Tips & Advice on Conquering The Contest Season- Part II: Selecting Your Contest

22445_thank-you-jim-carrey-award-the-mask_200sThere are as many opinions about the benefit, or lack thereof, of contests as there are contests itself, and there are literally hundreds of screenwriting contests available every year. Only a handful are truly worth your time, energy and money, and deciding which ones are worth entering is purely subjective, but the following is MY process that I’ll share:

(NOTE: Please think twice before entering ANY contest if your screenplay is not absolutely perfect. Contact us at The Script Mentor if you need help getting your project to that point, but if not us, try someone — anyone — that you trust!)

1) Determine what your budget is going to be for the year. When I enter, I average $500 for that particular year’s worth of entries.

2) Sign up for MovieBytes.com. I’m a paid member (WinningScriptsPro) and it is a very helpful and informative site and service. They list most major contests, and offer ways to easily enter and track your entries.

3) Investigate each contest, including user reviews. User reviews are very enlightening, I assure you.

4) Determine what the prizes are and if that is what you are looking for. For me, cash prizes, recognition and exposure were my goals. I’m less concerned about “table reads” or free airfare to someone’s seminar in Cabazon, CA. Some will include “cash and prizes”, and the actual cash will be small, while the “prizes” may be $5,000 worth of their assistance in marketing your screenplay. This is a red flag for a money-grab.

5) Calendar EARLY BIRD DEADLINES. You can save significantly if you enter early.

6) Spend any extra money on an occasional feedback. It might double the entry fee, or more, but in most cases, it is well worth it.

7) Read, accept and learn from the feedbacks, but do not dwell on them. Understand that not everyone is going to like it, and not everyone is going to hate it. Chances are, the reader probably knows a bit more than you, especially in the bigger, more prestigious contests.

8) Read all of the contest rules. Some REQUIRE cover pages with info; some others PROHIBIT them. DO NOT get caught with your contact info anywhere on the script (including title page) or you’ll be disqualified.

9) Get confirmation on your entry, and save it.

10) Document your script entries*. If you don’t use a contest entry program, create an Excel spreadsheet, and document script, contest name, date of submission, cost, fee for feedbacks, date of finals and any other pertinent information.

 

*Contest entries with feedback are tax deductible as a business expense (refer to your tax professional for details).

 

 

 

Ask The Script Mentor, #15: Ghostwriting and Mentoring Services

Questions

Q. I see you offer ghostwriting services. I started a novel, and really don’t have time to finish it. Is that something you might be able to do- finish a manuscript already started?

A. Hello, sir. Very impressive website you have. You had asked, in response my article on hiring a ghostwriter, if helping you finish your book is something we can do. The answer is “Yes”, although it’s a somewhat unusual and rare request. I have an excellent novelist on staff that would be perfect for this type of work. I’d have to know where you are in the project, how many pages you are hoping to have when finished, and a few smaller details in order to provide you an accurate quote for the project. I’d also need to know what kind of budget you’re working with. I can work within most budgets, but it does affect some of the decisions we’d make going forward.

Thank you for inquiring about helping you with the project, and I look forward to working with you soon!

ILoveLoglines  Q. Hi Geno, I hope you are doing well. I’ve been busy the last couple of weeks, mainly keeping my head down and re-writing my script based off of your excellent notes. I’d like to sign up for your mentoring services, and re-send the ACTUAL “first ten” pages of my script for you to review, if you have time. I also have a logline that is much better than the one that the reader from the contest wrote. I used you logline formula and it was easy after that!

A. Hi K! I’m flattered that you’ve thought enough about our services to inquire about additional assistance. The interactive workshop is not scheduled at the moment, but I hope to schedule some in the near future.

We basically did the “first ten” pages (even though, technically, it wasn’t the first ten). You were given an idea of some of the real issues the script has from a SPEC screenplay perspective, so I don’t see a need to pay for- and receive- more of the same. At this point, all that would be necessary would be The Script Mentor Package or The TSM One-On-One mentoring, which includes the money-back guarantee in writing!

