The Importance of Authenticity and the Dangers of Script Competitions

Authenticity is a vital part of any artist’s identity and burgeoning style, whether you’re a painter, a singer/songwriter or a screenwriter. As you can imagine we’re inundated with scripts of all types, here at The KI AGENCY and the sheer variety is staggering in terms of quality and subject matter. While we pride ourselves in being able to respond to everybody, one of the most challenging issues is a screenwriter whose work is impressive but has chosen to set their story in an American High School or by a Lake in Vermont, but they’re NOT from there. We totally understand and respect any new writer with Hollywood aspirations but without developing an individual style, you’re just another formulaic writer, akin to a computerised version of a screenwriter.

Everyone from, top studio executives to brand new indie producers, are searching for that certain something that makes a script feel special and ORIGINAL. It doesn’t matter what your background is – some of the UK’s most impressive screenwriters; from Martin McDonagh, Alex Garland, Russel T Davis, Irvine Welsh, Abi Morgan, Sacha Baron Cohen, Lyn Ramsay, Armando Iannucci, Chris Morris, Jack Thorne, etc. – all share a genuine honesty about their stories, so an audience will also “buy” into their words and share their heart-felt convictions, sense of humour and unique take on life.

Which brings me onto the second half of this new blog – SCRIPT COMPETITIONS – just like Film Festivals, of which there are currently more than 365 per year, there are also hundreds of script competitions too. However, which ones are worthwhile entering? Be careful out there – please don’t become a professional “Competition Junkie” and spend all your hard-earned cash. Try to be choosier about which competitions you enter. After much research, I’ve concluded that the safest bet it to apply to genuine FILM FESTIVALS, world-wide who usually all run these types of competitions and or ones attached to legitimate organisations like, BAFTA, BFI, SCREEN SCOTLAND, CREATIVE ENGLAND, etc. As one would expect, the ACADEMY NICHOLL FELLOWSHIP, which is part of the Oscars organisation and the EMMYS run their own prestigious screenplay contests which offer cash prizes but competition is fierce! The Academy competition is only for new feature films and 1st prize is $35,000, whereas the Emmys invite TV scripts only and their 1st prize is a mere $2,500.

Of the many other competitions, the majority being in America, most will charge approximately $50 as an entry fee. Both SHORE SCRIPTS and SCRIPTAPALOOZA have some of the better quality industry judges. SCRIPT LAB, in conjunction to the New York Film Academy is another respected competition, sponsored by FINAL DRAFT (who also have their own separate competition called BIG BREAK). The US film industry’s number one Horror screenplay contest is SCREENCRAFT, whereas, here in the UK, we have the infamous FRIGHTFEST who have also started to run their own script competition. There’s a special screenplay competition for Women over 40, funded by Meryl Streep and run by the New York Women In Film organisation. Whichever competition you decide to enter, please don’t do more than one at a time, be authentic and Good Luck!

Roz