IFNYC#018: Jenny Frankfurt – Finish Line Script Competition
On this episode of the podcast, I interviewed Jenny Frankfurt, former literary manager & the co-administrator of Finish Line Script Competition, which is going into it’s 2nd year of operation.
Finish Line Script Competition
with Jenny Frankfurt
A big part of independent filmmaking is entering some of the many festivals and competitions that run each year. There are the traditional film festivals where you’re able to show your finished work in front of an audience and possibly earn some accolades, there are pitch competitions where you try to “sell” a film or tv idea to the competition committee based solely on how you talk about the idea, and there are screenwriting competitions where the finished script is judged on whether or not your story is written well and if it’s ready to be made into a successful film.
With all these festivals and competitions out there, it can be difficult to know which one will help you professionally, and where to invest your money. That’s why, when there is a competition that has a unique hook with some potentially career changing perks for the winner, it’s worth exploring what they are doing and why. One such screenwriting festival is the Finish Line Script Competition.
The most unique aspect of the competition is that its main focus is on improving the quality of your writing. If you feel that the script is as good as it will ever be, then you can submit the same way you would to any competition, but if you choose to, you can get a mentor that will read your script and give you, I believe, 6 pages of notes.
Once you have the notes, you can rewrite the screenplay and resubmit your work at no extra charge. In fact, you can go through that process as much as you would like and resubmit at any time before they go into final judging. You don’t even need to use their script consultants. You can get notes from whoever you want, even if that is just you re-evaluating and rewriting it on your own, you can still submit a new draft when you feel you need to.
The reason they do this is because it’s Jenny Frankfurt’s desire that the best possible script you can write about the story you are wanting to tell is the one that the judges evaluate. Jenny said that the competition stems from when she read scripts in the past and said, this good script would be much better with another rewrite or two.
The other aspect that makes this competition unique is that because of the numerous contacts they have developed over the years, they will get the script that wins the grand prize to Anyone of the writer’s choosing.
The Grand Prize winner will have their script sent to any actor, director, producer or studio of their choice. Anyone at all. We guarantee that person will receive your script for consideration but we cannot guarantee they will pursue it further. We want to help you get access and we will back the winner to that degree.
Obviously, they can not influence what that contact will do with the script, if anything, but this kind of direct access is something that you will not find in any other festival or competition. Even the cream of the crop competitions, like the Nichol don’t make these types of promises. Sure, the winner of the Nichol will get reads from industry people, but there is no assurance that they will get a chance at a meeting or that anyone will take the time to read their script and talk with them.
If you’re looking for more opportunities to develop your writing, a competition like Finish Line Script Competition offers writers a unique opportunity to develop their script for the contest with help from professionals in the business at a reasonable cost. The truth is, getting this kind of feedback can be both costly and difficult to attain without good contacts.
Like any competition, the odds will be stacked against you to actually win, but because of the rewriting component to this competition, the promise to help develop the writing on your current script will still allow you to realize value in entering, even if you don’t win.
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