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Frequently Asked Questions*
A portion of what follows originated as an interview of Nicholl
Program Coordinator Greg Beal conducted by Max Adams that appeared
in Hollywood Scriptwriter in 1994. Since then a number of
questions and answers have been added, the segment headings inserted,
and the information has been updated and arranged in a different
order. One question and answer first appeared in a Screenmancer.tv
interview conducted by Robin Rea in 1998.
*Updated February 15, 2008
Don and Gee Nicholl
Q: Who are Don and Gee Nicholl?
A: Don Nicholl was a British writer who was invited by Norman Lear to join the staff of “All in the Family” early in its run. Don went on to co-create and co-executive produce “The Jeffersons” and then, leaving the Lear family, he co-created and co-executive produced “Three’s Company” and its spinoffs. He died in 1980 with his name gracing hundreds of TV episodes.
Don’s widow, Gee, remembering the tough times they had endured at the beginning of their careers, established the Nicholl Fellowships in his memory, initially at Stanford University and then at the Academy of Motion Picture Arts and Sciences. Her hope was that a few dollars would make the struggle a little easier for writers at the outset of their careers. While he was alive, Don had often spoken with Gee about helping other writers, and the Nicholl Fellowship program is her way of carrying on for both of them.
Q. How do you pronounce “Nicholl”?
A. It’s pronounced the same as “nickel.”
The Basics
Q. What do I need to enter the competition?
A. An original feature film screenplay, a signed application form and a US$30 entry fee.
Q. When are the application forms available?
A. Between January and late April of each year.
Q. When is the entry deadline?
A. May 1.
Q. What do I need to do to enter the competition?
A. You can either apply online or fill out a paper application form.
To use the online process, visit the Nicholl page on the Academy’s Web site, www.oscars.org/nicholl, and follow the instructions.
To obtain a paper copy of the application form, you can download and print a form from the Nicholl page on the Academy’s Web site, www.oscars.org/nicholl. You can also request that one be sent to you by contacting the Nicholl program by e-mail at nicholl@oscars.org, or by regular mail at:
Nicholl Fellowships in Screenwriting
Academy of Motion Picture Arts and Sciences
1313 Vine Street
Hollywood, CA 90028-8107
Entrants from the previous year’s competition are contacted by e-mail with a link to the Nicholl page in January. Those entrants without an e-mail address are mailed a paper copy of the application form.
Q. Can I submit my script electronically along with my application form?
A. No, you cannot. In 2008, paper copies of scripts must be submitted even if you complete an online application and pay online by credit card.
Q. If I entered two years ago but not last year, will I automatically receive a new application form?
A. No. Only entrants from the most recent competition year will be contacted by e-mail or mailed new application forms. We do not maintain a long-term mailing list.
Q. Can I enter more than one script into the Nicholl competition?
A. Yes. Each entry requires a separate application form and a separate entry fee. Photocopies of the application form are acceptable, but each form must be signed by the applicant.
Under no circumstances may an entrant submit different versions or multiple copies of the same script. Doing so may result in all versions of the script being disqualified.
Q. The rules state that script entries must be mailed. May I submit via FedEx, UPS or another delivery service?
A. Yes. So long as the package is properly postmarked/dated by the delivery service, any standard means of delivery is acceptable.
Q. As a foreign citizen, I have difficulty obtaining United States dollars. May I use a check in my own currency to pay the entry fee?
A. No. Entry fees must be in U.S. dollars. You might be able to find a nearby bank or post office that can write a money order payable in U.S. dollars.
Do not simply write “U.S. dollars” on your personal check. In the past, our bank has not recognized foreign personal checks with handwritten notations indicating U.S. dollars.
With the online application system, entrants may use credit cards to pay the entry fee.
Q. What happened to the US$20 entry fee for scripts entered prior to April 1?
A. We offered the reduced rate for early entries for several years as a test. Currently, we are not offering the reduced rate.
Q. Where does the entry fee money go?
A. Generally speaking, the entry fees go into a pool of funds to cover contest costs – administration, mailings, printing, advertising – but one could look at it as first-round reading costs.
