Opportunity Knocks, part 10

As everyone is re-enacting The Shining at the moment (snowed into a haunted hotel with a psychopath for company - oh, OK, just me then), why not have a go at this? (just received from those hugely sexy people at Inktip)
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EDGY THRILLER SCRIPTS WANTED

Baie des Singes (UK) Ltd - Thriller

We are looking for completed feature-length edgy thriller scripts, i.e. stories in the vein of "No Country for Old Men," "The Usual Suspects" or "The Yards." WGA or non-WGA writers may submit. Budget will not exceed $4 million.

I am a major international commercials director with clients such as BMW, Ford, Audi, Nivea, Adidas, and Coca-Cola, and I am looking for a first feature script to direct.

TO SUBMIT:
1. Please go to www.InkTippro.com/leads
2. Enter your email address (you will be signing up for InkTip's newsletter - FREE!)
3. Copy/Paste this code: 6kw9qtud64

You will be submitting a logline and synopsis only, and you will be contacted to submit the full script only if there is interest from the production company.

IMPORTANT: Please ONLY submit your work if it fits what the lead is looking for EXACTLY.
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And whilst we're on the subject, one of the first French phrases I learned by heart was, "Il est vilain comme un singe." Which frankly is a bit uncalled for.

Opportunity Knocks(?), part 9

Opportunity or not? Only you can be the judge of that one (that said, there's nothing wrong with a bit of old fashioned flattery)...
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Hi there

You're receiving this as one of the frighteningly talented few thousand who've applied to be part of 4Talent's big projects over the last year - like Radio HaHa, the Inspiration Sessions, A Pitch In Time at the Screenwriters Festival, the Mobile Games Pitch at the Golden Joysticks, and of course the 4Talent Awards.

You've had all of these amazing opportunities for free: now we'd like to run an idea past you.

As you may have read in our festive farewell message, for all manner of reasons - not least the credit crunch - Channel 4 can no longer afford to fund what we do. But they ARE prepared to endorse a juicy, brand-new resource (working title: Not From Concentrate) that continues all this good stuff in the commercial marketplace, helping you to flex your creative muscles in response to specific industry briefs and make proper links with all the major UK broadcasters and production companies, from start-ups to super-indies.

Within Channel 4, the 4Talent brand will continue as an entry point to great commissioning-led schemes like 3 Minute Wonder, Comedy Lab, Coming Up and First Cut, as well as work-related-learning schemes for 14 to 19-year-olds keen to break into the media.

But we reckon that still leaves a huge gap for all you market-ready innovators and ideas people who we've had the pleasure of working with over the years. We know there are some great ideas out there; refreshing ideas that buck the re-hashing trend of so many broadcasters and publishers. We've seen what you can come up with, and we want to continue linking you to industry players to realise your creative ambitions across all possible platforms.

One question remains about this brave new world: without the 'luxury' of [minimal!] funding from Channel 4 for such a resource, we'd have to generate revenue and amongst other things we're thinking about - wait for it - user subscriptions.

For those of you still reading this, let us explain. In a nutshell, we want to build an exclusive club for genuinely talented, dedicated people who are still off the mainstream radar, NOT a free-for-all destination for reality TV wannabes and media fame-seekers. Like any business - and that's what this has to be, of course - this comes at a price, and we're considering an annual subscription charge of £49 or, put another way, less than a quid per week. For that, you'd get:

* Premium multimedia editorial packed with industry insights
* A beautiful 100-page magazine sent direct to your doorstep
* Regular, real-world creative briefs to respond to
* A space to share knowledge and connect with like-minded peers
* A destination for your unsolicited, back-of-a-fag-packet ideas
* Online mentoring and feedback to develop those ideas
* Networking events and workshops with the best in the business

But we can't do any of this without you guys on board, so please drop us a line back with your thoughts or questions, and be as frank as you like. Not abusive though - just frank will do!

Thanks peeps - hear from you soon.

James [Estill] and Nick [Carson]
Former Producer and Editor, 4Talent Networks

Factory/Warehouse, Part 2

More from the Factory/Warehouse chaps below. Caveat emptor, people - not that there's any money changing hands, but you get the drift...
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Dear all.

Having various people ask us several good questions, below are various points you should consider to be absolutely clear about what we are offering.

