... Then people say "Getting far in a contest doesn't mean anything" or "The readers don't know what they're doing." Well, they're THE SAME readers that are filtering through the slush at all the biggest studios. They read contests in their spare time.

So, here's a question after having heard different sides here. I personally don't enter contest. I don't do well in them. I did enter one this year though. I have however won and placed well in some long time ago when I was a complete newbie and had no idea what I was doing. Now when I'm more experienced, my scripts get picked up all the time. In fact, one script that I have now optioned twice, a feature, didn't even make QF in Bluecat. Congrats to Khamanna btw!. So, my question is, what matters more, like someone said, buying competition laurels or getting produced, even if not by Hollywood?

So, I notice Dave's: The Beginning Of The End Of The End screenplay is listed number 7 on Coverfly's 'Red List.'. Number 1 is a Nicholl Quarter Finalist of 2012.

I might start a Blue List...  

I don't like this prefabricated based-on-averages, piggybacking for profit business for so many reasons.

IMO, contest winning scripts are good scripts. I spent a lot of time reading scripts on Script Revolution this year and the higher the placement, the better the script. And they do get made. Out of the 150 Academy Nicholl fellowship scripts 18 were made into movies. That’s pretty high for a contest for amateurs. Plus, a lot of the time a contest winning script will lead to an assignment for a movie or TV show ( This happens all the time, just check success stories on the contest sites).

Personally, I don’t think amateur scripts that are discovered outside of the contest scene would come close to the success rate. It does sometimes happen though (Meat by Logan Martin)

Now, scripts from writers that have agents is another thing. Most movies that are made are from this camp. But in my opinion, most were plucked from the contest scene for getting far. Ever wonder why you never see Nicholl Finalist or Austin Finalist, or even Screencraft winner on Script Revolution? Because they all have agents.

So, IMO contest judges are in line with the industry. Of course there are diamonds in the rough that go unnoticed, or bad scripts that can make it through.

Look, we can't all be screenwriters. It's a super competitive and sought after field. Think of Actors...they go to acting school. They move to LA. They go on cattle calls where they COMPETE with hundreds of other actors for the role. They don't pay an entry fee, but it does cost them. They have to pay their rent...transportation. And in the end, they all can't get the part can they? Less than 1% of them will make a living as an actor. Now, are you going to stand outside the university with a picket sign demanding that all acting schools be closed because it "preys on the dreams" of aspiring actors. Who are you to tell them they can't try to pursue that dream?

Let's go back to screenwriting. This idea that screenplay contests "prey" on the dreams of aspiring writers. How do you propose finding talent? Hold contests with zero entry fee? They don't have the manpower to do that...do you have any idea how many thousands of scripts are floating around? 110 pages that need to be read and evaluated... It's a harsh system...but if you submit to a dozen contest and you don't make quarters in any of them, you need a better script. You need to get better.

Then people say "Getting far in a contest doesn't mean anything" or "The readers don't know what they're doing." Well, they're THE SAME readers that are filtering through the slush at all the biggest studios. They read contests in their spare time.

I will just end with one thing. CJ Walley is one of the big proponents against contests. I believe 100% that the guy means well by this. However, when he built Script Revolution, he curated a list of scripts that were featured on the front page. They were given posters and such. Almost ALL of those scripts were contest winning/placing scripts. I'm pretty sure every feature length was a contest script...why did he do that? Just take some time to let that sink in...why? Why didn't he read through the other hundreds of uploaded scripts (and 90% of those other scripts had NO contest placements) and choose just as many of those to be featured? Why did he place value in the contest scripts?

A really odd framing of the question. People don't buy competition laurels - they compete for them.

And of course it matters more to be produced. But they are not mutually exclusive things.  One is part of the chain and one is the desired result.

Things that may help you get produced:

- Enter contests
- Send out pitch letters
- List scripts on public sites
- Get a related job in the industry
- Get an Agent
- etc. friggin etc.

Do one or more of the above to get produced. The way you framed the question is akin to - what's really more important - diet and exercise or just being fit?

She's talking about getting produced at a lower level, and whether that helps to progress your career to a professional level.

Readers of contests read for the big studios? And you know this definitively how?

A really odd framing of the question. People don't buy competition laurels - they compete for them.

Just an update.

Keep in mind that I am a contest guy and Coverfly is a contest centric site.

I am liking this site more and more.

I have been on it for several years and have received zero requests for any money. It remains completely free.

If you are a contest person, it is a very handy tool for submitting to the ones you want through a centralized database of your contest scripts.  Again - very important for you to vet contests on your own.

They just added a peer review feature - looks cool - I'm am going to try it out and let you know how well it worked.

To add my two cents and a dash of disinfectant. I've been using this site for a few years now and I too find it easy to use and useful in entering multiple competitions. I have been charged though, to update my project with new drafts of the screenplay. Only $5 here and there but it adds up, especially if you've got the same project in multiple contests as it is $5 per contest Filmfreeway doesn't charge for any posting new drafts.  

I've also not had any sniffs from potential producers, despite being in the 500 points range on the Red List. I'm don't think the Red List is all cracked up as they suggest it is.

One way Coverfly makes money is by charging writers $5 to update a contest submission draft mid-contest – this is a totally optional feature that allows writers to send in an updated draft to the judges instead of completely resubmitting. The goal is to get contests the best drafts, to prevent writers from having to pay full cost for a resubmission, and to allow Coverfly to keep hosting and tracking free.