Q. What are the prizes?
A. Up to five $30,000 fellowships are awarded to new screenwriters each year. From 1986 through 2007, 103 fellowships totaling $2,625,000 have been awarded.
Q. Some people say all competitions are a scam of one sort or another, considering all the money they take in from entry fees.
A. In recent years, the Nicholl Fellowships program has received between $150,000 and $170,000 in entry fees. In a typical fellowship year, it distributes $150,000 to the fellows. Considering the various administrative and other costs, it’s clear that the program is not remotely close to being a moneymaking operation.
Online Application Process
Q. In 2007, I had difficulty accessing the online application. Has that problem been fixed?
A. Last year a software glitch caused our server to crash repeatedly. A software update has for the most part eliminated the problem.
Q. Last year, I either couldn’t log in or the front page of the Nicholl application would stall and then time out. Was there something I could have done to overcome that difficulty?
A. No, the problem was on our end – the aforementioned software glitch that caused our server to crash. Last year our tech department staff restarted the server as frequently as they could. The only suggestion we could offer to would-be entrants was to try again after waiting an hour or two.
Q. Why can’t I find out my script’s status in the competition online?
A. The only information we allow current entrants to see is whether their script has been received at the Nicholl Fellowships office. Information about advancing or not advancing to the next round is sent to entrants by regular mail only.
Q. Do you have any tips regarding the online process?
A. Be sure to read the rules before filling out the form. Follow the instructions. Please don’t type in all caps or all lower case. Watch for typos. An error in your mailing address or e-mail address could cause our official correspondence to be misrouted or lost. If you’re part of a collaborative team, follow the instructions for filling out the form as a collaborator. Be sure to print out and keep a copy of the submission form.
Q. When will electronic submissions of scripts be allowed?
A. We’re hoping to have a process in place for 2009. We want to be sure the online submission process works smoothly both for entrants and for us.
Eligibility, Adaptations and Collaborations
Q. Who can enter the competition?
A. Writers who write in English and who have not earned more than $5,000 writing fictional work for film or television in their lifetime are eligible. Payments received for work-for-hire, sales and options apply toward that limit.
Q. What about the sale of movie rights to a book or play?
A. If a writer received more than $5,000 for the sale or option of the movie rights for a novel, short story, nonfiction book, play, etc., that writer would not be eligible for the Nicholl competition.
The $5,000 limit is cumulative over a writer’s lifetime. If a writer received a $3,000 option for a screenplay and $2,500 for polishing a shooting script, that writer would not be eligible for the Nicholl competition.
Q. Does prize money from a screenwriting competition count towards the $5,000 limit?
A. Usually, it does not. So long as the prize money does not secure any rights to the writer’s script or story, it would not affect the writer’s eligibility for the Nicholl competition. However, if accepting the prize money attached a film company or producer to the script, then the prize money would count toward the writer’s earnings limit and make the writer ineligible if the total exceeded $5,000. For example, if the company hosting the competition awarded $10,000 to the winning writer and planned to develop the script for production, then that writer would not be eligible for the Nicholl competition.
Q. Can collaborative teams enter the competition?
A. Yes, if the team consists of exactly two writers who are equal partners in all aspects of the creation of the script.
Each collaborator must fill out and sign a separate application form. One collaborator must be designated as the primary contact. If the collaborators are applying online, they must follow the instructions for adding a collaborator to an entry.
Q. When would a script written by two collaborators not be eligible for the competition?
A. The script would not be eligible if the collaborators do not share equally in its creation. For example, if one collaborator contributes the story and the other executes the screenplay, the resulting script would not be eligible. Likewise, if one collaborator is the author of a novel and the second writes a screenplay based on it, the script would not be eligible. If both collaborators shared equally in the screenplay adaptation of one collaborator’s book, that script would not be eligible because under the rules it would be an adaptation of another writer’s work.
