Why Screenwriting Competitions and Writers Groups (Part 1 of 2)

By Joseph Calabrese

Screenwriters crave a shred of recognition, respect, and more important-- that elusive sale that will finally open those golden gates to Hollywood. But how do you get noticed as a small fish in a big pond? How do you know when your stuff is even ready to see the light of day? 

Recently I sat down with Kevin Caruso, founder of The New Jersey Screenwriters Network (a group I humbly belong to). We discussed the importance of writing groups, his recent win at Cinestory (www.cinestory.com), and his 2007 Fellowship from the New Jersey State Council for the Arts (www.njartscouncil.org)-- a feat no less miraculous for the latter, since he was the first screenwriter ever to obtain a perfect score for playwriting-- submitting a screenplay no less.

You have entered quite a few competitions. You'll never get rich that way.

"It's my opinion that competitions are the best way to gauge how good your script really is. Trust me, there are no shortages of contests asking for your money. A screenwriter should do their homework and enter a competition that is not only the most reputable, but also offers the most in furthering one's career. Taking third place in Tommy's Discount Screenwriting Contest might not do anything for you, but advancing to the quarterfinals of the Nicholls Fellowship in Screenwriting could. If you have sent your screenplay to dozens of contests and never gotten beyond the first cut, it might be a good idea to consider time for a rewrite." 

What made you decide to enter Cinestory and the NJ Arts Fellowship and have they done anything for you yet, besides the cash? 

"I am a big advocate of Cinestory. [It] really sticks its neck out for the talented screenwriter. It really nurtures and assists the writer to go to that next step, whether it be rewriting or seeking representation. The best reason to enter Cinestory is to gain admittance into one of their retreats. I have always likened it to being on a deserted island with several top executives. For four days, they are in your midst; you eat with established agents, hang out with accredited producers, and drink beer with respected managers. Any one of them can further your career. It's a big deal. And, they are all nice and simply shoot down that stereotype of the arrogant Hollywood player. The NJ Council of the Arts presented itself as a wonderful opportunity for any screenwriter and it was hard to ignore. I received both awards in short period of time recently. I am still basking in the glow. I have been fielding offers for reads, but I don't want to report anything yet." 

You run a writers group here in New Jersey. What are the benefits of a writer joining a peer group? 

"In 2002, I started the New Jersey Screenwriters Network (www.njscreenwriter.org), a collective of aspiring screenwriters out to help each other out, perfecting their craft. I couldn't see where I would be without the group. It has made me a better writer, a tighter writer, and a more visual writer. To receive feedback, from true colleagues, that's constructive. It is essential to the growth of anyone who puts pen to page, whether it as a songwriter, poet, or screenwriter. 

"I hate the fact that there are so many outlets set up to separate the aspiring writer of his money. It's called 'professional coverage.' You get some hack that has fewer credentials than you, charging you hundreds of dollars to read your script, only so they can come back and spew the basics of Syd Field's book.

"I started the group because I knew there were others out there like me, seeking companionship through screenwriting, looking for constructive criticism and wanting to read scripts and to be encouraged to write on. I have read my share of good scripts, I have read even more bad ones, but with each page I read, I myself have grown as a writer. We have seen people filter through the group. I call them 'fly-by-nighters.' They come by, sit in for a few meetings, and when it comes to them to bring their material to a table, every one of them expect to be embraced as God's gift to screenwriting. When they sit before their peers, and have their screenplays dissected before them, it's the rudest of awakenings. The intention of the group is not to discourage writers, but to help those serious about the craft. Writing is hard work. Some people just can't grasp that." 
 

Many screenwriters, including yours truly, use screenplay competitions as a means of opening doors-- even if only a crack. As for getting a script ready for anything, receiving feedback is essential. There are plenty of non-paying resources for those looking for feedback, through some great online forums, like Absolute Write. However, even in this Internet age, do not discount the importance of real face time from a regular writers' group meeting. You may find one through your local newspaper, Google searches, or if there isn't one in your area-- do what Kevin did and create one. I'm sure you'll find a few passionate writers in your area. 

The full interview with Kevin Caruso can be read at: http://www.njscreenwriter.org/carusointerview.html 

In my next column: I'll go over my guides, tips and checklists for achieving some degree of success in legitimate and noteworthy screenplay competitions, and in an upcoming issue, an interview with a 2007 Disney Screenwriting Fellow, Chandus Jackson. 

For more of Joseph Calabrese's screenwriting columns, click here.
 

Joseph Calabrese moderates the online screenwriters' forum at www.absolutewrite.com and is a screenwriter who consistently places in the top 10% in the competitions he enters. He modestly boasts a Slamdance win, a few options and rewrites for hires as well and is always actively pitching himself and his work. One of his latest spec scripts, The Eyes of Mara, is currently being made into a graphic novel for a late 2007 release with hopes of the screenplay being picked up by a studio. "Hey! It worked for Spiderman!" More on Joseph can be found at www.josephcalabrese.com.

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