I’ve lost count of how many screenwriting contests there are. A whole lot, I believe. But out of all of them, only a handful actually mean anything in terms of helping build one’s career.
The Nicholl. Austin. PAGE. There are others of high prominence, but these three are the ones that really matter.
This isn’t to slight the smaller or lesser-known contests, but someone who’s a finalist in the Nicholl probably has a better shot at being able to use that to their advantage than, say, the Greater Cedar Rapids Screenplay Contest (not that such a thing actually exists, but you get the idea).
As evidenced on my My Scripts page, I’ve done moderately well in some of the bigs, but have also totally fizzled out. I’ve also been fortunate to have done well in some of the second-tier competitions. Every year yields different results.
Sometimes the first thoughts that race through your head when you read that email from the contest organizer that includes the word “Regretfully” somewhere near the beginning makes you think “Does this mean my writing is lousy?”
No. It means it didn’t click/connect with the reader or readers from that contest. A lot of the contests give you at least two reads. Sometimes I’ll receive praise from the first reader, only to have the second one not like it, thereby stopping it in its tracks. Or both readers like it, but not enough to advance it to the next round. Nothing I can do about it. C’est la vie, and better luck next year.
And even if you win, or at least place highly, in a high-profile contest, that’s no guarantee to getting work. I know a Nicholl finalist who had zero traction with their script, as opposed to the PAGE winner who is now super-busy with assigments.
I know writers who’ve never won a contest, and they got work. I know writers who’ve never entered a contest at all, and they’ve gotten work. How? Because the writing wasn’t just good; it was really, really good. That’s what it comes down to. That and somebody liked it enough to want to do something with it or with the writer.
A few years ago, I was a lot more likely to enter almost any contest. And there weren’t even as many then as there are now. Time and experience has shown me that, yes, it’s a nice validation to get that certificate from that small contest you’d never heard of before you entered, but how much did it actually do to help you get your career going?
A lot of contests offer “industry exposure” to the winners, and you do get that – to a point, and it’s probably a safe bet not to the extent you imagine. Your script might get checked out by maybe a handful of reps and production companies, and even then there’s still no guarantee anybody will be interested. I’m speaking from experience on this one.
Contests are just one of the ways in. As someone who’s in it for the long haul, I’ll continue to try my luck with the big ones while also exploring other avenues. Whatever it takes.
And no matter what contest you may have entered this year, I wish you the best of luck. Except for the ones I did. Then all bets are off and it’s every person for themselves.
Maximum Z 