Q. Why are adaptations not eligible?
A. The intent of the program is to identify talented new screenwriters. One of the difficulties of evaluating adaptations in general is determining the screenwriter’s contribution, especially if the source material is unfamiliar. As an extreme example, if the characters, dialogue, story and plot are taken in their entirety directly from a novel, the screenwriter’s contribution may be little beyond formatting. Given the thousands of entries that we receive each year, it is simply not possible to compare the talent exhibited in a well executed adaptation versus a well executed original script. Even in a separate competition exclusively for adaptations, it would be difficult to evaluate entries, given the fact that the pool of source material is virtually unlimited.
Q. What about an adaptation of the Bible or a fairy tale or a work that is in the public domain?
A. Adaptations of any work (other than your own) are not eligible.
Q. Can I enter a totally original screenplay featuring Sherlock Holmes or James Bond, or write a new “Star Trek” or Indiana Jones adventure?
A. No. Scripts featuring established fictional characters would be adaptations, and would therefore not be eligible.
Q. Are historical screenplays or scripts based on actual events eligible?
A. So long as the script is not derived from a single source – a book, an article, a diary, etc. – it would be eligible. Here’s a simple rule of thumb: Scripts based on research drawn from multiple sources are eligible; those based on a single source are not.
Q. I understand that adaptations are not eligible for the competition, but can I adapt my own novel or play?
A. Yes. Adaptations of a writer’s own work are allowed.
Q. Why are adaptations of a writer’s own work treated differently?
A. Because those scripts are the work of one writer. The characters, the dialogue, the action, the story – all have been created by the writer and translated by him or her into a different form.
Q. Are citizens of countries other than the United States eligible?
A. Yes. Any writer who writes in English and who meets the other eligibility requirements can enter a script into the Nicholl competition.
Be aware that translated scripts are not eligible. To be eligible, scripts must have been written originally in English.
Q. Could a member of the Writers Guild of America enter a script into the Nicholl competition?
A. Yes, if the WGA member has not earned more than $5,000 writing fictional work for film or television. The WGA member would remain eligible if he or she had earned more than $5,000 as a newswriter or documentarian.
Format and Presentation
Q. What is the script format standard to the United States motion picture industry?
A. While there is no precise format common to all scripts written by professional screenwriters working within the U.S. motion picture industry, there are certainly general standards. A script written by one professional writer will visually resemble that written by another professional writer. Producers, agents, development executives and readers recognize scripts written by professional writers as falling within an acceptable range of formatting conventions, despite slight variations in detail.
If you follow the format described in any number of screenwriting guides and textbooks, you should be in good shape. You may also find our screenplay format guide helpful.
In any event, scripts submitted to the Nicholl competition should be written in master scenes without shot designations. The scripts should not include scene numbers, which are typically found on shooting scripts.
Q. Do you have any suggestions regarding the proper format?
A. Courier (12-point, 10-pitch, nonproportional) is the industry standard font (“pica” on a typewriter). Do not type or computer-print your script in italics or use proportional or other stylized fonts. Avoid boldface type within the script and do not vary font sizes. The goal is a clean, legible submission.
Watch out for typos as well as spelling, punctuation and grammatical errors. Proofread your script once, and then proof it again. It might be a good idea to have another person proof your script as well.
Make certain that your pages are properly numbered and in the correct order. Copy machines have been known to disgorge duplicate pages and blank sheets, and to even lose entire sequences. It’s hard to judge a script fairly when it’s missing ten pages (or even one).
Q. I noticed that entry scripts should be “approximately 90 to 120 pages.” Does that mean that a 85- or 125-page script will be disqualified?
A. No. We include the word “approximately” in the competition rules to allow some leeway on script length. The shortest script to earn its writer a Nicholl Fellowship was 85 pages long; the longest was 153 pages.
Be aware, however, that short and long scripts could prejudice a reader. This applies especially to long scripts, which readers tend to approach with some resistance.
Q. How should my script be bound?
A. It should be photocopied onto three-hole paper and then secured with individual metal fasteners called brads.
Do not use folders designed for college papers or heavy-duty “Acco” brand folders with their nearly page-length metal fasteners. Do not bind your script with alternate fasteners such as clips, string, screws or bolts. Do not submit loose script pages in a box or envelope.