This opportunity is really for any writer but was put out particularly for all new writers who wished to get their work seen by some of the top people in the industry. Myself and my friend/colleague Ben have found ourselves in the unusual position due to previous dealings with some agents to be able to put forward peoples work. Because of our relationship with them we know what projects have interest and that, unlike most scripts that land on their desk, ours will actually be read and considered. They have explicitly not allowed us to mention who the agencies are until further on when it will be important to know who the actors might be so we can try to work toward, what one hopes will be, successful projects.

Once again we must stress that there is no money involved initially. Should the project be packaged then yes of course WGGB payment terms will apply.

The 'Adaption' email states that you should 'think' of these actors when considering writing the Rebecca adaptation. It does not say these 'are' the actors who have agreed to play the part. Any actor would not commit to this unless they have a script to agree upon and this is what this is all about.

Having worked in the business in various capacities and having several writer friends I understand how hard it can be to even get seen despite the level of talent, this is why we wanted to offer the chance to writers. At the end of the day if the writer succeeds then we do, if they don't we don't. We can only offer a couple of guarantees; firstly that if you are a good writer and create a strong script it will get read by the people who are interested in the project and can make a difference, secondly should they approve we then have the ability to package a product and of course offer proper rates. It is doing things back to front, I do appreciate that, but it is a rare chance to put something forward and have it read.

Please have in mind that this is the first time this has been done so all relevant questions and queries are appreciated.

Richard S

Factory/Warehouse

You may well have seen all the ballyhoo over on Shooting Pople regarding a script call made by someone calling themselves 'The Script Factory'. I responded to the original posting, and got this message back today, which I'm offering up below. A lot of work required over the next month! I won't be partaking, and I suspect that not many others will either, but hey ho - who am I to complain?

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Dear writers,

Thank you for your interest in these projects. My apologies for the group e-mail but as you can imagine we have had quite a response from our posting thus it would be too time consuming to do individual responses. Below is a list of several novels that currently are of interest. As stated in the posting we have contacts with a couple of high profile agents who have discussed these projects with their clients and would be keen to read any submissions that we put forward. At this stage there is, unfortunately, no development money but this is an excellent opportunity to have your work read by people at the very top of the industry who actually want to make the project that you have worked on. As long as the agent and their client agree to the project, we will be in a position to package it and offer Equity rates.

There a three projects that we are looking to start with.

These consist of the following -

1. A modern adaptation of Daphne Du Mauriers Rebecca
Feature film
Leads roles think -
Ralph Fiennes to play Max De Winter
Naomi Watts as 2nd Mrs De Winter

Rebecca modern adaptation we will need
- 10 line summary
- 10-15 page treatment
- 20-30 pages of script

2. Adaptation of John Masefields Dead Ned and Alive and Kicking Ned

12 Part mini series for TV
Dead Ned/ Alive and kicking Ned we will need:
- 10 line summary
- 10-15 page treatment
- 1st episode (To give you a feel it should be written as if a BBC period drama)

3. Adaptation of J.Meade Faulkners Moonfleet
6 Part mini series
Moonfleet we will need
- 10 line summary
- 10-15 page treatment
- 1st episode(Again the feel should be written as if a BBC period drama)

Please feel free to choose one that suits you best . If you find you would like to do more then that is entirely up to you. The deadline for the first round of submissions will be the 13th of October. Once again due to the volume it may be impossible to reply to everyone individually but we will let you know if you are offered the chance to present a full script or if what you have done is not what they are after. Once we have been though everyones ideas we will chose to work from a maximum of 3 working scripts from each film/tv project to move forward with. Your interpratation of the projects and the artistic direction you choose to go in is entirely up to you, if you chose to stay close to the stories or venture quite far from them in your adaptation that is at your discretion. The only real criteria is that the projects are exciting, innovative and well written. Not too much to ask for I am sure!

Also could all future responses be sent to the e-mail address scriptwarehouse@yahoo.co.uk as we have discovered that the script_factory e-mail address is very similar to the name of a company that we have no affiliation with, we would not like to mislead anyone. Best of luck and I look forward to reading your submissions.
Richard S

Pitch

This just in from the Writer's Guild Bulletin (thanks to Mister G, as usual).

Son of a Pitch - Pitching Competition

It's that time of year again, plans are afoot for the next International Screenwriters' Festival (likely to take place in early July 2009) and a call for entries has been released for the very popular pitching competition. The competition, which is in association with 4Talent, will run from 5pm on Monday 8th September until 5pm on Friday 28th November 2008. After which, ten lucky finalists will be chosen to come to the SWF'09, take part in a pitching masterclass before standing up in front of a live audience and pitch that idea to a panel of industry experts.

