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There is an undoubted bias towards certain styles. Fast paced, simple.. even basic/generic, linear stories that are well written. One of those with a solid twist at the end is the sweet spot for the OWC.
It's partly the culture of the contest... Everyone rushes to read them all as quickly as possible. Subtlety tends to get lost.
It's partly that that is a solid model for a short story anyway.
It's partly because trying to tackle a more ambitious story leaves you with less time to polish.
Every contest has its own culture, as does every festival.
Perhaps, in a wider sense, it's also a microcosm of what's happened in the real world : simple stories are easier to understand and are generally more popular because of that. In a straight popularity contest that type of story will be liked more by a majority.
There are ways around it, if people want to try different things : it can simply be a case of trying different genes with an emphasis in the theme on the slow burn, depth, theme, ambiguity, magical realism, abstract etc.. Take your pick.
It's a small piece of an old debate. David Mamet wrote a book about it (Bambi vs Godzilla?) and how he thinks readers have destroyed 'Cinema' because its become the case that a script that is enjoyable to read has become considered a good script, while from his point of view the real script is the abstract form behind the words, the audio /visual blueprint that will be the actual movie. He thinks readers have lost, or never had, the ability to discern the actual movie behind the words.
I agree with him to a large extent , as it happens, but that debate has been lost.
There is an undoubted bias towards certain styles. Fast paced, simple.. even basic/generic, linear stories that are well written. One of those with a solid twist at the end is the sweet spot for the OWC.
It's partly the culture of the contest... Everyone rushes to read them all as quickly as possible. Subtlety tends to get lost.
It's partly that that is a solid model for a short story anyway.
It's partly because trying to tackle a more ambitious story leaves you with less time to polish.
Every contest has its own culture, as does every festival.
Perhaps, in a wider sense, it's also a microcosm of what's happened in the real world : simple stories are easier to understand and are generally more popular because of that. In a straight popularity contest that type of story will be liked more by a majority.
There are ways around it, if people want to try different things : it can simply be a case of trying different genes with an emphasis in the theme on the slow burn, depth, theme, ambiguity, magical realism, abstract etc.. Take your pick.
It's a small piece of an old debate. David Mamet wrote a book about it (Bambi vs Godzilla?) and how he thinks readers have destroyed 'Cinema' because its become the case that a script that is enjoyable to read has become considered a good script, while from his point of view the real script is the abstract form behind the words, the audio /visual blueprint that will be the actual movie. He thinks readers have lost, or never had, the ability to discern the actual movie behind the words.
I agree with him to a large extent , as it happens, but that debate has been lost.
"...while from his point of view the real script is the abstract form behind the words..."
It sounds like I have something in common there with David Mamet.
For me, when I really appreciate something, I feel a certain sensibility that can often be difficult to explain, but can only be perceived.
Just read through all the comments. I particularly agree with Mark's points.
What makes a script an easy read is not compliance with some kind of rule system. In fact, the main reason for breaking the rules, assuming one has learned them, is precisely to make the script more readable. Or maybe I should say bending the rules.
I sympathize with what Rick and Eric are talking about. Sometimes something that makes for a great movie is not conducive to crafting a readable script. I've given the Billy Wilder example many times...you can start a movie with a courtroom scene, but not a screenplay.
But that's where the value of the OWC is. Most people here are some level of non-pro writer sending scripts out into the world where they have a very slim chance of being noticed. It's a Darwinist world. Learning how to build your script and story so that it's readable gives it a much better chance of surviving. As Mark said, the goal is to keep the reader going to the next line. I used to call it TTP: turn the page, Your goal is to get the reader to turn the page.
That DOES limit what a writer can do. If you're not a pro writer that's in demand your story building options are more narrow.
The OWC does a really good job...because of the feedback...of helping a writer learn some of the things that might slow a reader. Some examples: a slow opening, too many characters, anything that creates confusion.
I just picked up a novel at the library. The first three paragraphs were weirdly confusing. But by the end of the page the writer sprang his surprise and things became clear. When you have a properly published book in your hand, you'll assume the writer and editors know what they're doing, so you give the story some rope. But if that's a manuscript you're reading you might be inclined to put it down at the first sign of confusion.
There are strategies you can learn from these OWCs about how to grab and hold a reader with your story and writing style.
I didn't mean to sound like sour grapes. It's just me thinking out loud.
The truth is, I found the most negative, down right nasty comments on Gut Shot to be the most helpful of all. It pushed me to work out the bugs in this story and develop it into a feature.
One of two things can happen. I'll see the same exact comments pinpointing the same exact problem areas or the feature version will work as a mystery thriller.
In short form, this was too much of a slow burn with too many unanswered questions and head scratching moments.
Alas, I saw A Shot to the Gut was posted today but it's the wrong version I've binge wrote this thing all week and just finished my third draft. It should be up soon.
I definitely found this OWC to be helpful in ways I never realized. Meanwhile, I'll hold my breath and see if the feature version works or is just as confusing.
I didn't mean to sound like sour grapes. It's just me thinking out loud.
The truth is, I found the most negative, down right nasty comments on Gut Shot to be the most helpful of all. It pushed me to work out the bugs in this story and develop it into a feature.
One of two things can happen. I'll see the same exact comments pinpointing the same exact problem areas or the feature version will work as a mystery thriller.
In short form, this was too much of a slow burn with too many unanswered questions and head scratching moments.
Alas, I saw A Shot to the Gut was posted today but it's the wrong version I've binge wrote this thing all week and just finished my third draft. It should be up soon.
I definitely found this OWC to be helpful in ways I never realized. Meanwhile, I'll hold my breath and see if the feature version works or is just as confusing.
That's awesome that the OWC inspired you write a feature. And the fact that you wrote it in a week is really impressive. Seriously. I've been struggling to get my first feature out. What's your secret, Dude?
That's awesome that the OWC inspired you write a feature. And the fact that you wrote it in a week is really impressive. Seriously. I've been struggling to get my first feature out. What's your secret, Dude?
I'm recently single with a lot of time on my hands. I've written more this last year than I have in the last five years combined. Living alone, I can pretty much work on a script for hours without interruption.
My ex girlfriend was a straight up nut job and doing any kind of quality work with her breathing down my neck was impossible.
I'm recently single with a lot of time on my hands. I've written more this last year than I have in the last five years combined. Living alone, I can pretty much work on a script for hours without interruption.
My ex girlfriend was a straight up nut job and doing any kind of quality work with her breathing down my neck was impossible.
So what you're saying is that I need to get a girlfriend... And then dump her. Tender. Here I come.
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I've binge wrote this thing all week and just finished my third draft. It should be up soon. 
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