Q. What are brads?
Brads are metal fasteners commonly used within the U.S. motion picture industry to bind scripts. “Acco” brand No. 6 round-head fasteners, which measure 1.5 inches, work perfectly on any script of more than 110 pages. For scripts with fewer pages, you might use 1.25-inch brads (Acco No. 5). Brads longer than 2 inches will too often stab anyone handling the script. Do not cut long brads to an acceptable length, as that makes the prongs even sharper and more dangerous. When brads snag a reader’s sweater or draw blood, that reader might not be in a good mood when considering that script.
Many professionals bind their scripts with two brads, leaving the center hole empty, but some companies and writers use three brads.
Q. Can I bind my script in any other manner?
A. Doing so will appear unprofessional.
Under no circumstances should you permanently or semi-permanently bind your script. In the Nicholl competition, we photocopy all scripts that reach the semifinal round, so it’s important that we be able to easily separate the pages. Similarly, in the U.S. motion picture industry, if the first person at a company to read your script likes it, your script will probably be copied.
Do not print your pages with admonitions against copying your script. Good scripts need to be copied. Bad ones do not.
Q. Should I submit my script with a cover?
A. Since the highest-scoring scripts in the Nicholl competition are read three times before advancing to the quarterfinal round, we recommend cardstock covers for protection. Stationery stores carry this heavier-weight stock. Find a solid yet flexible weight for your script cover. The color is up to you.
Q. Living in Europe, I only have access to paper that is longer than standard American paper. Is it acceptable to submit a script on European (A4) paper?
A. Yes. Try to leave a bottom margin of about 2 inches/5 centimeters instead of the typical 1 inch/2.5 centimeters, as scripts that advance to the semifinal round will be copied onto standard American paper (8.5 x 11 inches).
Q. Since the rules state that the name of the writer should not be included anywhere on an entry script, would a script be disqualified if it does?
A. No. We just tear out the offending page(s) or apply “white-out” (correction fluid). In rare cases, we ask the writer to submit another copy of the script with the name eliminated.
Q. How do you track my script if my name can't be anywhere on the script?
A. When scripts are initially received and processed, we assign a number to each entry. We attach that number to the entrant and the script title in our database, write it on the script cover or first page, and record it on all score sheets. Essentially, the assigned number replaces the entrant’s name.
Q. Why do you need a synopsis? Who sees it?
A. Synopses give us simple, direct means of distinguishing scripts without having to rely solely on the title. For instance, the title WASHINGTON could indicate a script about the first U.S. president, one that is set in the state or city, or one that makes a different connection altogether. Synopses give us the story line.
Synopses are also helpful as we attempt to match scripts with our readers’ interests and tastes. For instance, some readers enjoy thrillers and horror scripts but do not want to read science fiction or fantasy. Synopses often help us distinguish these sorts of elements.
Other than those of us working in the office, no one, including readers and judges, ever sees the synopses. We do not distribute the synopses at any time.
Q. What happens to scripts that aren’t formatted correctly?
A. We read them, though maybe not in their entirety. We evaluate thousands of entries in a typical year, and correctly formatted scripts not only make a better initial impression, they are actually easier to read.
Q. Format won’t disqualify a writer, then, but does it affect a script’s chances at a full read?
A. Yes. Some degree of professionalism is expected. A grossly out-of-format script will almost certainly not be read cover to cover. Furthermore, if a manuscript looks and reads like a stage play rather than a screenplay, it’s not going to fare very well, because the Nicholl competition is not a playwriting contest.
There are undoubtedly talented people oblivious to formatting issues who take a stab at screenwriting and turn out terrific scripts. But a reader who picks up an entry that looks nothing like a script anticipates not one of these exceptional reads, but rather one that will be tedious and even painful. That initial resistance is almost impossible for a script to overcome.