Please go to this address for all the competition rules, regulations and timelines: http://www.screenwritersfestival.com/a-pitch-in-time.php

TAPS - Finding the Writer's Voice: Update

Three months after getting shortlisted (and eight months after my application went in), it transpires that TAPS doesn’t want me or my script – which is quite a relief, as it happens. Although I could have applied for funding through Skillset and/or my regional Screen Agency, the last time I looked at the online forms they resembled a Kafkaesque bureaucratic quagmire, so I ran away and hid. Just the thought of parting with £500 made my blood run cold.

Anyhoo, on the road to eventual rejection, something weird happened. The original TAPS notice stated this:

All submitted scripts are read and assessed by a specially assembled reading panel of industry professionals.

A couple of weeks back, the industry professional who had been allotted to read my shortlisted script e-mailed to say that he thought it was “terrific”, and could I send him a few lines about myself? Done! I have no idea what the TAPS protocol is, but the e-mail seemed completely spontaneous and obviously well outside the usual TAPS channels of communication.

Two weeks later, I get a rejection letter. Are the two events related? Who knows? As David Bishop stated a little while back, having a half decent script is perhaps only half the battle. However, there’s an established producer out there who at least liked my script, so I’ll give him a call once the silly/holiday season is over and see where it goes from there.

BSSC Round One

The script I entered for the BSSC (Out of Time) this year has made it through the initial cut to round one (along with approximately 2,417 others*). Elinor, on the other hand, has three in, which theoretically gives her three times as many chances of winning as me (closely followed by Martin Adams with two). Drat! And double drat!

Now that's out of my system, congratulations to everyone who made it through.
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* Sorry, I couldn't be bothered to count them all!

Plate Spinner Extraordinaire

Whilst everyone and his/her dog has been away at the Screenwriter’s Festival, I’ve been putting my extremely ad-hoc and random marketing plan into operation, which is much like keeping a series of plates spinning whilst rubbing your head and patting your stomach at the same time – or something (you get the idea). Last week seemed the ideal opportunity as well, as the competition were all off playing croquet in Cheltenham ;-) (I went to a school with a croquet lawn and two grass tennis courts – how posh am I?)

The upside is that I got two script requests and a chat with my agent chum (just because you haven’t heard from someone in a while doesn’t mean they’re not interested – very often, a polite phone call is enough to gently prod them into action). Baby steps all, and it keeps those plates spinning I guess. And what with METLAB in a Ripley-esque state of suspended animation, I idly starting wondering what had happened to TAPS. One e-mail later, it transpires that the scripts are out with ‘industry professionals’ for a read – decisions as to the final scripts may/may not be made in the next couple of weeks. Probably best not to hold your breath.

I’m also still tarting about with that treatment, which now has a deadline of late August. And then of course, there’s the RISE Summer Challenge and the new Red Planet thing – lots to keep anyone occupied over the summer I reckon. The Red Planet competition looks great (as usual), so I’ll have to get my skates on at some point and do something about that.

As you were...

Opportunity Knocks, part 7

This is from those lovely folks over at Moviebytes:

WRITERS WANTED: Gruenberg Film

At the moment we are looking for a mystery/horror script in the vein of the Grudge or Ring, already set in Asia or that could be set in Asia, with the possibility to bring in a mixed Western/Eastern cast and to be shot low budget (below 3 MM USD).

Gruenberg Film GmbH
Blankenburger Chaussee 84
Berlin, D 13125
Phone: 0114930-94 32 999
Email: a.gruenberg@gruenbergfilm.de
Web: http://www.gruenbergfilm.com

Cheers, Big Ears! (Part 2)

After I unceremoniously dumped my first Sharps effort, I started a second. I think it’s a whole lot better than the first, but what the heck do I know about anything? So that’s where John Soanes, Rachael and the blogless Caroline came in – all hail PO3! As usual, the feedback process exposed a few flaws in my grand scheme (a subplot that didn’t need to be quite so pronounced, a face-off between the terms psychopath/sociopath and some banter on Scientology - always a pleasure!), so this post is a ‘tip of the hat’ to this intrepid trio of reviewers for finding the time to read and comment on my latest effort. Thanks all! I have still to return the favour for two of them, so all I will say here is: get your fingers out! The deadline of 16th June is fast approaching, my friends...