The Script Mentor Package, at $399.00 (originally $799) would give you a full review of the concept, screenplay and structure, as well as advice on a proper logline, query letter and synopsis. These three areas (L/S/Q) are instrumental in your marketing approach. After the screenplay is as good as it can be, we would also assist you in a networking and marketing strategy. With this package, you can continue working with The Script Mentor for up to one month.

The TSM One-on-One exclusive service at $1499.00 (originally $7500.00), provides you with the above assistance, and we’d assist you in choosing a minimum of ten competitions we feel is best suited to your screenplay, writing level, and most helpful to your writing career at this point. With this package, you can work with The Script Mentor for up to three months- no matter how many projects you’d like to work on.

Also, with this service, we would provide you with a written money-back guarantee if a certain level of success is not established with this screenplay. No other service in the world offers a money-back guarantee- ever. This is how strongly we feel about our mentoring assistance and program. Now, neither of these programs is inexpensive, so it would be an investment on your behalf, but if you’re investing in a career that you want, it’s a small investment.

Q. Hey Geno! Thank you. My name is B.C. My father was the former Underboss of themanuscripttomoviescript1 Colombo Crime Family in NY. He disappeared on May 26th 1999, and with my help, the government was able to bring the killers to justice. After 8 long years, we found his remains. Geno, so many people are sending me screenplay examples along w/ NDA’S, but I have not read one that feels right. I was hoping that maybe we can collaborate or maybe you can help put me on the right track? I feel lost if that makes sense. Hope to speak with you if you are interested.

Thank YOU in Advance!

B. Jr.

A. Hi B! I read your profile during my due diligence prior to connecting, and I appreciate you reaching out to me- both on this, and just for linking in. I’ve watched all of those mob history shows, so I’ve seen several of the shows highlighting your Dad’s story, and I know it well. I’m from Staten Island, and let’s just say my family and I and our friends have had a “colorful” past with the families as well.

I came across a mention of a book; did that ever get completed and published? If so, usually, you’d be looking at adapting that book into a screenplay. Book adaptations are a very specific type of screenplay writing, and most writers will tell you they’ve done and they’re good at it- but they’re not. Most haven’t a clue. I’ve done nine (9) in the past two years. I know how to do them, and it’s not easy. As for collaborating, the closest we get as far as collaborations are the ghostwriting assignments. We write the screenplay you want- it’s under your name, and you get all of the credit and retain all of the rights. This is what we do for a living, and we do it well.

Many of my clients are in the industry- actors, celebrities- many who can’t read or write well at all, but want credits for screenplays or have a pet project they want to star in, etc. Because I’m a ghost, my identity- and that of my client- is almost ALWAYS secret, but last year, we did four screenplays, a TV reality show outline and a TV bible for a celebrity currently starring in TWO cable shows running concurrently. My other clients include several A-list actors and authors who have never written screenplays before.

Normally, we would discuss the project, decide the actual story line, genre, etc. and as we write it, you would receive ten (10) pages at a time to review and suggest changes in direction, if any. We would do this for up to fifty (50) pages. When the project is completed, you’ll have an opportunity to review the screenplay in total.

You also have one FREE rewrite should you decide you do not like how something turned out, etc. We would work very closely most of the time, as the service is not inexpensive. I don’t charge the WGA rate, but as highly-recognized and multi-awarded writers, we ain’t cheap! We HAVE been able to work within almost any budget, though, and if I can’t, I can usually refer you to someone who can. We get at least 50% down payment to start and the balance prior to receiving the finished project. There will be a signed contract with strict deadlines, and we’ve never missed a deadline yet.