Competition Process and Timetable
Q. Could you offer a timetable as to when things happen in the Nicholl competition?
A. Here it is:
early January – Text for the new year’s application forms is finalized.
January–late April – The online application process is opened to applicants; application forms are mailed or e-mailed to anyone who has requested them. These forms are also available online at www.oscars.org/nicholl.
January–May 1 – Entries are accepted. Entries must be postmarked by May 1.
approximately six to eight weeks after an entry is received – A letter is sent to the entrant acknowledging the receipt of the script.
January–mid-July – The first round of judging is in progress.
late July – All entrants are notified as to whether their script advanced to the quarterfinal round.
late August – Semifinalists are notified.
early October – Finalists are notified and asked to submit supporting materials.
late October – Fellowship recipients are notified and announced.
mid-November – Nicholl fellows are honored at the Nicholl Awards Dinner.
Q. What happens to the thousands of entries? How does the competition unfold?
A. The first round of the Nicholl competition begins with the receipt of the initial entries in January, continues over the next six months and concludes by early July. As entries are received, application information is entered into or confirmed by our database, and each script and application form are assigned matching numbers. Scripts are then handed out to readers in small stacks for evaluation. Every few days, those readers exchange their completed stacks for new ones. As each script is returned, the reader briefly discusses it with Greg Beal, the Nicholl program coordinator. If Greg has questions about the reader’s scoring or comments, those questions are asked at that time. During the peak reading period – from late April through early July – 600 to 700 scripts are processed each week.
Let’s use the most recent competition as an example. In 2007, 5,050 scripts were entered in the competition. All of those scripts were read once. Nearly 2,200 of the scripts, based on a positive first read, were read a second time. Over 700 scripts received three reads. After the third read, each script’s best two scores were tallied, and the 254 scripts with the highest scores advanced to the quarterfinal round.
Q. If my script advances to the quarterfinals, could I submit a new version of that script?
A. No. Scripts are sent forward to judges before writers are notified of their status, and there simply isn’t enough time in the schedule to allow several hundred writers the opportunity to submit new versions.
Q. What happens to scripts that do not advance to the quarterfinal round?
A. As soon as scripts are knocked out of the competition (after one, two or three reads), they are taken apart and the paper is recycled.
Q. Who reads in the quarterfinal and semifinal rounds?
A. Selected industry professionals read the scripts that make the quarterfinal round, two reads by two different judges for each script. Academy members read the scripts that make the semifinal round.
Q. Are those Academy members producers, actors and writers?
A. Producers, actors, writers and other motion picture professionals. Judges are drawn from a number of Academy branches, covering all aspects of the creative and production process.
In 2007, 108 scripts advanced to the semifinal round, and each script was read by four Academy members.
Ultimately, nine scores from the first, quarterfinal and semifinal rounds were compiled to determine the ten scripts and writers that advanced to the finals.
Q. How many finalists are there?
A. We typically select ten finalists, occasionally fewer, and twice we’ve selected eleven. But there is no set number. It’s a matter of making a determination based on the judges’ scores and comments.
Q. It sounds tough to make it to the finals.
A. Given our judging process, at least seven different people have to like a particular script for it to advance. How many times do seven people agree that a particular movie, let alone a screenplay, is terrific? Not very often.
Q. Once finalists have been identified, how are winners determined?
A. The scripts are forwarded to the Nicholl Committee, which in 2007 consisted of 14 members: Susannah Grant, chair, John Bailey, John Gay, Gale Anne Hurd, Fay Kanin, Naomi Foner Gyllenhaal, Hal Kanter, Ron Mardigian, Bill Mechanic, David Nicksay, Steven Poster, Robert Shapiro, Buffy Shutt and Dana Stevens. After reading the scripts and the supporting letters, the committee members gather for an often spirited two- to three-hour meeting to discuss the merits of each script, and then cast their votes to select the fellowship recipients.
Readers, Judges and Judging Criteria
Q. Does the Academy hire readers to evaluate the scripts?
A. The first-round readers and quarterfinal-round judges are paid. Although the pay is modest, it’s enough to use up most of the money collected in entry fees.
