Grand Prize Winners A Mate for Lonesome George by Sharon Clark Freebird by Hilary Graham Neither by Christian Heinze Shrapnel by Evan Daugherty Finalists Alpha Male by Spanner Spencer A Revolution in Urination by Christian Heinze Beckwourth by James K. M. Watts Drill Queen by Andrea Seybold & Kate Wharton Hidden by Noah Ruderman His Fair Lady by Russell Bryan Sommers Honor Bound by Michael Amato In the Garden of the King by Paul Ian Johnson Maid of Dishonor by Sophia Trone Palestine by Suzan Flamm The De-haunters by Calvin Field & Bryan Bagby The D Line by David O’Donnell The Stacks by Edward Cound The Tollbooth Operator by Christian Heinze The Well by Julie Anne Wight
Grand Prize Winners Fuel by James Roman & Chris Donaldson Living in Limbo by Mike Amato Monstrous Passions by Deborah Baxtrom The Rise of Fred Amazing by Scott Cunningham Finalists Bad Rap by Mark Grisar Birdman McGee: World’s Greatest Demolition Derby Driver by Todd Shapiro Broken Hearts Revenge Club by Ian Schnee Canaries by Craig Cambria Deadbeat Boyfriends by Marc Conklin Doll by Edward Windus Fuel by James Roman & Chris Donaldson Ghost Music by Knut Arne Vedaa Living In Limbo by Mike Amato Monstrous Passions by Deborah Baxtrom One Armed Bandit by Bruce Dundore Second Skin by Kim Alan Pederson Spyder by Willie Price The Banner by Tina Juarez The Best Man by Jack Davidson The California Hotel Murders by Rusty Rhodes The Great Quest by Steve Weissman The Melon Man by Mike Palmisciano The Rise of Fred Amazing by Scott Cunningham Whisper by Cory Marciel
Grand Prize Winners Control;Alt;Delete by David Flores Fragile by Eric Maran Spy Camp by Frank Naccarato Tucker by Travis Simmons Finalists Bad Girl by Dave Richards Cougar Run by Sean Kelly Dark Mission by Mark Marinovich Davinci’s Angels by Baron Brady Home by Matthew Allen Infected by Steve Nolan Last Arrow of Eros by Michael Starrbury The Macabre World of Lavendar Williams by Nicolas Del Gado The Red Baron by Richard Fox Santa Claus Goes to Pirate Island by Patrick Bates Silencer by Sean Mick Smilers by Mike McGeever Telepatrol by Jack Messitt Under Sirius by Ryan Faust Unity by Eugene L. Langlais III Waltzing Emily by Julie Tortorici
by Peter Clines April, 2006 SCRIPT PIPELINE SCREENWRITING COMPETITION Now heading into its third year, the Script Pipeline Screenwriting Competition sprung out of a recurring complaint Chadwick Clough was hearing in his online community. “Our writer clients continued to express their frustration with smaller screenplay competitions and we set out to do it right,” says Clough, who also writes CS’s “Production Co. Spotlight” column. Clough’s experience with script consulting and production companies, along with his management position at Script Pipeline, convinced him he could also be a contest director. “Before launching the Script Pipeline Screenwriting Competition, I entered dozens of ‘screenwriting contests’ as a test of the entire process,” he explains. “We approached A-level production companies and agencies to not only consider the finalists but become involved in the judging process of the competition. Each of the last three years, Script Pipeline has had over twenty A-level companies reviewing submissions….
Grand Prize Winners Daughters of the Groom by Catherine Modesitt Hero of the Day by Andrew Cannistra Jane by Geetika Lizardi Miss Havana by Kathleen Monahan and Duba Leibell Finalists Afterlight by Paul May Borrowed Time by Pete Schnell Colter’s Hell by Robin Russin Dark House by Kerry Dye Dead Man’s Hand by James Vejvoda The Domain by Michael Raymond Duty’s Call by Paul Bruno and Cathy E. Bruno Exposures of War by Kevin Caruso The Eyes of Mara by Joseph Calabrese In Love, Indifferent, Insane by Christian Heinze The Michaels by Mandie Green The Mystic by Darryl Deangelo Oh Brother! by Cathleen A. McCarthy Sticks and Stones by Kathryn Sheard Stronghold by Richard Elvers Whiskey Bay by Jay Olivier and Bill Brauer
The Hollywood Reporter October 2003 View PDF of article Hollywood is legendary in its ability to make firings difficult for unproven screenwriters. So perhaps it’s only natural that dozens if not hundreds of internet sites sprang quickly to action to help struggling writers get their scripts read by the right people. The problem now is in separating the useful online services from the useless ones. “There’s a lot of scams out there,” said Chris Wehner, author of “Screenwriting on the Internet: Researching, Writing and Selling Your Script on the Web.” Wehner founded ScreenWritersUtopia.com in 1995 after discovering how hard it was to pitch scripts to Hollywood while living in Grand Junction, Colo. “I optioned a script to a producer, then he died,” he said. “So I wasn’t having much luck.” Sympathetic budding screenwriters nationwide flocked to his site, and in 2001, he launched the Global Literary Market, where 400 people…
– Justin Merz and Jon Rosenbloom (writers of Topsiders, sold to DreamWorks) Did either of you attend film school? JR: No. In college I think I took one film class. That was it. JM: No. I have my degree in education. I was planning on trying to go to film school and had applied a few places but I ended up having a kidney transplant so I was not going anywhere. I ended up taking courses locally, finished my degree in education. When did you first pursue interest in writing? JM: When I was six years old and I saw Star Wars. I was making movies in the backyard. I Got really serious writing scripts in the early nineties. What was the first medium you wrote in? Did you start writing stories? JM: I wrote a few stories, but I think I was really trying to write scripts when I was…