When I first heard about a one-page screenplay contest at Moviepoet, I gave pause. This site had offered this free contest in the past and my first one-page idea about a murder was ill received. The feedback, however, proved valuable and it was clear I hadn’t executed a story with a solid beginning, middle and end. And with the broad margins, type and spacing associated with screenwriting format, getting a story on one-page had proven difficult.
Though I never read the script, I’ve seen the short film “Shot of a Lifetime” – a story told in a mere five seconds and it worked. This one-pager then, this one minute of film, was a challenge I wanted to meet head-on – Hell, I had another fifty-five seconds to play with. But coming up with a story that wasn’t the equivalent of a bad joke was far from difficult. I wanted to do something dramatic and poignant. I’m not exactly sure where the idea came from, but I imagined a “manly” man cross-dressing for a contest, winning said contest, then going home in drag to confront his wife. I pounded out the story of “Catalyst” in short order, revised and tweaked and submitted.
When the results came out a month later, I was disappointed. My script hadn’t even earned an honorable mention. Most comments involved questions that could only be answered if the script was a feature. Many people (it’s open judging for any writer logging into the site once registering for free) could not determine where the “catalyst for change” even appeared in the script. Needless to say, it was evident I had written something obscure and I hadn’t delivered my tale completely.
Rejection Hurts, But Can Lead to Better Writing
Theme had apparently been unclear and my beginning, middle and end didn’t work. As a writer, I had failed. Regardless, I had other scripts to write and would simply learn from the exercise to tell a better story.
But that was a lie. I knew in my heart the story was solid and that in one-minute I had delivered a complete tale to the audience. The story made sense, the catalyst for change was clear and the theme was solid. Then, I received some more feedback from a couple of people who had voted on the scripts for the contest. They thought the script was “brilliant.” One, a close friend, Chris Messineo, who didn’t know I had penned the screenplay because it was blind viewing, thought it was the greatest short I had ever written. Damn. He encouraged me to send it elsewhere and try to get it produced. (When Chris is thrilled about something, he means it.)
Remarkably, I discovered a one-page script contest from WILDsound in Toronto. I entered and soon learned I was a Finalist. Actors in Toronto then performed the script on-stage and the clip was placed on the WILDsound site. The bad news: Judging would be determined by internet voting. For the first time, the fate of my work would not be handled by a group of professional writers, producers, directors or even agents. I was suddenly in the midst of a popularity contest.
Of course I wantedto win. After all, the winner would have his/her short produced. This meant the writer would receive that all-important screen credit – something every screenwriter lives for. So I did something I loathed and despised: I contacted everyone I knew via WebCT, Facebook and regular email to get them to vote – as well as their families and friends, and so on.
Even America's Sweetheart Spent Time on the Streets
I told Ken Vose, a screenwriter in the Wilkes University MFA Program, that I felt like a beggar and a whore, to which Ken replied, “You’re a screenwriter. You’ll be a beggar and a whore forever. Get used to it.” I continued to beg right up to the very end – but ultimately fell short by a handful of votes. “Catalyst” came in second place.
Chris Messineo, the man behind Off-Stage Films and the New Jersey Film School, made me feel a little better. Apparently, the winner of the previous WILDsound contest had his film shot and it was awful. Not the story per se, but its filming. I found the short films of previous winners and noticed that the lighting was bad, many camera angles were weak and the overall feel was one of sterility. Still, I was out of a much desired credit and now had another script that would just collect dust in a drawer. The announcement of “Catalyst” as a produced piece of creative work would not appear in my CV, making that tenure tract position at Kutztown University all the more harder to attain.
I was ticked.
Then, something unbelievable happened. Out of the blue a high school friend, Debbie Valenta, contacted me from Los Angeles. She had produced several films and worked with Roger Corman for a couple of years. Debbie had recently formed a yet unnamed production company with two other women and was looking for a short script they could film. She knew I wrote screenplays, and even read “Catalyst” when I was “begging and whoring” for votes on Facebook. I submitted four short scripts – and they chose “Catalyst.” Collectively, they loved the story. Whew. The tale did indeed work and my original gut feeling was validated. The only dilemma, and it was a small one, was that they wanted the short to be five to ten minutes long. Knowing Debbie’s level of expertise and penchant for detail, I am not concerned about the film’s quality. However, I realize that not winning the WILDsound contest may have been the best thing possible for me. This is made clear by the fact this new production company will use “Catalyst” as their calling card to attract investors and talent. In the world of screenwriting, that’s a big deal. Regardless, even though the script hasn’t been shot yet, it has the best chance of seeing the light of day. And if it does, I will get that credit and maybe more opportunities will come my way if the short is well received. Time will tell.
Once again, the advice to all writers is not to quit. And even if your script is shopped around, this does not mean you can’t resubmit years later. Ken Vose recently sold a horror script that is older than me, as he told me. As long as we’re honest about the quality of our writing, there is a chance that work will find a home somewhere, and this goes for all screenwriters, playwrights, poets, fiction and non-fiction writers. Sure, we may feel like we’re a “beggar and a whore” on occasion, but as long as we’re respectful and devoid of cockiness, we’re simply just asking to be heard. We’re pitching. We’re selling. Just like we do in an interview for a job. And if we don’t sell ourselves we’ll never achieve anything with our writing.
Who is Bill Prystauk?
In 2011, Bill’s dramatic horror, “Ravencraft” is currently a Top-Three Finalist in the 2011 AWS Screenplay Contest. His dramatic ghost story, “Risen” was the First Place Winner in the 2010 Horror Screenplay Contest and is currently being shopped around Hollywood. Furthermore, Bill’s character driven, crime/action/horror script “Red Agenda” was the First Place Winner in the 2008 International Horror and Sci-Fi Film Festival and was a Top-Five Finalist at Screamfest. In 2006, he was the Second Place Winner of the Screenwriters Showcase Screenplay Contest for his erotic crime thriller, “Bloodletting,” which is now a novel under consideration by award winning, Akashic Books.
Bill Prystauk Loves a Pink Background
Bill has also won numerous awards for other screenplays as well as poetry. He completed the Creative Writing Program at Wilkes University in June 2011 to earn his MFA with concentrations in screenwriting and fiction. Bill currently teaches English at Kutztown University of Pennsylvania, and is exploring the use of homes in horror movies in his book, “Home is Where the Horror is.”