Q. Who are the first-round readers?
A. First-round readers and quarterfinal-round judges are all involved in the industry, but none of them are Academy members. We assemble a good mix of people. While a majority are writers, many of whom also read to pay their bills, we also get a number of producers and development execs as well as those who work in other areas of development or production. The key attributes we look for are skill and experience in reading and judging scripts.
Actually, in terms of their age range and backgrounds (excluding industry connections), readers resemble Nicholl entrants.
Q. What are these readers looking for in scripts?
A. We tell the readers that we’re looking for the best scripts. The best stories. The best craft. We want them to identify screenwriters who can tell a good story and can tell it well.
We also let the readers know that budget or market potential are for our purposes irrelevant. If a script suggested special effects that would push production costs over the $200 million dollar mark and require a Steven Spielberg or James Cameron at the helm, so be it. If a script were darker than NO COUNTRY FOR OLD MEN or THERE WILL BE BLOOD, that’s all right too. Commercial considerations of any sort should not affect the reader’s assessment.
By the way, throughout the competition, the scripts are read without their original title pages, so the judges are unaware of the writers’ names and hometowns.
Q. Why is that necessary?
A. In part, to eliminate any possibility of that knowledge influencing a judge’s score. For instance, one judge might assume that a script from a Los Angeles writer is tainted by proximity to the industry while a script from Minnesota will be fresh and original. Another might have an opposite reaction – the Minnesota script will be unprofessional and the L.A. script will be sharply written. Even if such thoughts cross judges’ minds for only an instant, it could affect their scoring. We are trying to ensure that only the scripts themselves are considered.
Q. In the competition, do good scripts get passed over?
A. Not intentionally, but there’s no way around it. The whole reading enterprise is impossibly subjective. If you enter an introspective character comedy and it happens to be assigned to a reader who likes big action movies, that reader might not score your script as highly as someone whose favorite scripts are introspective character comedies. The reverse could happen just as easily. We hope that our readers aren’t swayed by their personal tastes, but they’re human, too.
By the way, throughout the competition we attempt to direct scripts to readers who might have an affinity for them. We ask our readers about their genre likes and dislikes. If one says, “I love horror and science fiction,” that reader will receive relatively more scripts in those genres. If another says, “I hate horror and science fiction but love historical dramas,” that reader will receive more historical dramas and as few horror and science fiction scripts as possible.
Winning Scripts
Q. What are the genres of the scripts that have won their writers Nicholl Fellowships?
A. Genres of Nicholl Fellows’ Entry Scripts (1989–2007)
action-adventure – 7
animated comedy – 1
comedy – 6
romantic comedy – 4
comedy-drama – 8
coming-of-age drama – 7
drama – 25
romantic drama-fantasy – 2
horror – 3
science fiction – 2
thriller / crime / caper – 16
war / terrorism – 9
Western – 3
Q. If you were a writer about to start a new script that you wanted to enter in the Nicholl competition, what stories would you consider?
A. In a way, story is everything, and at the same time the choice of a particular story doesn’t really make a difference. There’s a Graham Parker song title that probably applies here – “Passion Is No Ordinary Word.” Beginning writers have to be passionate about their stories and their characters.
It doesn’t matter whether you’re writing about a disaster at sea, alien hunters, cops investigating a murder in 1950s L.A., or a uniquely personal tale drawn from your own experience. Love your story, know it inside and out, and be passionate about your characters and their problems. When you’re connected to your material in this way, your energy and emotion will likely shine through to the reader. And that’s the person you have to grab – whether in a contest or in an agent’s office or in a big studio. If you really care about your story, maybe a reader will too.
