Should I enter Screenwriting Competitions?

Screenwriting competitions are like the lottery tickets of the writing world. Flashy promises, shiny laurels, and the whisper of “this could be your big break.” But are they worth your time, money, and emotional bandwidth? Let’s cut through the hype and take a clear‑eyed look at the pros, cons, and the traps you’ll want to sidestep. But, as always, let's grab a coffee first.

The Pros: Why Competitions Can Be Worth It

1. Exposure to Industry Eyes

The big‑name competitions, think Nicholl Fellowship, Austin Film Festival, Sundance, Page, Final Draft are all legit. Finalists and winners often get their scripts read by managers, agents, and producers who actually have the power to move careers forward.

2. Deadlines = Discipline

Competitions give you a hard date. That looming deadline can be the kick you need to finish a draft instead of endlessly tinkering.

3. Validation & Confidence

Even placing in a respected competition can be a huge confidence boost. It’s proof your work resonates beyond your writing group or your cat. One of my scripts 'Reality Check', won a best thriller award recently and I felt amazing! BUT, all I got was a laurel... that I had to design and print myself.

4. Networking Opportunities

Festivals tied to competitions (like Austin) aren’t just about the prize. They’re about the people you meet, other writers, industry folks, potential collaborators.

The Cons: Where Competitions Fall Short

1. The Odds Are Brutal

Nicholl is capped at around 5000 entries a year. Five fellowships. Do the math. Even if you’re brilliant, you’re competing against thousands of other brilliant voices. Final Draft Big Break is closer to 12,000 entries!

2. Pay‑to‑Play Fatigue

Entry fees add up fast. $50 here, $70 there, suddenly you’ve spent more on contests than on Final Draft.

3. The “Cheap Contest” Trap

Here’s the harsh truth: if a competition charges $20, do you really think someone is going to spend 90+ minutes reading your script for that fee? Be real. At best, they skim. At worst, it’s a cash grab.

4. False Hope Factories

Some contests exist purely to sell you “coverage” or “feedback packages.” They dangle exposure but deliver little more than a PDF certificate and a dent in your bank account.

Good Examples: Competitions Worth Considering

• Nicholl Fellowship (Academy of Motion Picture Arts and Sciences) The gold standard. Winners get $35,000 fellowships and serious industry attention.
• Austin Film Festival Screenplay Competition Known for its community and networking. Even semi‑finalists get access to industry panels and mixers.
• Sundance Screenwriters Lab Less a competition, more a development program. If you get in, you’re working with top mentors.

Bad Examples: Red Flags to Avoid

• Ultra‑Cheap “Exposure” Contests If it’s $15 to enter and promises “Hollywood exposure,” run. Nobody in Hollywood is waiting on a $15 contest to find their next writer.
• Contests with No Track Record If you can’t find past winners who’ve gone on to do anything, that’s your sign.
• Feedback‑Upsell Machines Some contests exist mainly to sell you $100+ “notes” after you’ve entered. If the prize is vague and the upsell is clear, skip it.

Keep Your Wits About You

Here’s the mindset shift: competitions are not a career strategy, they’re a tactic.

• Enter the big ones if you’ve got a polished script.
• Treat smaller contests as practice or motivation, not career launchpads.
• Don’t confuse a laurel on your poster with a paycheck in your bank account.

When to Enter (and When Not To)

• Enter if:
  • Your script is polished, proofread, and ready for industry eyes.
  • You’re targeting respected competitions with a track record.
  • You want deadlines to push you forward.
• Don’t enter if:
  • You’re still on draft two and hoping for validation.
  • The contest is cheap, vague, or has no visible alumni.
  • You’re banking on it as your only path into the industry.

The Smarter Play

If you’re serious about screenwriting:

• Invest in relationships (writers’ groups, labs, festivals).
• Invest in your craft (rewrite, get feedback, rewrite again).
• Use competitions strategically, as one tool in a bigger toolkit, not the whole toolbox.

Final Take

Screenwriting competitions can be a door‑opener, but they’re not a golden ticket. The big names are worth a shot if you’ve got the goods. The cheap ones? They’re often just selling hope at a discount.

So, by all means, enter, but enter smart. Know what you’re paying for, and remember: the real competition isn’t the contest. It’s the blank page.