I've read for screenwriting contests and it is pretty much the same thing. During the first round of reading, they usually expect you to read a minimum number of pages (usually 20 pages). Only one person will read your script during the first round, so if it doesn't catch their attention you will be cut. During the subsequent rounds you are generally expected to read the whole thing, but most of the worst stuff has already been eliminated. In some contests you can see the coverage from previous judges and some you can't. It all depends.
Do you have any recommendations on which screenwriting contests are worth submitting to for a first-time historical fiction screenwriter? I've previously published a nonfiction book and am familiar with that side of things but am brand new to the screenwriting world and there are far more film festivals and competitions than I expected (and almost all seem to charge a submission fee)
Pretty interesting post. I guess I'm surprised that it's just like 5 people doing most of it and the most complex structure is still just 2 stages usually (Pulitzer: 5 judges send 3 books to a special council to pick a winner). It makes me think you probably get as much value from following a few specific critics as you would from following these prizes
I wonder how the reviewers feel when authors like Ursula K. Le Guin refuse awards
Related read; a first hand account by one of the 2012 Pulitzer jury members giving a good account of the process and attempting to explain why no literature prize was awarded that year.
> I’ve judged prizes both pre-2020, when we were sent stacks of books, and post-2020, when everything had switched to zip drives and online databases.
Considered medium-to-high-capacity at the time of its release, Zip disks were originally launched with capacities of 100 megabytes (MB), then 250 MB, and finally 750 MB. - https://en.wikipedia.org/wiki/Zip_drive
I remember drooling over zip disks when I was a kid. By the time I had enough of my own money to buy one they were clearly not the best choice anymore but I still did for the same reason around the same time I bought a stack of old sparcstations off ebay.
It’s funny, I had the same experience, and my stepdad told me recently that they close to buying me one, and eventually decided to just do a full upgrade of our machine instead. I’m definitely thankful we got a brand new machine instead.
Most certainly. I used to hear people call usb drives zip drives (and thumb drives) a lot ~2 decades ago. Truthfully, I didn't even know zip drives were their own thing until this comment chain. I just though it was an older term for usb drives.
Selling books doesn't require DRM at all. I buy DRM-free books all the time.
As an example: Kobo will tell you, at the bottom of each book's page, if it has DRM or not. And it will happily sell you a book without DRM and let you download it.
What cronyism buys you is restarts. Having an enforcer can get you more than the 20 pages. You’ll be read to the end by every judge, and you may not get the award (these are competitive, and even most people with good enforcers aren’t great writers) but you’ll get a thought-out reason if it’s a rejection. You’ll know that everyone tried to find a yes because, while they were allowed to say no and eventually did, not taking you seriously would be bad for their careers and reputations. Only 0.01% of people have that kind of access, though, and you don’t write your way to getting those agents and publicists—you’re either born into it or you’re not. The rest of us poor loser fuckers get tossed at the first bump, which could be a minor copy error like a missing comma.
The truth about the literary world is that, while a lack of talent can impose a ceiling—no one gets book awards in fiction for being rich or famous if they can’t write at least as well as an above-average college grad—there is no level of talent that overcomes the lack of access, and it’s a kind of access you’re born into, to get a fair read from anyone who matters in the industry.
It’s all a scam and even most people who succeed spend more trying to fulfill the expectations of the published-novelist/public-intellectual role than they’ll ever get back from it in royalties or options or anything else. It’s an exhausting, dismal life in truth. The lifestyle costs of being someone who can get a $500,000 advance every two years run to… easily that rate.
If you actually want to write and have a decent life, you have three options:
1. Write genre and go back in time to the 1970s when getting a literary agent (as opposed to a schmagent who can’t get anyone to read anything) was possible.
2. Figure out the self-publishing game and get really, really good at it.
3. Take a job that has absolutely nothing to do with writing and accept that you’ll take three times as long to produce a book as a career author. Self-publish or work through university presses and don’t expect to be read by more than a few hundred people.
I don’t love Silicon Valley but if they had done something about publishing in the era of “disruption” I would have cheered it on.