I also stay with the client through the marketing and networking strategy as well, which I also provide to them, and I GUARANTEE a certain level of success in the screenwriting contest world- a great way to gain exposure for the project. I also have hundreds of my own connections that I would help forward the project to, if it fits their interest. If this sounds about what you’d be interested in, hit me back. My email is thescriptmentor@hotmail.com. You can find my website(s) at www.thescriptmentor.com and www.sharkeatingman.com. I look forward to talking in the near future!

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Q. Hi Geno! I was going to contact you regarding adapting my novel into a screenplay. I saw that clicked on the book on Amazon, but didn’t buy it. I was hoping to get your feedback and evaluation of the story BEFORE I contacted you.

It probably wouldn’t break you to spend the three bucks to purchase the Kindle version of my book.  If you’re familiar with eBooks, you surely realize there’s an simpler way to distinguish good writing from all the crap that’s self-published every day.  All you need to do is click on the book cover, and you can read the first 10% of the book.

Since I saw no sign you’ve done the due diligence that could start an informed discussion about adapting my thriller, I’ve decided AGAINST using your services.

A. Hi, “D”- I’m really not IN the evaluation business, so it’s irrelevant to me HOW a novelist writes. Trust me when I tell you, most of the self-published “novels” and manuscripts/screenplays I’ve received from authors or celebrities who THINK they’re writers are practically unreadable.

Truth be told, I DID go to Amazon and I DID read the reviews, and your bio, and I DID read the Preface and the first couple of chapters. I even thought about buying the eBook, but I have about 70 eBooks on my Kindle that I’ve never read. Why? Because the dang screen is like a 3 x 5 postcard, and I can hardly see any of it. Adding “another” to that stack wouldn’t do me any good.

I am very busy myself, and said as much in my first email. We’ve been very fortunate to have started the year so strongly, and as of last night, we land a couple of more adaptation clients. As a rule, however, I don’t “buy” original source material and spend the time to read it. Time is money. As part of any contract, the original source material is always provided to us- free of charge- and we charge $250 for the reading of that material. This money is then applied towards the contracted total. It’s during this reading time where we actually evaluate and outline a potential screenplay, including characters, locations, main plot, subplots, develop a logline, a general synopsis, etc.

My only concern is CONCEPT; whether or not a particular story would make a good movie. If the author thinks so, that’s a starting point. Going simply by the title, I thought it was an awesome title and the genre sounded like it was right up my ally. In fact, I have a screenplay that, based solely on your title, I see as possibly having some similarities. They may be 180 degree different but, again, I’m basing it only on the title.

Another thought that goes into the process of selecting a project is overall SALES. I have no idea what your sales are, but I can tell you, based on your LinkedIn profile, you don’t make it easy for someone to simply click and get to the book. It shouldn’t take that much to attach a link to the Amazon posting to you profile, or post it as an update. If you notice on several of my client’s work, I am part of their team in promotion as well. I post their book link, their audio link; I tweet out announcements. I probably do more marketing on social media on their books than they do!

I’m hoping, in the future, you might reconsider using our services.

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Q. Hello! I’m interested in having the first 10 pages of my in-the-works screenplay reviewed, and would like to also have my one-page synopsis (and logline) evaluated. Would you be willing to do that? If so, what would you charge?

Thanks for your time!

Rob

A. Hi Rob! Thank you for contacting us at The Script Mentor. If you go to our website at www.thescriptmentor.com, you’ll see our services for our first ten-page review. I will include the logline and synopsis review as part of that first ten page review, at no extra charge.

Simply pay for the First Ten-page review ($19.99) and then send the first ten pages (or more) in PDF or Final Draft, if you are using Final Draft software, to thescriptmentor@hotmail dot com. I am also sending you a short questionnaire that you can complete and send back as well. It’ll provide a bit more information about yourself and your writing background, and give us an idea of your baseline writing skills at this point, as well as some additional info on the script that we’ll need to provide a better analysis (such AS the logline).

