We are delighted to announce the Quarter-Finalists for our Spring 2018 Screenwriting Contest! And even more importantly, our next two winners…
There have been a lot of great scripts for us to read for this contest, especially with our extended late entry running into June! The competition has been especially fierce, and we’ve enjoyed judging all the scripts we were sent.
So congratulations to our Spring 2018 Quarter-Finalists! Each script here deservedly advances in the contest. We’ll be giving every last one of them a fresh read as we consider which ones will make the Semi-Finals…
With so much competition this time around, a number of promising writers have unfortunately missed out – so don’t feel down if you’re one of them. A lot of the scripts that didn’t make it were strong contenders with a lot of positive features.
If you’d like to know why your script placed where it did, and how to take it to the next level, commission a Script Report from us to get a professional analyst’s opinion on what’s currently working and what’s holding it back. We provide large numbers of studio-quality Script Reports for writers and producers every year – and as an added bonus, you’ll get free entry into our next main contest!
Alternatively, check out our Elite Mentoring service: invaluable one-to-one advice from actual Hollywood producers and studio execs!
See the full list of Quarter-Finalists below… but first, here are the winners of Best Book and Best Stageplay!
BEST BOOK: BLUT WIRD FLIEßEN, by Urs Aebersold
BEST STAGEPLAY: THE CRACK IN PEGGY SUE’S FLOOR, by John Woodard
Hearty congratulations to them and everyone else who is still in the running for our other prizes! We’ll be in touch with them soon about their winnings…
|BLUT WIRD FLIEßEN, Urs Aebersold||REMOTELY WORKING, William Baber||NICKERBACHER, Terry Barto|
|THE DAWN OF EVE, James Bingham||HOPE IS NOT A BLACK AND WHITE RAINBOW, Harold L. Brown||ROLL WITH IT, Rosie Byrnes|
|PARDON MY GENDER: SUCH A FARCE!, Bob Canning||LOVERS IN PARIS, Andy Conway||UNE CHANCE POUR GUÉRIR, Christine de Chauvelin|
|LES NIOCKS, Edith Devillet||THE GOOD CITIZEN, Joel Doty||RELENTLESS, Jay Fisher|
|OPERATION BORTHER SAM, Gustavo Freitas||THE LAST KING OF AMERICA, Richard Guimond||BIG BALLS aka FUTUREBALL, Richard Guimond|
|ON THE SPARROW, RW Hahn||SHOOTING ANGELS, RW Hahn||RACE, Justin Jackson|
|THE HAPPY PLACE, Justin Jackson||THE BROKEN CYPHER, Justin Jackson||SOUL OF AN EMPIRE, Ryan Jaroncyk|
|VIVA – A COLDPLAY MUSICAL, Ines Jimenez||HOLLYWOOD’S MOST WANTED: I’M READY FOR MY CLOSE-UP, ESE, Manny Jimenez Sr.||CHILDREN OF EDEN, Raymond A. Just|
|THE SAX, Pascal Kulcsar||CHARMER, David Kurtz||THE HEART OF A TIGER, SreyRam Kuy (book and screenplay)|
|MANHATTAN MARILYN, Philippe Laguerre (book and screenplay)||THE UNDERTAKER’S CHILDREN, Natasha Le Petit||INSPIRED, David Lawrence Lynch|
|HOBBY AND FITZ, James Milton||WHEN I WAS A CHILD, T. L. Needham||WINDSPIRIT, Paul Penley|
|THE SHADOW OF DHARMA, Mark Perlick||THE ARIZONA BALLOON BUSTER, Mark Perlick and Steven Pripps||THE MYTHICAL GOLDEN TROUT, Craig Peters|
|MAUDITE ÉQUATION, Joel Prost||WHATEVER IT TAKES, Robin Regensburg||THE LAST JOURNEY OF NOAH, Mark Rigoglioso|
|PERISH, Mike Rogers||IMMORTALIZING RAYMOND, James Rosenfield||FIRE ON THE ISLAND, Timothy Smith|
|DESERT RUN, Christopher Thomas||THE LOST OPERA, Rachel, Thomas-Medwid||THE ELECTRIC WAR, Arthur Tiersky|
|THE CRACK IN PEGGY SUE’S FLOOR, John Woodard||KLONDIKE MIKE, Thomas Zmiarovich|