This all sounds informed and authoritative. And it’s believable. But can I ask how you came to these conclusions? Did you attempt this? Do you know authors getting 500k every two years?
As an indie author (https://frequal.com/novels), this makes me glad I haven't submitted my novel yet to any of these contests. The chance that a submission fee could be wasted by chance (not a match for the reviewer's interest or mood that day) is just too great. It seems that the larger publishing houses are more willing to shell out on the chance to win this lottery, according to the article.
Except for the prize committees outsourcing roughly the same sets of judges, they work a lot like how you’d expect. The judges pickup a bunch of books and choose the ones they like the most. Since the author makes it clear how subjective the process truly is, you can assume that personal biases play a huge part in how winners are chosen.
Right, one could make pretty much the same observations about how hiring / promotion decisions are made, how investment decisions are made, and probably any number of other things that people like to pretend are objective/scientific but are actually just a matter of opinion.
An LLM is not as good as a skilled human who has already committed to giving your work a fair read. It is far superior to the quality of read you will ever get from a literary agent unless your parents are Manhattan old money.
I've read for screenwriting contests and it is pretty much the same thing. During the first round of reading, they usually expect you to read a minimum number of pages (usually 20 pages). Only one person will read your script during the first round, so if it doesn't catch their attention you will be cut. During the subsequent rounds you are generally expected to read the whole thing, but most of the worst stuff has already been eliminated. In some contests you can see the coverage from previous judges and some you can't. It all depends.
Do you have any recommendations on which screenwriting contests are worth submitting to for a first-time historical fiction screenwriter? I've previously published a nonfiction book and am familiar with that side of things but am brand new to the screenwriting world and there are far more film festivals and competitions than I expected (and almost all seem to charge a submission fee)
Pretty interesting post. I guess I'm surprised that it's just like 5 people doing most of it and the most complex structure is still just 2 stages usually (Pulitzer: 5 judges send 3 books to a special council to pick a winner). It makes me think you probably get as much value from following a few specific critics as you would from following these prizes
I wonder how the reviewers feel when authors like Ursula K. Le Guin refuse awards
Related read; a first hand account by one of the 2012 Pulitzer jury members giving a good account of the process and attempting to explain why no literature prize was awarded that year.
https://www.newyorker.com/books/page-turner/letter-from-the-...
Sorry, I laughed... :)
> I’ve judged prizes both pre-2020, when we were sent stacks of books, and post-2020, when everything had switched to zip drives and online databases.
Considered medium-to-high-capacity at the time of its release, Zip disks were originally launched with capacities of 100 megabytes (MB), then 250 MB, and finally 750 MB. - https://en.wikipedia.org/wiki/Zip_drive
I remember drooling over zip disks when I was a kid. By the time I had enough of my own money to buy one they were clearly not the best choice anymore but I still did for the same reason around the same time I bought a stack of old sparcstations off ebay.
I briefly used Zip drives back in the day. They were amazing, when the only alternative portable media was a 3.5" floppy.
And then USB thumb drives came along, and made them obsolete pretty much overnight.
Also had a lot less worries about a random bad sector turning up with USB.
It’s funny, I had the same experience, and my stepdad told me recently that they close to buying me one, and eventually decided to just do a full upgrade of our machine instead. I’m definitely thankful we got a brand new machine instead.
I'd guess she probably means USB flash storage devices.
Most certainly. I used to hear people call usb drives zip drives (and thumb drives) a lot ~2 decades ago. Truthfully, I didn't even know zip drives were their own thing until this comment chain. I just though it was an older term for usb drives.
Everything about the book publishing industry is antiquated.
I wish Amazon focused on books instead of ecommerce.
The real disruption of books haven't really happened.
I thought eBooks and digital books would get us there, but it simply hasn't changed anything.
The Steam (valve software) of books hasn't happened yet.
I love ebooks and audiobooks. But the fact that I can’t legally lend or sell them (same with steam btw) means that it’s at best a lateral step.
Lending or selling ebooks necessarily requires DRM. A large part of the community thinks having DRM is way worse than not being able to lend or sell.
Selling books doesn't require DRM at all. I buy DRM-free books all the time.
