“…awesome, intense, unusual and original … sickly satisfying … [keeps] the audience at the edge of their seats … the only way to do horror movies”
Our horror screenplay Faeries has received coverage from the BlueCat Screenplay Competition … two sets, actually, from two different readers.
The BlueCat competition is a terrific contest, and the dual coverage makes it well worth the submission price. They’ve got a great philosophy of dedication to improving the writer’s craft, and I consider them to be one of the top 5 competitions worth submitting to. This note from founder Gordy Hoffman says it all:
What can you take from feedback from two people? Will it actually provoke more questions than answers? Perhaps. It’s profoundly revealing to me the very serious principle of subjectivity, the idea that everyone is simply a person providing a reaction. Take what you can, look again in a week, and take some more. Keep pressing yourself to learn how to listen to your audience. It’s the most overlooked skill of the screenwriter, and highly invaluable. – Gordy Hoffman
So what did BlueCat have to say? Here are a few selective excerpts*.
“…the horror builds … an unusual creature … well written … above average … there is much to like here.” Faeries gets some lovin’ from the SlamDance judges panel. Faeries, possibly the best unproduced horror screenplay about pack hunting, echo…
“Compelling, terrifying, disturbing, beautifully written.”
We’ve recently submitted the as-yet-unproduced Faeries horror screenplay to a few competitions, and just got the first set of coverage notes back. We think we did pretty well, and it only makes us more confident about the script.
This is from the WildSound Screenplay Competition. We appreciate their kind words!
**** SPOILERS ****
If you haven’t read the blog post Birth Of A Genre: Cowboys and Aliens, read it now.
Since that posting, we’ve seen Jonah Hex:
The U.S. military makes a scarred bounty hunter with warrants on his own head an offer he cannot refuse: in exchange for his freedom, he must stop a terrorist who is ready to unleash Hell on Earth.
Followed by Priest:
Chip Street gets small (but very much appreciated) mention in Script Magazine
Jeanne Veillette Bowerman wrote an article on the Script Magazine website, profiling two of my very favorite Twitter buddies, Julie Keck and Jessica King, a writing team collectively known as King is a Fink.
Julie and Jessica have been incredibly successful building a social media presence, and it’s led to some real successes that otherwise may never have been available to them.
Color me incredibly appreciative. The BlueCat Screenplay Competition Newsletter featured a synopsis and link to my 10 Things To Think About When You Option Your Screenplay blog posting. Can’t thank BlueCat enough … for the extra traffic, and for the…
On one of the many screenwriting forums I frequent, a screenwriter posed the question “Did this producer steal my screenplay?”
Good question. Here’s the story.
Making the sale
It seems the writer was approached by a producer who was interested in one of her screenplays. They swapped a series of emails, exchanged several versions of a sales contract, and arrived at a purchase agreement. Yay for her.
The screenwright delivered her screenplay via email, the producer delivered the agreed upon sum. Again, Yay for her.
But the final contract didn’t arrive with the payment. In fact, neither the screenwriter or the producer signed a hard copy.
Why too much detail destroys screenplay description – and pisses readers off
I just finished slogging my way through another script as a judge for a screenplay competition.
Yes, slogging. It was painful. It was boring. Frankly, I couldn’t finish it. I gave it a “pass”.
Because the writer gave me too much description.
Exactly how many licks it takes to get to the center of a Tootsie Pop
The screenwriter told us just how many steps a character took to cross a room (11), whether the couch was on the right or the left of the doorway (left), how many seconds a dog barked (5), and precisely how much space is between the lights in an alleyway (30 meters). I learned that the kitchen table is rectangular, and how big it is (approximately 33 inches by 60 inches).
I wanted to shoot myself in the head. For the record, this is not how you want to make your reader feel.
People watching may be the best way to hone those sub-textual writing skills.
So I was standing in CVS looking for a father’s day card for my son (note to self: There are no father’s day cards from dad to son-who-is-a-dad) and of course I wasn’t the only person who’d put it off perilously late.
To my right, a woman and her teen daughter scanning the rows of leftovers.
Enter screen right: A third woman, tension radiating from her clenched up little form like heat waves on a hot tarmac.
If you want to sell a screenplay, or win a screenwriting contest, you have to get past the gatekeepers: The Readers.
The Readers hold the keys to the kingdom … The Readers are the ones tasked with slogging through the “slush pile”, that unfiltered stack of screenplay submissions, and decide if any of them are good enough to pass up the food chain to the people who sign the checks. It’s The Readers who decide if the screenplay gets a “consider” (rare), a “recommend” (essentially a unicorn), or simply tossed out after failing to keep them engaged past page 15 (the fate of 99.9% of submissions).
The Readers are charged with reading stacks of scripts … dozens, hundreds of scripts … and they are, mostly, terrible scripts. Sad, but true. Anyone can press keys on a keyboard. Few can turn it into art. So The Readers get jaded, maybe discouraged, maybe even angry.
So how do you get your brilliant new screenplay past The Readers?