Q. How many Nicholl Fellowship-winning scripts have been produced?
A. Of the 101 scripts that have earned their writers fellowships from 1986 to 2007, 14 have been produced. Warren Taylor’s IN THE DARK as IN THE EYES OF A STRANGER (CBS-TV), Radha Bharadwaj’s CLOSET LAND, Jim McGlynn’s TRAVELLER, Mark Lowenthal’s WHERE THE ELEPHANT SITS, Myron Goble’s DOWN IN THE DELTA, Ehren Kruger’s ARLINGTON ROAD, Mike Rich’s FINDING FORRESTER, Karen Moncrieff’s BLUE CAR, Deborah Pryor’s BRIAR PATCH (aka PLAIN DIRTY), Jacob Estes’s MEAN CREEK, Dawn O’Leary’s ISLAND OF BRILLIANCE (as ADMISSIONS), Doug Atchison’s AKEELAH AND THE BEE, Robert Edwards’s LAND OF THE BLIND and James Mottern’s TRUCKER.
Q. Can I read the Nicholl-winning scripts?
A. All of the Nicholl-winning scripts may be read at the Academy’s Margaret Herrick Library, whose core collection includes more than 9,000 feature film screenplays.
Since the Academy does not hold the rights to any of these screenplays, it does not make them available online. However, it is possible that educational Web sites or the writers themselves have done so.
After the Competition
Q. What do the winners win?
A. The winners receive $30,000, spread over a one-year period. It’s distributed in five $6,000 checks, paid quarterly – the first installment on day one and the second through fifth at the end of each quarter.
Q. I’m going to assume people can’t win more than one fellowship in a year.
A. That’s right. In fact, our rules state that you cannot hold another fellowship simultaneously. So if you accepted a Disney fellowship while you were a finalist in our competition, you’d be disqualified. (Having previously received a Disney fellowship would disqualify you on the basis of earnings.)
Q. The rules say winners are required to complete another script within the fellowship year.
A. The intent of the Nicholl Fellowships is to give fledgling writers the ability to take time off from their “day jobs” so that they will have more time to write. We don’t really care whether fellows write one screenplay or four during the fellowship year; it’s important only that they write. That’s the goal.
Q. What happens if a fellow sells a script or is hired to write one during the fellowship year?
A. That has happened on a number of occasions. Current fellows are free to sell scripts. In the case of a writing assignment, the fellow takes a leave of absence from the fellowship and returns only after completing the professional assignment. Fellows have two years in which to complete the fellowship requirements.
Q. Could a fellow participate in the Sundance Labs during the fellowship year?
A. Yes.
Q. What would happen if a full-time student was a winner of the competition?
A. That has happened on several occasions. A student winner would simply defer the beginning of the fellowship year until after the completion of his or her educational requirements. For instance, if we awarded a student a Nicholl Fellowship in November, and the student was not slated to graduate until the following June, we would defer the start of the fellowship year until June.
Q. I understand the names of those who place in the competition go out to production companies.
A. Each year, we compile lists of quarterfinalists, semifinalists and finalists that include each entrant’s name, script title and genre, contact phone number and e-mail address. We distribute the lists to producers, executives, agents and others in the development community who know about the competition and contact the Academy to request them. We do not release home addresses – only phone numbers and e-mail addresses.
In 2007, there were 146 names on the quarterfinalist list, 98 on the semifinalist list and 10 on the finalist list, including the winners.
Q. About how many requests for those lists do you get?
A. Each year, we distribute more than 200 copies of the lists, which seem to be subsequently passed along within the development community.
Q. Do the lists generate many phone calls and e-mails?
A. Anecdotal evidence suggests that while some quarterfinalists receive up to a half-dozen contacts, others do not receive a single call. Reaching the semifinals seems to generate more calls and e-mails, maybe 20 or so on the high end. One recent finalist reported more than 100 phone calls and e-mails.
Q. One hundred phone calls – from whom?
A. Some from agents, but more from development people at production companies and studios.
Q. Is there an awards ceremony?
A. Yes. Last year’s ceremony was held in November at the Beverly Wilshire hotel.
Q. Who attends?
A. The winners and their guests. Usually Mrs. Nicholl, though she was unable to attend in 2007. The keynote speaker (Phil Robinson in 2007). Fellows from the previous year. Nicholl Committee members and a number of Academy members who served as judges.