All in all, I’ve thoroughly enjoyed the writing process for Sharps. Thirty minute drama is not something you see a lot of these days, but even so, as a writing sample it’s a whole lot easier to digest than a 100 page feature script. And if my entry doesn’t get anywhere, I have a piece of work that I’m happy with (doesn’t happy very often). I'll have to try more of these half hour things.

Right, I’m off to watch some football.

Finding the Writer's Voice

About a hundred years ago, I applied for this. On Friday, I got the following letter from TAPS:

Thank you very much for your submission for the above course. Due to the sheer volume of submissions received the shortlisting process has taken longer than we anticipated and we thank you for your patience.

The standard of the scripts we received was higher than ever and it was a genuine pleasure to see such quality work. The uniformly excellent writing made it a real challange to select the writers to proceed onto the next stage. It has been a long process and we have created a shortlist of the best scripts which will now be read by our Artistic Advisory Board before being considered for development.

I am please(d) to tell you that your script has made this shortlist. Once the Board have decided on the six they wish to develop we shall let you know their decision.

...which is nice.

The script I submitted for this script was demented (and I have that on good authority), so it’ll be interesting to see what happens next.

Opportunity Knocks, Part 6

This just in from those lovely people over at Inktip...
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London Pictures Ltd. - Concept-Driven Sci-Fi

We are looking for completed feature-length concept-driven sci-fi scripts. We are especially interested in the sort of stories that are based around scientific concepts and which can be produced with relatively few SFX, as opposed to alien or space-driven stories – which is to say we are essentially looking for a script that could have been written and produced as a sci-fi stageplay.

Please do not submit something that has already been submitted to us in the past.

WGA and non-WGA writers may submit. Budget will start at around $200K.

Our credits include: “Burning Light” (2006) and “Blinded” (2004).

To submit to this lead, please go to: http://www.inktippro.com/leads/

Enter your email address.

Copy/Paste this code: tbq6hje173

NOTE: Please only submit your work if it fits what the lead is looking for exactly. If you aren’t sure if your script fits, please ask InkTip first.

Six Types of Busy

Six types of busy at the moment, which is always surprising (and immensely gratifying). I suspect that by writing about things I’ll put some kind of weird gypsy jinx on them, but hey ho:

* METLAB script – this is where a lot of my energy is going at the moment – a month into the rewrite and I’m 60 pages in, which is quite an achievement considering the number of times I’ve had to rewrite the first 30 pages. I had some major issues with character motivation that had to be resolved before I could continue – bearing in mind my crap working method (i.e., outlining as I write, or, as I prefer to call it, ‘making it up as you go along’) this does not make for a mentally stable experience. On the home straight now (I think).

* A Pitch in Time – oh, go on then.

* Another pitch and synopsis for someone else. Like I might’ve mentioned before, I’ve thrown these out for other people previously – what tends to happen next is complete and utter silence – which is, you know, cool.

*Agents – Agent X is now in receipt of Script #2. It’s a long and time consuming process as the recent discussion over at Lucy Vee’s pointed out – the skinny seems to be that agents probably aren’t worth pursuing if you’re expecting them to do wonders for your fledging career, but Agent X seems interested enough to read more so I’ll try and keep that plate spinning for a little while longer.

* I have somehow wangled a meeting with a producer/director for next week. Check back here for exclusive updates on how I manage to fluff it all up by saying something stoopid and falling over in a comical fashion.

*A short script for the BSSC and SuperShorts – never tried one before so hey, why not?

And there you have it. As you were.

Opportunity Knocks, part 5

The Screenwriters' Festival '08 in association with Channel 4's 4Talent want to give YOU the opportunity to pitch your amazing Movie or TV idea to a stellar industry panel AND the live festival audience.

Several writers from (the) last two pitching competitions in 2006 & 2007 have already gone onto bigger, better things and have had their ideas optioned, been commissioned to write an original screenplay or have been snapped up by an agent.

The competition is now open here – closing date 29th February 2008.

Three Days In and It's All Going Pear Shaped...

