What makes a true winner? The hardest choice…
…and we mean it, any of 10 projects could have made top 3 or even been the overall winner this time. Things changed a lot when we looked closer at how the industry would react to these scripts. So what are we asking ourselves, when we pick our winners? As we judge, above all, we’re looking for great writing (whatever that means). But when it’s a choice between many real contenders?
After all, we model our services on the way the real industry responds to scripts and books like those we’ve received. Here are some of the questions we’re asking ourselves, to isolate strengths and weaknesses when we’re picking between projects that are clearly strong submissions. We’ll provide Insights articles into each subject in the months ahead, to help you more as you refine your ideas and submissions to our contests.
- FOCAL PLOT.
- QUALITY OF WRITING.
- POTENTIAL WITH DEVELOPMENT. We offer a year’s free script development for a reason: where a script can get to, may be more important in the bigger picture, than where it is right now.
- AWARD POTENTIAL.
- GENRE SELLABILITY.
- PROFITABILITY VS. COST.
- PRACTICALITY TO PRODUCE.
- BIG TRAILER MOMENTS. (If it’s a pilot, the EXPANDABILITY of its premise and storylines.)
- CASTING APPEAL FOR BANKABLE TALENT.
- ANY POTENTIAL LEGAL ISSUES.
And, as agents in touch with producers every day, we should also consider when deciding our Winter 2019 Screenwriting Contest winners: ARE THERE SPECIFIC COMPANIES IN THE INDUSTRY LOOKING FOR SOMETHING JUST LIKE THIS RIGHT NOW.
Now, above all, we want to reward great writing. But if that script never gets made, then were we right to single it out? It’s a tough one.
On the other side, we don’t go for schlocky, formulaic genre scripts just because they’ll sell either. We view scripts as prospective producers would: that’s our background too. And we have a reputation to protect, and this year we’re focusing on our 20 years as champions of great global storytelling.
So last of all then, maybe that’s the deciding question for us, in this our 20th year…
Will this prove to be great, global storytelling?
It’s always a hard choice. And this time round it was the hardest in years. Thanks for giving us so much great material to read this time, guys. We’ve taken it all to heart and come up with new contest formats we think you’re gonna love.
So now, the moment you’re waiting for…
Winter 2019 Screenwriting Contest Winners!
- GRAND PRIZE WINNER: PROMISE OF TOMORROW, Andrew Pennington
- SECOND PLACE: BAD LISTING, Brent Hartinger
- THIRD PLACE: WITHOUT BORDERS, Chris Gebhardt & Jenn Russi
|TÖDLICHE ERINNERUNG, Urs Aebersold||LE SECRET DU KATANA NOIR, Christian Bourgeois||STRUCK, Elaine F Chekich|
|BAD LUCK VS KARMA, Aaron Davis||HOLLYWOOD’S MOST WANTED, Manny Jimenez Sr.||THE SAX, Pascal Kulcsar|
|AGENT 355, Laura Lambert||THIS IS NOT REVENGE, David Pierotti||THE CRACK IN PEGGY SUE’S FLOOR, John Woodard|
I wanted to write a short note to say how much I enjoy working with WriteMovies. The professional way in which you work with the writers and the analysts makes the experience of giving and receiving screenplay notes a painless one and as a result allows the creative process to flow smoothly. Any writer looking to move their script to a higher level can’t go wrong by turning to WriteMovies for feedback.Tom Craig