As an example: Kobo will tell you, at the bottom of each book's page, if it has DRM or not. And it will happily sell you a book without DRM and let you download it.
This matches what was lampooned in Erasure(2001) by Percival Everett and adapted into the movie American Fiction.
What cronyism buys you is restarts. Having an enforcer can get you more than the 20 pages. You’ll be read to the end by every judge, and you may not get the award (these are competitive, and even most people with good enforcers aren’t great writers) but you’ll get a thought-out reason if it’s a rejection. You’ll know that everyone tried to find a yes because, while they were allowed to say no and eventually did, not taking you seriously would be bad for their careers and reputations. Only 0.01% of people have that kind of access, though, and you don’t write your way to getting those agents and publicists—you’re either born into it or you’re not. The rest of us poor loser fuckers get tossed at the first bump, which could be a minor copy error like a missing comma.
The truth about the literary world is that, while a lack of talent can impose a ceiling—no one gets book awards in fiction for being rich or famous if they can’t write at least as well as an above-average college grad—there is no level of talent that overcomes the lack of access, and it’s a kind of access you’re born into, to get a fair read from anyone who matters in the industry.
It’s all a scam and even most people who succeed spend more trying to fulfill the expectations of the published-novelist/public-intellectual role than they’ll ever get back from it in royalties or options or anything else. It’s an exhausting, dismal life in truth. The lifestyle costs of being someone who can get a $500,000 advance every two years run to… easily that rate.
If you actually want to write and have a decent life, you have three options:
1. Write genre and go back in time to the 1970s when getting a literary agent (as opposed to a schmagent who can’t get anyone to read anything) was possible.
2. Figure out the self-publishing game and get really, really good at it.
3. Take a job that has absolutely nothing to do with writing and accept that you’ll take three times as long to produce a book as a career author. Self-publish or work through university presses and don’t expect to be read by more than a few hundred people.
I don’t love Silicon Valley but if they had done something about publishing in the era of “disruption” I would have cheered it on.
This all sounds informed and authoritative. And it’s believable. But can I ask how you came to these conclusions? Did you attempt this? Do you know authors getting 500k every two years?
As an indie author (https://frequal.com/novels), this makes me glad I haven't submitted my novel yet to any of these contests. The chance that a submission fee could be wasted by chance (not a match for the reviewer's interest or mood that day) is just too great. It seems that the larger publishing houses are more willing to shell out on the chance to win this lottery, according to the article.
It sounds quite arbitrary and subjective, even if the judges believe they’re following a process.
I came away feeling like they acknowledged that throughout, save for the promotional bit at the end that I guess is there obligatorily
Except for the prize committees outsourcing roughly the same sets of judges, they work a lot like how you’d expect. The judges pickup a bunch of books and choose the ones they like the most. Since the author makes it clear how subjective the process truly is, you can assume that personal biases play a huge part in how winners are chosen.
I read the article.
Book Prizes Do Work How I Think.
It's just like, someone's opinion, man.
TL;DR: It's not fair. Just like every other competition. If you want to win, you ought to do not just better, but much better than others.
Right, one could make pretty much the same observations about how hiring / promotion decisions are made, how investment decisions are made, and probably any number of other things that people like to pretend are objective/scientific but are actually just a matter of opinion.
>1) Not every judge can look at every single book; and 2) When a judge realizes they don’t love a book, they can put it down.
There is room for LLMs to disrupt book judging by being able to read every single book.
I feel like LLMs are not quite equipped to answer "is this wonderful and delightful" yet.
You should meet literary agents.
An LLM is not as good as a skilled human who has already committed to giving your work a fair read. It is far superior to the quality of read you will ever get from a literary agent unless your parents are Manhattan old money.
With comments like these I genuinely can't tell if it's a joke or not.
The book was rejected because it doesn't say "load-bearing" and "now here's the thing" enough.
[dead]
I guess if you want the most average book to win
Good post which basically states the f*cking obvious about how any "prize" or "winner" of any subjective category works.
WHY are we capitalizing RANDOM words within MULTIPLE paragraphs?
They didn't.