2008 has gotten off to an absolutely cracking start, courtesy of some pathological bad luck:

* Man-sized flu from Christmas day onwards – believe me, I was iller than a skip full of Beastie Boys CDs.
* The gear box on my car gave up the ghost. £1136 later, it’s fixed, but it looks like I’ll have to sell an internal organ to pay for it – what’s the going rate for a liver these days?
* New Year’s Eve – hooray! New Year’s Day – food poisoning!
* Dentist’s appointment yesterday. I hate the dentist even more than my mother hates the Krankies.

With all this in mind, I thought I’d better get my METLAB script in before my PC got hit by a stray meteorite.

I’ve also decided to go for the TAPS Finding the Writer’s Voice thing, so we’ll see how that pans out. According to the TAPS guidelines, it’s advisable to apply for funding through ScreenSouth. Right, sounds good to me. After downloading the training bursary application form from the ScreenSouth site, the first thing that strikes me is that you need to attach a ‘Career Plan’. Oh dear. This might take a bit longer than I thought. Also, reading through the RIFE guidelines, it states “all applicants must have applied to Skillset for a bursary before applying to Screen South.” Oh. OK then.

So it’s onto Skillset to discover that I probably won’t get any funding from this source, which is no great shakes. But the ScreenSouth application form states that I have to attach three copies of my Skillset submission. Hmmm.

Attempting to unravel the vagaries of ScreenSouth application forms is perhaps not the best way to start 2008. That said, the TAPS course is only £500 – what’s the going rate for a bit of bone marrow these days?

TAPS - Finding the Writer's Voice

I applied for something similar to this a couple of years ago through TAPS, but didn't get anywhere. Time for another go? Maybe...

TAPS is a charitable organisation committed to seeking out, training and showcasing emerging talented writers by putting their original voices in front of leading producers and script executives. TAPS aims to unearth new writers who may not otherwise be noticed and help them develop better scripts through Workshops plus provide them with access to working Producers, Directors and actors who speed that essential nurturing of their talent.

TAPS actively develops original voices of the future for the industry which seeks raw talent and fresh ideas.

The Course
An intensive weekend workshop will begin your training, followed by three months of personal script coaching from a leading industry professional which will hone your script and unlock your unique potential. Writers will complete the scheme with a range of advanced writing tools, an industry-standard calling card script and a DVD of their script performed by professional directors and cast.

Selection Process
All submitted scripts are read and assessed by a specially assembled reading panel of industry professionals. Selection is based on the talent of the writer. However, at times, when selection is at a tie, other elements will be considered such as the date the application is received. On this basis, we advise you to send your application as soon as possible.

Please Note: Due to the lack of resources no feedback can be given on the individual scripts if rejected.

Costs
2007/08 Administration Fee: £25.00 - this cheque must be included with your application for us to begin processing our submission.

2007/08 Course Fee: £500 plus VAT

If you require support with the course fee we suggest you check with your Regional Screen Agency. We know that some writers have received support in the past but cannot guarantee this support is still available. To find your Regional Screen Agency please check the link below:

http://www.ukfilmcouncil.org.uk/information/aboutus/partnersandregions

We advise you to get in touch with your Regional Agency immediately upon application as the process can take time.

Financial Support
With the assistance of the Skillset CPD Fund TAPS keeps the delegate fees for its workshops as low as possible in order that those who want to attend, can attend.

Delegates living over 50 miles from the course venue can reclaim up to 50% of their travelling costs and up to £40 per night towards the cost of accommodation.

TAPS will also provide support to child care costs where required, contributing £4 per hour towards costs incurred during training.

Email gemma@tapsnet.org or go to www.tapsnet.org/ for more information.

Opportunity Knocks, part 4

This just received from Shooting People:

PITCH YOUR IDEA TO WIN THE UK’S BIGGEST FILM PRIZE WORTH £250,000

Northern Lights Film Festival and Culture
www.nlff.co.uk
www.moxiemakers.com

Northern Lights Film Festival and Culture are proud to provide Moxie Makers with a platform to launch the most dynamic feature film production prize in the UK worth up to £250,000 at this year’s Northern Lights Film Festival 7 – 9 December at the Tyneside Cinema’s temporary venue at The Old Town Hall in Gateshead.

Moxie Makers is a new micro studio, created in the North East, with the express purpose of making low budget features with the most exciting new filmmaking talent emerging within the UK.

The selection process for The Big Pitch opens on December 7th and begins with a written application from which a shortlist of 15 projects will be drawn up. Shortlisted applicants will be selected by a professional industry panel and after undergoing an interview process, seven projects will be eliminated and only eight writer/director/producer teams and their respective feature film ideas will be invited onto The Big Pitch training programme.

