Competition | TV
Writing Competition | Writers
Database | Writers
2011 Script Pipeline Contest Finalists Announced
--Over 3,000 feature screenplays entered
--At least 14 countries represented
TOP 20 FINALISTS
A Child of Our Time by Robert Bowden
A Whisper Against the Madness by Ricky Staub / Dan Walser
Becoming Cinderella by Brooke Buffington / Maddy Curley
Brick Henry is Your Country by Ian McWethy
Dark Beauty by James K. Watts
False Sense by Craig Cambria
Fiend by Jeff York
Fifty-Nine Lost by Lynn-Marie Betts
Granite Falls by Matthew Bozin
Henchman by Tyler Burton Smith
I'll Sleep When You're Dead by Marc Samson
Into this World by Jyoti Chopra
Lost Stones by Craig Weeden
Shed by Dennis Widmyer / Kevin Kolsch
The Architect by Darren Murtha
The Guardian by Nicole Eilers
The Lackey by Alex Koehne
The Protester by Taylor Marshall-Green
Unrequited by Kevin Jones
V Dogs by David Pollard
TV Writing Competition
--Over 500 TV scripts entered
--At least 5 countries represented
--1st year with 7 pilot scripts
TOP 10 FINALISTS
Bad Medicine by Jenna Ryan
Breathers by Will Wallace & Adrianna McKinley
Full Tilt Boogie by Amber Crawford-idell
Mad Men - Should Old Acquaintance Be Forgot by Ben Yip
Modern Family - Save the Date by Loren Schiller
Pulling Strings by Ben Yip
Sleepers by Frederick Kim
Strong Bitter by Max Lance
The Office - Godfather by Nick Alioto
Unorthodox by David Love
CONGRATULATIONS TO ALL THE 2011 FINALISTS!
Grand Prize winners announced August 14.
Secret Door Pitchfest - SPACES LIMITED
The Script Pipeline Secret Door Pitchfest offers a rare opportunity to connect with the most influential decision-makers in the film industry during a one-day event in Los Angeles.
Designed for both beginning and established screenwriters, Secret Door gathers a selected group of high-level producers, managers, agents, and key executives searching for new material and fresh voices, allowing the writer to pitch and network in a more intimate, hassle-free environment.
-Pitch consultation with a Script Pipeline Senior Analyst ($275 value)
-1-year Script Pipeline Writers Database membership ($99 value)
-2 FREE entries to the 2012 Script Pipeline Screenwriting or TV Writing Competition ($80 value)
-Parking / lunch and refreshments
LIMITED TO 50 SPOTS
Learn more and REGISTER
$30 Off Writers Workshop - This Month Only
In October 2010, former Workshop "Recommend" writer Micah Barnett sold spec to WB for six-figs after gaining rep. with Pipeline contact
Script Pipeline offers in-depth development notes to help take your script to the next level and get it ready for circulation--and beyond that, helping novice, advanced, and professional writers alike fine-tune their work so it is well-prepared for a competitive marketplace.
A grade of "Recommend" through the Workshop gets you one-on-one assistance in circulation to our industry contacts.
Click here to learn more about the Writers Workshop. Use promo code: Query7
Woody Allen Doesn't Need Notes on his Script
The first in a series of original articles from Script Pipeline staff. . . .
“Why Everyone not Named Woody Allen Needs Notes on their Script”
Actually, I sorta lied. . . . Even Woody Allen might get feedback on his stuff before it goes into production.
But the point is this: if every writer at every major studio since the days of Lillian Gish* has needed professional analysis on their screenplay, be it from a producer, a seasoned reader, or otherwise, why wouldn’t you? What is it that makes a writer think, “No way. I don’t need some egotistical, failed screenwriter telling me how to fix my script when they can’t even help themselves”? Well, the answer’s pretty simple.
Ah, yes, ego. The great dividing line between success and failure. Between creating and building upward and not really building anything at all. The “I’m-too-good-of-a-writer-because-my-mom-told-me-so” attitude that so often hampers a writer’s ability to move forward in their development as both a screenwriter and a businessperson—because truth be told you need to be both.
And before you claim “Cynicism! Cynicism! You’re a failed screenwriter looking to vent!”, no that’s actually not the case. As a writer for 10 years, and having never sent anything out (but that’s another misguided story for a different time), I used to be someone who thought he didn’t need notes. Why? Well, frankly, because people told me so. Not that I didn’t need notes, but that my writing was just so fantasmic that I should be writing poetry and screenplays in some proverbial garden amongst creatives who never work and subsist upon the nectar of the land.
