WINTER - SPRING 2010 CONTEST

ACCESS:  You'll Get Help Opening Doors

We’ve Added More Access

(Does this access really work for anyone?  Click here for answer)

We get your story past the gatekeepers.

In the past, the AAA Screenplay Contest offered one kind of access: scripts, loglines, and synopses went to 300+ producers, agents, and managers who want to see the works of contest winners.  This has changed.  Our contests now offer numerous avenues of access, and not just for winners.  

This is a significant prize!

Creative Screenwriting enjoys a high reputation with producers, agents, and managers.  Our reputation, plus with the fact that entrants agree to the contest waivers, and your achievement in winning or placing high in our contest, all combine to allow us to “walk” your script past the studio, production company, agent, and manager gatekeepers who block the entrance for unsolicited scripts.  Your story gets read by staff at over 300 production companies, agents, and managerss. But don't take our word for it--see http://creativescreenwriting.com/aaa/what.winners.say.html

Granted, some (but not all) of those who read scripts are lower-level staff.  But you need to understand how Hollywood works to understand that this is more often than not a very good thing.   Most of the staff who take those lower-level jobs at production companies and agencies are there for one purpose: to find that great script and ride it to fame and fortune.  To “discover” someone – maybe you.   To see the list of companies which have agreed to view stories and loglines of the top 10 and the complete scripts of the Grand Prize and Special Jury winners, click here or scroll down.

Here are some of the key kinds of access offered by the AAA Screenplay Contest:

Prize-winning scripts and the log lines and synopses for the top ten screenplays entered into the AAA Contest have been requested by mroe than 300 companies.  We do not publish their names because, like most Hollywood producers and agents, they do not want unsolicited direct contacts from writers.  

 2. Free Screenwriting Expo Admission And Free Pitch Tickets

The Golden Pitch Festival at the 2009 Screenwriting Expo saw more than 5,500 screenplays and stories pitched to 100+ production executives, agents, and managers face to face.

 We plan a similar pitch festival at this year’s Expo.  And if you win, you’re invited – free:

The Grand Prize Winner receives a free Gold Pass (worth $300+), five free pitch tickets (tickets are normally $25 each), and front-of-the-line status to choose available pitch tickets. 

Tickets to the hottest production companies sell out fast.  Many writers believe that getting first choice of access is even more valuable than the free entrance and tickets.)

Special Jury Prize Winners, if any, receive a free Expo Basic Pass (worth about $150), five free pitch tickets, and front-of-the-line status to choose tickets.

The Second- and Third-Place Winners each receive free Expo Basic Passes, one free ticket, and front-of-the-line status.

• Your winning script will be listed on the site for production companies and representatives to read
• Your contest-winning logline will be listed in our publication InkTip Magazine mailed to nearly 4,500 entertainment professionals and e-mailed to thousands more.
• Promotion of your contest-winning logline in our entertainment professional newsletter

 4. Free Subscriptions To HollywoodByPhone

HollywoodByPhone IS access.  It is a new subscription-based service – and an altogether new kind of access.  Each week, you’ll have an opportunity to participate in an interactive teleconference with a Hollywood insider.  Many of these guests are producers.  Some are agents, some are managers.  Hollywoodbyphone is run by a screenwriter management company and a screenwriting mentor. 

 Since it’s a new service, we can’t cite its track record in helping writers make it in the business.  But you will be on the phone with working Hollywood insiders, giving you a chance to network and ask questions about how to find your way in.   What happens for you from there depends on you.  You’ll learn a lot by just lurking on the phone.  You’ll learn by the osmosis of conversation what Hollywood people are like and what it takes to be seen as an insider or someone with potential.  But you’ll also have a chance to take part, to get feedback, and to make connections. 

 The Grand Prize Winner receives a free one-year subscription to Hollywoodbyphone, which normally charges per month.  You’ll be able to dial in to all weekly conversations for an entire year.

 The Special Jury Prize Winner also receives a free one-year subscription to Hollywoodbyphone.

 The Second-Place Winner receives a six-month Hollywoodbyphone subscription.

 The Third-Place Winner receives a three-month Hollywoodbyphone subscription.

 All Entrants can sign up for a free month of Hollywoodbyphone (four phone calls, a $47 value–more than the price of a contest entry.)

 In summary, you receive all these kinds of access:
        – We get winning scripts, loglines, and synopses past the gatekeepers.
        – Winners receive free Expo passses and free tickets to the Golden Pitch; the rest of the top 10 receive free Expo passes, which will save you the first $149 to pitch your stories live. 
        – Winners get a chance to chat with Hollywood insiders weekly for up to a year at no charge.

     Finally (and most important in some cases)...
5. Contest Management's "Back Channel" To The Industry

Producers and studio execs know that scripts which place well in the better contests have already been filtered for whether they fit a known genre, for quality, and for marketability.   Equally important, writers who do well in contests and treat contest managers respectfully, as valuable industry professionals gain a high reputation with these managers.  

Producers and studio execs look for content on their schedules, not yours or that of a contest.   One of the ways they look is to ask contest managers they trust to suggest scripts to read.  That may happen weeks, months, or even a year or more after a contest is over.  

Pasha McKenley, the manager of the AAA Screenplay Contest  and the Expo Screenplay Competition, has developed a reputation among producers, agents, and studio execs as a diplomatic, no-nonsense colleague who can spot a potentally marketable, great script and understands their needs for quality writing -- and compete confidentiality.

Pasha has regular contract with a wide array of companies seeking scripts.  When contacted, she  suggests a script or scripts which may fit the needs of the inquiring company.  

Writers: you cannot get into Hollywood producer/agent back channels yourselves.  Don't try!   Your best bet: treat Pasha with respect and let the process work the way it has always worked.

The flurry of "back channel" communications that go on behind our and other contests are far from the only "back channels" into the industry.  The most famous industry back channel is the Black List, created by Franklin Leonard.  We know Mr. Leonard.  In fact, he was a guest of honor at the 2009 Screenwriting Expo in October.

What makes these behind-the-scenes lines of communication work is that studio execs, producers, agents, and managers know they can ask to see a work without your knowledge.  Try to push your way in, and you will very likely ruin your opportunities.  But we know these back-channel communications work because we hear back from writers who have been contacted by producers and agents who saw your script through our contests.   As a writer, you need to trust that these informal lines of communication are working to gain exposure for your scripts.