The Big Pitch programme will kick-off with a four-day intensive induction and development workshop, after which only six teams will secure a place to continue further onto the project and pitch development stage.

During the four-month project and pitch development stage the six remaining teams will work with industry professionals to develop and package their project. At the end of this period only four out of the six teams will be invited to The Big Pitch event where they will sell their feature film ideas before a live audience at NLFF 08 as they compete for the production deal worth up to £250,000!

The Big Pitch Final will take place in Newcastle upon Tyne at Northern Lights Film Festival 2008. A celebrity host, an industry panel and an audience of over three hundred people, will watch as the teams sell the merits of their feature film project to the panel and most importantly inspire an audience with their vision. A question and answer session will put them through their paces before the live audience and online viewers vote to select the winning team.

The winner will be guaranteed production finance from Moxie Makers together with a post-production deal with Molinare, guaranteed UK distribution with Soda Makers and international sales representation with Moxiehouse Entertainment. The film will receive its red-carpet Gala Premiere as part of Northern Lights Film Festival in 2009.

The Big Pitch will open for entries at Northern Lights Film Festival 2007 on Friday 7th December. The closing date for applications is 22nd February 2008.

Stella Hall, Creative Director of culture said;

‘We are really excited about the engagement of Moxie Makers which brings this incredible opportunity for film-makers in the region and beyond. The great potential of the Big Pitch to create a new product – these nine feature films, as well as showcase the up-coming talent already working in the region is something we are really pleased about. It makes sense to incorporate the launch in the region’s most innovative film festival, the Northern Lights Film Festival.’

Christine Alderson, Ipso Facto Founder said today;

‘In the short time since it’s launch, Moxie Makers has already attracted some sensational projects and amazing talent, so the launch of The Big Pitch is a natural progression in enabling us to discover who else is out there.

It’s becoming more and more difficult to finance films in this country so really low budget production - which includes great development, training, mentoring and an experimentation with new technology and ideas - is going to be the future of film making.'

Visit www.moxiemakers.com for more information.

Opportunity Knocks, part 3

This just in from Mandy.com:

Vacancy: Screenplay Writer
Employer: The Zed Resistor Company
Location: London
Duration: 6-12 months, starts Immediate

The Zed Resistor Company (http://www.zedresistor.com/) is currently inviting submissions for completed feature length screenplays for consideration of next production.

Please send synopsis and plot information to: pauln2000@blueyonder.co.uk.

Web: http://www.zedresistor.com

Apply to: Paul Allan-Slade

Bad grammar aside, why not give it a go? What have you got to lose apart from your dignity and an internal organ?

Opportunity Knocks, Part 2

This just in courtesy of Moviebytes.com:

KAIROS PRIZE FOR SPIRITUALLY UPLIFTING SCREENPLAYS

FINAL DEADLINE APPROACHING!

Kairos Prize for Spiritually Uplifting Screenplays Announced!

Primary purpose of the prize is to further the influence of moral and spiritual values within the film and television industries.

Set up to help inspire first-time and beginning screenwriters to produce compelling, entertaining and spiritually uplifting scripts, the winning scripts are read by top execs in addition to the monetary awards.

DEADLINE: December 7th, 2007

PRIZES:
Grand Prize: $25,000
1st Runner Up: $15,000
2nd Runner Up: $10,000

For complete information please visit:http://www.kairosprize.com

My own entry for this competition is a screenplay called Celebrity Shits. I really think I'm in with a chance on this one.

Opportunity Knocks

This is kinda interesting - courtesy of Shooting People and Jerk Films:

To participate in the "Ed's Dead" writing competition, read the logline below carefully. Write a 5-15 page treatment, and upload it along with your CV, writing sample, signed entry form and cover page. You can submit more than one project, but make sure to sign and upload the entry form for each one.

Competition deadline is January 11, 2008. Winners will be announced February 15, 2008

Prizes:-
#1: $3000 in cash and the option for a writing assignment
#2: $1500 in cash
#3: $750 in cash

Here is your logline:

"Ed's Dead"- Only by giving up control over a small life one can gain a great life. A young and highly neurotic man is striving for perfection. In acting out his obsession with details, he fails to enjoy life until the death of his drug dealing elder brother turns his world upside down.