We know it’s a lot to trust someone to allow them to read your screenplay, and we’re honored to do it. It’s an honor we do not take lightly. Give us 24-48 hours after receiving this information back from you and I hope we can get a solid review in your hands, with notes that will help guide you to the next step in your project.

quote-Muhammad-Ali-its-not-bragging-if-you-can-back-104890 Q. Thank you Geno for your honesty, and your interest in my project. You won’t get bored with this project. There’s a lot more to come when you consider I spent 28 years putting this project together….

Looking at your credentials I would assume that you have your shit together. Obviously this is probably one of the biggest projects that could ever be developed in the entire United States based on the fact that it’s been a cover-up for 30+ years are you ready for some sort of that kind of entertainment?

A. Whether I have my shit together or not, is not for me to say; I’m successful in my chosen third career and businesses and putting two (months away from three) children through college doing what I’m good at; writing screenplays and teaching screenwriting through my mentorship. I do question anyone’s claim that says “biggest project ever developed”, and that alone raises concerns of being realistic or having realistic goals for the project. I think you’d understand where I’m coming from if you knew how many scripts I’ve received as a producer from people claiming their script was the next “Star Wars” or “will win 10 Academy Awards when completed”, blah, blah, blah. I’ll reserve judgment until I read and watch all of your videos, but you’ve piqued my interest thus far. Again, I know nothing about THIS project, but looking forward to learn more. You’ve written books, and had a documentary done; what’s next?

Q. (CONT’D) Thanks for sharing your thoughts. My goal is to clear my name. Next I’mscreenplayjunkie5 going to prove how easy it was to use fabricated evidence to try and send me to prison for 67 years. Then we’re going to prove why this was done to me. I have one book published and 2 done and ready for ink. I’ll be chatting with our investigation team about your experience and offers. We’re going to make history with this investigation 28 years in the making. You will be part of our project; three (3) books and three (3) movies.

A. Adapting one of the three books (eventually, all three) into feature film screenplays DOUBLES your potential revenue stream. While you’re marketing the novel, the screenplay competitions and network/marketing strategy for the script makes inroads in that industry. The marketing of the screenplay, and any success it will achieve, helps the book sales, and the book sales help advertise the script.

To form the novel(s) into a marketable script is where the real talent comes from; THAT’S what you’re paying for, mostly. I’ll also need to know what kind of (realistic) budget you have to work with for these projects. You mentioned several different projects, so we could put together a package deal. This doesn’t include the research (I have a research assistant on staff), reading the original source material, outlines, loglines, query letters, synopsis, AND my 30-year Rolodex of contacts that would take ANY project I’m involved in and read it- no questions asked.

Now, if you’re looking for a writer for $1,000 or $1500, you will end up with a nice pile of paper for your bookcase. No one charging that amount knows how to write, and doesn’t have one fraction of the network I have. Most likely, they don’t know how to correctly adapt a novel INTO a screenplay, but they’ll tell you they do. Writing adaptations is a learned craft; I wrote four in 2016; nine in total. All of the authors saw a spike in the book sales as a result of the marketing strategy and publicity the scripts brought. The contests these scripts were entered into should start choosing winners soon.

One client really wanted his project in George Lucas’ hands to read. We knew someone who used to work for him, and were able to get it to him. That guy read it, and thought the script adaptation was great! We only hope YOU have the same reaction to YOUR screenplay adaptation once we write it!

10 Things To Consider Before Submitting A Script

Gino scala's favorite picture of writers at work

1. Open strong
Start with a bang. Decision makers read tons of scripts daily (and nightly) make sure yours gives them a reason to continue; time is literally money in Hollywood. While tradition has suggested it’s important to hook the reader in the first 10 pages, experts have suggested that scriptwriters cut that time in half to make it interesting. To do that, create conflict quickly and make it interesting. You only get one chance.

2. Keep description short and sweet
As a writer, you know how every detail about the story and how it should be carried. Thus, it’s hard not to exact every bit of intricate detail to put into the script to ensure that reader sees what you see. Boil the info down to the basics and allow the reader to fill in the blanks.

