Screenwriting : Are Script Competitions Really Worth It? by Jonathan Sieff

As a new member two years ago, I performed a small analysis. I checked the finalists at contest a decade earlier. Result : For one third, their career improved. For an equal number the situation was the opposite. For the rest there was no change.

When I read what persona are judges, I become suspicious. Because some people like scripts which are fun to read. Unfortunately, such scripts are far from always fun to film because what was fun to read is problematical to film.

Selling a script is more like targeted dating rather than the shotgun approach of open competition.

Jonathan, great piece. For creators outside LA, competitions are often pay-to-play lotteries.

I'm betting on direct access instead: building bold IP from Central Africa and engaging execs here on Stage 32. LA FORÊT INTERDITE is a 15x52 supernatural thriller — too specific for contests, too global to ignore.

Curious: what makes an unsolicited pitch from overseas actually land on your desk?

Junior France Mavie NGAKOSSO

It’s not just about having a script, the writer has to have credits and momentum. 20 years ago an unknown writer with a great spec script was enough but that’s no longer the case. From an agent’s perspective, it’s easier to pitch someone who has already been produced, and by ‘produced’ I mean features or tv episodes. The way an unknown writer can impress an agent is having something to show, such as shorts, even better if they’ve won awards. As I mention in the article, writing an award-winning short holds more weight than just having a script.

Depends. I went through a year or so of competitions to get notes and learn from them. I churned out 20+ drafts of various scripts in those months. A plus is that placements in contests are bragging rights and look good.

I don't mass submit anymore.