Please. We all know better, or most of us do anyway, but wherever you may have developed the mindset that everyone’s wrong and you’re right, it’s a big, huge fallacy.
Sure, we all have a friend that can read a script and give feedback, and that’s fine, but here are the benefits of paying for a professional reader:
1) Market insight – Almost all working readers know what’s selling, who’s buying what, the types of genres that work, and the types of stories that are “pitchable.” This is huge, and something fellow writers or friends may not be able to give you.
2) Unbiased feedback – Is your best friend going to tell you the truth? They would if they knew better, but probably not
3) Education – Think of the notes process as less of improving specifically that one script, but learning crucial, realistic, and current tips at polishing your writing skills overall.
4) Personal attention – With the right reader, you can develop a working relationship based on their unique insights. Many of our own Workshop writers have clung to the same reader for years, and it’s worked out remarkably well.
Are there lousy script readers out there? I dunno. . . are there lousy golf instructors? I say yes, because I’ve experienced both. That’s why you should do a bit of research before, not only paying for notes, but even getting “free” or informal feedback, because both can lead you down a dark and dangerous path.
Whether you get notes from Script Pipeline or elsewhere, get them from someone qualified—and do NOT, shall I stress, pay an obscene amount of money for a few paltry pages of generic observations. I’m talking about $1,000 and up. That would be more in the personal, one-on-one consult range. And don’t let anyone tell you differently. If I pay a couple grand for basic notes, or even slightly detailed notes, their last name better end with Haggis and they should have at least one Oscar on their mansion’s bookshelf.
Quality and cost are really the only two main factors to watch out for. Success stories help as well. Naturally, I can vouch for the readers in our Workshop, but there are a small handful of other completely praise-worthy companies doing coverage. Just do your research. It’s worth the time and money.
Unless you’re Woody Allen. . . (notice the bookended reference—hackneyed, but effective)
General Manager / Dir. of Development, Script Pipeline
*Lillian Gish. A silent film actress—and pretty hot, too. Do yourself a favor and Netflix Orphans of the Storm. Makes Megan Fox look like Ernest Borgnine.
Script Sales - June
Can't decide between going to a movie or playing Angry Birds? Well, relax cowboy: the game by Rovio will have an animated (obviously) film adaptation. No word yet on whether there will be an Angry Birds Rio movie, which would make it the first movie based on a game based on a movie. On another animation note, Spy vs. Spy gets the royal treatment with Ron Howard to direct. A remake of War Games is also in the works. And the Nicholas Sparks story The Best of Me, about a guy and girl who used to be in love, and then they weren't, but then it'll all work out in the end to ultimately make women cry (well, that'll probably be the gist, anyway).
Other script sales include:
- Swear to God starring everyone's favorite slightly-furry comedian Will Ferrell, who plays a hedge fund manager that sees God.
- Diablo Cody will make her directorial debut with her script Lamb of God, a delightful name for a Las Vegas comedy.
- Someone got one of our letters: "Make more Ed Helms movies." The budding star is attached to play the lead in True North.
- Magic Kingdom, set at the Disneyland park, with Jon Favreau to direct. Apparently the plot is being kept just as secret as Club 33.5. . . .
Deadline Approaching: Horror Screenplay Contest
2011 HORROR SCREENPLAY CONTEST - NOW ACCEPTING ENTRIES!
Hollywood, CA - The creators of www.ScreenplayContests.com and Executive Producer, Michael David Jensen present the 2011 Horror Screenplay Contest.
The mission of the Horror Screenplay Contest - www.HorrorScreenplayContest.com
is to further promote the horror genre in screenplay form. The contest
is open to all writers, eighteen years and older. The contest is
limited to the first 600 entries and the submission deadline is July 20,
2011. Writers may also submit their material online.
The 2011 Horror Screenplay Contest is sponsored by: Brain Damage Films, Gorilla Software, www.ScreenplayContests.com, www.TopFilmFestivals.com, Cherub Productions, www.KillerPumpkins.com, Final Draft, Palace of Horror, The Haunted Studio and Instock Costumes.
Winners of the 2011 contest will receive cash and industry related
prizes in addition to having their material submitted to Hollywood
producers, agents and studios.
The 2011 HORROR SCREENPLAY CONTEST is now accepting entries. Contest rules, information, and entry forms are available at: www.HorrorScreenplayContest.com
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