For over 10 years, Final Draft, Inc.’s Big Break™ screenwriting contest has been one of the most exciting events in Hollywood for up-and-coming writers. From a group of 2011 entrants emerged screenwriters Matthew Gayne and Paul Gavin. Both recently signed with manager Michael Kuciak (Samurai MK).
I recently finished reading for the Big Break™ screenwriting contest, something that I do every year. Over the course of this months-long assignment, I evaluated approximately 300 scripts, which gave me the opportunity to see what’s going on out there in spec-script land.
Big Break™ is an annual, global screenwriting contest designed to launch the careers of aspiring writers. Big Break™ rewards screenwriters with cash, prizes, and A-list executive meetings. Winners and finalists alike have had their screenplays optioned and produced and have secured high-profile representation as well as lucrative writing deals.
Screenwriter David Horton’s life just got a whole lot better. Thanks to ScriptXpert, Final Draft’s screenwriting consultation service. Horton contracted the service to review and give notes on his spec script, 59 Days. This made Horton’s script automatically eligible for the quarterly Reader’s Choice Award. And he won.
To tackle the immense, cutting edge topic of social networking for the writer, we needed to call in a panel of experts… in a round table discussion set in a cool 3D environment, our three esteemed guests were Jeanne Veillette Bowerman and Jamie Livingston of #Scriptchat, and Joshua Stecker of Script Magazine; Gray Jones, in addition to moderating, represented Ink Canada.
Dorothy’s journey to OZ is not unlike a writer’s journey to Hollywood. We need a little help from our friends; however, it’s critical to choose those who guide you wisely. After all, she had to stand in front of the Wizard and give the pitch of her life!
Script spoke with script consultant, Howard Allen, about his company, ScriptDoctor, and his new venture into filmmaking with CoyoteMoon Films.
Just like there are far fewer resources for learning TV writing than for learning to write features, there are an incredibly small number of resources for learning to write for animated TV. That’s why it is a great privilege to have animation writer Steven Darancette open a window for us into this field.
Meet the Reader’s Ray Morton provides some random musings on script coverage services, the death of the movie poster, the pay-per-view/VOD debate, and Doctor Who.