3. Mix it up
Yes, it’s been nearly a century since the silent movie; no one’s suggesting that. However, it’s very important to keep a balance between dialogue and action. Consider what you would want to see on the screen. A show or movie with people just talking at each would be boring to viewers. The same goes for the readers of your script.

4. Think outside the box
If you’ve seen it before, chances are everyone’s seen it before and nobody wants to see it again. Creating an entirely original piece is difficult but rewarding if you’re looking to make progress. Start with the absurd and boil it down to something worthwhile once you’ve allowed your creativity to flow. The same old, same old is just that.

5. Employ the Goldilocks Method
No script should be too short or too lengthy. Give yourself enough space to tell a good story, in full, and nothing more. Flesh out any details that are necessary to the plot or character; likewise, remove any extraneous moments and ideas. Make it “just right”.

6. Proofread, Proofread, Proofread Again
Any grammatical errors, misspellings or improper punctuation is the wrong first impression and could automatically become trashed, even if the content is good. Proofread everything, but not just once. Let the script sit for a while then go back with a fresh set of eyes, or even find a trusted friend or partner that can take a look at it for you.

7. Less is more
As a creative, it’s natural to have so many ideas as well as urges to get them out. When it comes to characters. Less is more. Spend your energy developing individual characters instead introducing 20 different ones. Readers won’t always be able to make the connections between new characters and those previously introduced. A confused reader is an uninterested reader, and as stated before, the goal is to make everything as clear as possible.

8. Make it interesting
Another way to keep things interesting but simple is including conflict in your storyline. As often as possible, create a need, a desire, or an actual conflict/fight for your characters.

9. Pace yourself
One thing to remember however, is to not use all of your good conflicts in one place. It’s important to make sure that every part of your story, from beginning to middle to end is interesting and relevant. One of the biggest problems for screenwriters is inability to maintain interest throughout the entire script. Remember, balance is the most important thing for this work.

10. Finish well
The way the story ends is just as important as the beginning. Some even suggest writing the ending before the beginning, that way you have a map for how to get there. Otherwise, you’ve done everything else right from above, then you get to the end, and you’ve lost your way, or don’t resolve the conflict. Always have a good, clear goal. Think of it as an opportunity to seal the deal. If someone’s made it to the end of your script, they’re interested. Make it worth their while.

Three Survival Tips For Entering The Entertainment Industry

Image of Filming CameraThe business and politics of film industry can be a murky, intimidating world to enter, even for the most passionate and committed artists and potential filmmakers. As in most professional realms, mentorship is absolutely crucial in regards to finding your footing and making the most of every opportunity you are lucky enough to enjoy. The Script Mentor exists to provide support to aspiring and rising screenwriters for just this reason. However, some broader knowledge is widely available online that applies to more than just writers, but to people interesting in filling just about every role in the entertainment industry. Barbara Freedman Doyle, who – in addition to establishing herself as a successful coordinator and production supervisor in television and film – has served in leadership roles of various film departments at the University level, curated a list of things you need to know to make it in the film industry. Although Geno Scala and his presence in the world of arts and entertainment have been most heavily centered around scriptwriting, these general insights serve him (and everyone) well as gentle reminders about the reality of breaking into the film industry and finding success therein.

Reputation Is Everything

In every business where people are wheeling and dealing with any level of frequency, your reputation will make or break you. This is especially true in a relatively close-knit, small, and exclusive industry like film and television. It is an intimate enough industry that many (if not most) negotiating happens verbally. Any established presence can contact just about any other party with just a phone call. Everyone, especially the kinds of people who make the most important sorts of decisions behind the camera, talk all of the time. What all this constant communications means is that there are no secrets. It is one thing for information like your typical job title and pay rate to be public knowledge. In the entertainment business, however, people can and will discuss so much more. This can include how hard you work, if you are honest, and how you treat people.

