helping SCREENWRITERS find their VOICE. If any of you guys want me I will be over in ANYTHING GOES.

Laura - Excellent point.

Pamela- Let Laura and Doug fight it out. I have more fun in ANYTHING GOES.

Here is a short list of who’s who. Some have no fees.

http://amandapendolino.com/writing-fellowship-deadlines/

Laura- No apology required. Talk to my cousin Gary Craig also a stage32 member. I come from a very crazy NY show business family.

L

Laura Scheiner Imagine Impact pays $40,000 for 12 weeks and you meet working professionals. But no guarantee of jobs.

Perseverance is the key.

Only for those interested. It seems this thread is done, but I did have something positive to add. As I mentioned before, I personally only take advice or suggestions from first hand current stories. So with that in mind, another positive baby step for me directly related to these contests, including AFF. I got called in to interview next week with AFI's DWW. I was called in because of a short I wrote based on the script I am currently having contest success with. The two things connected as I wrote in my application "this script has placed as a quarter-finalist and up in all the top screenwriting contests 2018." This directors workshop is basically free film school with the AFI. No guarantee of success, in the way people on this thread seem to measure success, however, as a director in my shoes, it's a great opportunity to learn. It behooves me to continue to post positive results when I see negatives on a thread, as the reputation of these things does directly help me. To those who don't approve, no problem I take no offense. To the rest of you, best of luck.

I echo CJ's remarks. You often put yourself out there and are most generous with your time helping new writers. Your compassion for others is evident. Keep pushing forward, success is just around the corner for you.

Nichole. Congrats on your meeting. I don’t enter contest, but I always consider them a stepping stone in a long journey. If someone can place or win it is something they can put in their query letters to help get more reads. Spec screenplays are the screenwriter's calling cards. If you can use them to make some good connections in the business they did what they were supposed to do. I did manage to option a few but the ones that paid off more where the ones that helped me make connections in the business. Good luck in your meeting!

Any Stage 32 members make the list?

https://austinfilmfestival.com/submit/screenplay-and-teleplay-submission...

Wow, thought I would check back and lots of replies. Bill, you sound like a bore and a blowhard. You take a great opportunity for us to learn about each other and squash it. I will remember that.

"Thanks for noting your bias." Your welcome.

"And then they usually end up hating me a bit - which is okay, cause hatred usually comes with the territory of being the person who makes people think a little more than they like to." Interesting, I am ALSO the person who makes people think a little more than they like to-however it did not work in your case.

"Craig Mazin is obviously entitled to his opinions, " I agree with that.

"What is troubling to me, though, is that several people have relayed their first-hand experience with that contest. If it's all true....that's troubling. Your comments about it, which I assume are true, are troubling, too." I barely said anything .

"I read your profile a bit. I'm a former punk band member, and love the Penelope Spheeris Decline films. I hope it didn't sour you on Penelope, though, when she started making "Hollywood" films like Wayne's World, The Beverly Hillbillies, The Little Rascals, etc. etc. She even directed one that was written by Craig Mazin. " No, because I am anti-Hollywood for myself not others, but you said you did not want to know about my reasons for being anti-Hollywood. I suspect because your a bully possibly?

You enjoy hearing your own voice a lot-so keep on keeping on, Dude.

Austin Film Fest is one of the few fests that are geared and focused on screenwriters. I personally am looking very forward to attending it this year. I have been to SxSW about 4 times over the past 25 years sometimes for film, sometimes for the music and personally the whole "party", "whooee, I am drunk and my company is footing the bill" got really tiring. The whole fest seems more grounded than a lot of the others I have seen.

I've placed and won at more than 100 film festivals, which includes AFF second rounder four times, Page, Shore, Screencraft 9 times, Finish Line, Stage 32 Fade In, and many others. I've said this many times. Contests and festivals are all a damn crap shoot and I do them mostly for fun. I believe if you win any contest you should be grateful and enjoy yourself. I've also been a judge at the New York Midnight Screenwriting Challenge and worked damn hard to provide writers with constructive feedback. http://www.nycmidnight.com/competitions/sc/Judges.htm

Frankly, I don't give a damn how AFF judges work. I've seen a lot of nepotism at other film festivals, with judges selecting friends and other writers that are involved with running their own festivals. This is the way of the world. The odds of winning the top contests like Page, Nicholl and AFF are generally slim. As a screenwriter, if you're hanging your hat on contests alone you're probably unlikely to get anything optioned or made into a film. Incidentally, contest judging is all over the map. I just had a friend (who is a great writer) whiff at several big contests and win at the highly rated Storypros. So my conclusion is judging is very, very subjective.

I advocate spending more time connecting with industry folks any way you can. I've scored eleven option and right to shop agreements including recent agreements with De Pass Jones Entertainment, Sean Hoessli and two other producers this year. None of these deals were as a result of a contest or festival. Contests are merely garnish on my plate.

Have fun S32 denizens and love your fellow writers.