BlueCat Screenplay Competition

South Florida

BlueCat — Sun, 19 Feb 2012 14:44:46 +0000

South Florida Full Script Workshop Registration

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- Full Registration - $225
- Audit - $45
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South Florida

BlueCat — Sun, 19 Feb 2012 14:30:53 +0000

South Florida First Ten Pages Workshop Registration

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- Full Registration - $75
- Audit - $45
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San Francisco

BlueCat — Sun, 19 Feb 2012 14:14:08 +0000

San Francisco Workshop Registration

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- Full Registration - $225
- Audit - $45
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San Diego

BlueCat — Tue, 14 Feb 2012 23:28:56 +0000

San Diego Workshop Registration

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- Full Registration - $225
- Audit - $45
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New York City

BlueCat — Tue, 14 Feb 2012 05:34:17 +0000

New York Workshop - Saturday Registration

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- Full Registration - $245
- Audit - $60
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Houston

BlueCat — Fri, 10 Feb 2012 04:23:52 +0000

Houston Workshop Registration

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- Full Registration - $225
- Audit - $45
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Seattle

BlueCat — Mon, 06 Feb 2012 19:17:51 +0000

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- Full Registration - $225
- Audit - $45
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Karen F.

BlueCat — Wed, 18 Jan 2012 05:07:14 +0000

How many screenplays have you read for BlueCat?

Approximately 100.

What is your job when providing feedback to a writer?

My first priority is to provide the most beneficial feedback I can. If a writer seems like a beginner, I avoid industry jargon and do my best to educate that writer on how to fix this, and future screenplays. If the writer is more advanced, I have more specific feedback to improve that particular screenplay.

What is your attitude toward a screenplay before you start reading?

I make a point to begin reading with a positive attitude. I like to read, so I plan to enjoy the screenplay when I begin.

How do you stay focused when reading a script you don’t find interesting?

It’s best for me to take a break. Sometimes I like to engage in an activity I find even less interesting, to give me a reason to prefer to go back to reading.

What are three common problems that keep coming up when reading for BlueCat?

Though a traditional structure for a screenplay can be formulaic, the three-act structure with act reversals, a clear inciting incident in the first 10 pages and a dramatic climax is most common because the formula works well to keep a reader/audience engaged. When a screenwriter does not follow basic structure, the odds are that they will lose the reader’s attention by the midpoint, if not sooner. A second major issue is a protagonist that is not likeable. Even an antihero has to be likeable for anyone to care about what happens to them and stay engaged in the story. Lastly, many writers do not create a clear goal for their protagonist. When the protagonist is aimless, it makes the story feel like it lacks a purpose.

How do you handle being critical without being mean?

My notes do not include my own commentary, I try to state things as fact. If something is undeveloped or unstructured I say so. If I believe a character is not likeable, I say so. I try to come from the perspective of how an audience would react, as opposed to my specific personal opinion. I never use negative words of judgement, like “wrong” or “bad”.

How do you avoid unwarranted praise?

I do my best to always come from a place of objectivity.

Do you have any pet peeves?

My biggest pet peeve is when every female character in a screenplay are either portrayed as weak or only exist to act as a sexual object. I also do not like when a writer contributes to racial stereotypes, like when the only minorities in a script consist of thugs and strippers.

What is the heart of a successful screenplay?

Emotion. A screenplay that moves a reader, will be able to reach and move an audience.

What do you believe is the hardest part of the job of the screenwriter?

Creating an emotional story that keeps reader engaged through the entire screenplay.

What advice would you like to offer a screenwriter before they enter BlueCat?

Before a writer enters a contest, I believe that they should have I think a good grasp of the craft of screenwriting. Read books, listen to podcasts, go to a workshop and/or take a class about screenwriting. A writer will get more helpful feedback on their project, and have a chance of winning, if they have a solid understanding of the craft.

Lindsey E.

BlueCat — Tue, 10 Jan 2012 02:54:30 +0000

How many screenplays have you read for BlueCat?
I have read over fifty.

What is your job when providing feedback to a writer?
My goal is to help the writer convey the story he/she is attempting to in the most effective way possible. I strive to highlight the strengths of the screenplay and also to illuminate areas that could use improvement and to offer suggestions for that improvement.

What is your attitude toward a screenplay before you start reading?
I approach every screenplay with an open mind. I’m always excited to read new material and eager to be taken on a journey.

How do you stay focused when reading a script you don’t find interesting?
Each script has its merits so I try to focus on those. Additionally, I take notes as I read so that definitely helps me stay focused.

What are three common problems that keep coming up when reading for BlueCat?
1.) Plots that lack an increasing intensity leading to a climax. I’ve read several that just follow a straight flat line to their conclusion as opposed to an incline with increasingly intense obstacles that have to be overcome.
2.) Characters without goals/desires they are working towards (I feel this directly impacts the plots I’ve noticed).
3.) Characters that are stereotypes instead of distinct individuals (a signifier is when a character is describes as “a typical ____”).

How do handle being critical without being mean?
It’s important to not belittle the work, and to use examples to illustrate to the writer a weakness he/she may not have noticed while writing. Because writing is a process I also try to keep in mind that even the worst screenplay can turn into something phenomenal with concentrated effort and revision. Above all else, I try to be direct and give critiques like those I would want to hear about my own writing.

How do you avoid unwarranted praise?
I think again, it’s important to be direct. If something is particularly well done I think it’s enough to say so and to give an example.

Do you have any pet peeves?
Sloppiness is my biggest pet peeve. I’ve read screenplays where midway through the protagonist’s name changes. It causes unnecessary confusion and is something that can easily be avoided.

What is the heart of a successful screenplay?
A story full of obstacles that have to be overcome, and a cast of human and compelling characters that have goals they are striving to achieve.

What do you believe is the hardest part of the job of the screenwriter?
Detaching yourself from your work is extremely difficult, but it allows you to more objectively approach your characters, story, plot, and other elements.

What advice would you like to offer a screenwriter before they enter BlueCat?
Have a reading of your screenplay if you can. Get actors or friends to give your characters voices. It’s a great way to notice inconsistencies in your story, awkward dialogue, and a slew of other potential issues that are difficult to see while you’re buried deep in your work.

Los Angeles

BlueCat — Tue, 20 Dec 2011 02:37:02 +0000

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