Therefore, if you nurture a reputation for yourself as reliable, capable, and an overall positive workplace presence, more and more doors will swing open. Again, this may hold true in most industries, but in entertainment this reality is magnified and multiplied many times over. On the other hand, if someone has a negative experience working with you, then your reputation as difficult, high-strung, irrational, or just plain unpleasant will intensify your troubles finding work to an extreme extent relative to what you might experience working in a different field. It is important to realize that this is your employment and nobody is interesting in cutting you slack because you had a long day or were simply in a bad mood for whatever reason. Without a proven track record, your talent simply does not count for much. You have to deliver, and be prepared to follow through and execute every single time. It just takes one slip-up or one bad experience with one person to potentially sink your entire reputation (and career). Rationalizations for why you came up short once or twice just do not count and extenuating circumstances do not matter. Recognize that every decision you make and action you take is feeding into your reputation and take ownership of how people will describe you when, eventually, your name comes up on future projects.

History Trumps Friendship Every Time

An incredibly dangerous combination is for a word to be both overused and misused, which is exactly the case when it comes to the term, “relationship.” That is especially true in film and television. One of the most common anecdotes you will hear is that some person in a position of authority gave a lesser known individual a shot because they had “a relationship.” Another frequent scenario people in the entertainment business often quote is two people who always work together because they “have a relationship.” Sometimes producers won’t interfere or otherwise decline to argue with a director’s first choice for talent (behind or in front of the camera) because, although the producer might have a different preference, the director and the person in question “have a relationship.”

When it comes to the working world, relationships have little to absolutely nothing to do with friendship. If you are serious about breaking into film or television in any capacity, you need to be able to sever and separate your understanding of relationships in your personal sphere and what they are in the professional one. Working relationships are all about history. In the entertainment industry, turnover is incredibly high. Everyone is ambitious and has a dream, yet people who are here today will undoubtedly be gone tomorrow. This extreme degree of volatility is very deeply rooted into the very soul of the industry. As such, history – having worked or even just studied together in the past – can be a protection against the certainty that every production or project will be battling uncertainty at some point in the future. Shared goals, loyalty, and the all-around comfort of a “known quantity,” so to speak, can be an enormous source of strength in what is a very challenging and demanding line of work. Successful working relationships can sometimes involved a genuine friendship, but they are built and exist for so much more. Frankly, people will almost always choose working with someone who was unpleasant in a partnership that has previously produced success over someone who they sincerely like but with whom they have no working history at all.

The Decision Makers Play The Odds

Think about the view from the top of the proverbial food chain. The individuals who call the shots in film and television very much interact with projects that come across their desks as educated gamblers would. There is certainly a large amount of anxiety involved, given the amount of financial resource which can be on the line. Major decisions are nearly never spontaneous. In truth, even the smallest of details is often a carefully considered choice. This extends from the inception (which script they choose and who they choose to re-work any aspect of it) through production (every single tiny aspect of the filming and editing process) to its conclusion (marketing can be the difference between a box office bomb and blockbuster hit). As someone looking to break into the industry, this means everything you do needs to be crafted towards the purpose of minimizing risk. When considering who to hire, you want the person making the call to look at you and see that not only are you more talented, positive, and passionate – the most important thing you can be as a candidate is the safest choice. If these movers and shakers in the entertainment business are looking to stack the deck in their favor so that the project at hand is most likely to be a success, be sure you are doing everything in your party to make yourself an obvious asset. This harkens back to history as the basis of every working relationship. Thriving as an intern can be a struggle, especially since starting at the lowest possible rung on the latter is not necessarily going to be compensated immediately with the most inspiring financial incentives. However, your motivation should be the knowledge that one great reference can have the power to get someone to roll the dice and choose you. Once you have a foot in the door, the opportunities to work your way up are much more immediate and real. You need to do more than just tell people you have potential – if they are going to bet on you via the hiring process, you need to be sure your experience shows them that potential beyond any shadow of a doubt.