Resubmissions
Q. Because of the inherent subjectivity of the judging process, do you think it’s a good idea to resubmit a script that hasn’t advanced in previous years?
A. It’s difficult to say “yes, keep sending your $30 in” when it may be a waste of money. On the other hand, good scripts have been passed over. Given the subjectivity of the process and the fact that we try to direct repeat scripts to different readers, scripts often fare differently in different years. In fact, on several occasions, writers have come back and have done better.
Q. With exactly the same script?
A. Some scripts have been reentered over and over again. One script reached either the quarter- or semifinals four years in a row. (By the way, the writer of that script won a fellowship in 1995 with a different script.) A 1992 semifinalist won a fellowship with the same script in 1993; two previous semifinalists won with the same scripts in 1996.
Three past quarter- or semifinalists became winners in 1997. One of those writers had reached at least the quarterfinals with eight different scripts over the years.
From 1998 through 2002, we had three writers reach the finals in consecutive years and win a fellowship the second time around. Two did it with the same script; the third won with a different script.
Several writers who had not previously made it past the first round ended up winning in another year.
So persistence and perseverance sometimes pays off.
Age, Sex and Geography
Q. What is the age range of Nicholl Fellowship winners?
A. The youngest fellow was 21 when she entered the competition; the oldest was 64.
Q. What is the average age of Nicholl winners?
A. Just over 36.
Q. How many women have won Nicholl Fellowships?
A. 32 of the 109 fellowship winners have been women.
Q. How does that compare with the percentage of female entrants?
A. Since the beginning of the competition, just over 30 percent of the entries have been submitted by women.
Q. Where did the various Nicholl winners live when they entered the competition?
A. 63 of the 109 fellows resided in California; 14 hailed from New York; 5 were from Virginia; 4 from Texas; 3 from Pennsylvania; 2 each from Illinois and North Carolina; and 1 each from Arizona, Connecticut, Florida, Georgia, Hawaii, Iowa, Mississippi, New Jersey, Oklahoma, Oregon, Rhode Island, Utah and Washington, as well as 1 each from Ontario and British Columbia, Canada and from Tokyo, Japan.
Q. Why so many Californians?
A. Three reasons: first, in its initial year the Nicholl competition was open only to California college students; second, over the years about 36 percent of all entrants have resided in California; third, talented writers who want to break into the movie industry are apt to relocate to California.
Q. How have foreign entrants fared over the years?
A. Foreign entrants, more from Canada than from any other country, have reached the Nicholl quarterfinals and semifinals a number of times. Five Canadians have reached the finals, and two of them won after reaching the finals a second time. An Australian and U.S. citizens residing in Japan and New Zealand have also reached the finals (with the Tokyo resident becoming a fellow). About 5.5 percent of all entries have come from countries other than the U.S.; about 4.4 percent of the Nicholl quarterfinalists submitted their entries from a foreign country.
Submitting Scripts to Agents and Producers during the Competition
Q. Is it permissible to submit a script to agents and producers after you’ve entered it in the Nicholl competition?
A. Yes. Writers should continue any and all modes of marketing their script without regard to their status in the competition.
Q. What would happen if a writer were to sell a script during the competition?
A. Our rules state that writers cannot have earned more than $5,000 writing fictional work for film or television in their lifetime. Thus, it would be possible for a writer to reach the Nicholl quarterfinals, to sign a contract for the sale of a script, and to remain eligible for a fellowship, so long as he or she does not receive payment for the script during the competition.
Q. Can scripts be entered in the Nicholl and other competitions simultaneously?
A. Yes. But since you cannot hold the Nicholl Fellowship while you hold another, you could not win the Disney competition, for example, and then win a Nicholl Fellowship. Winning a competition in which you are hired to write (Disney) or in which your script is essentially under an option arrangement would make you ineligible for the Nicholl competition.
Q. Can a writer win or place in other screenwriting contests and remain eligible for Nicholl?
A. Yes. A writer can win or place in other screenwriting contests and remain eligible for the Nicholl competition, particularly if prize money does not secure rights to the writer’s script. If the prize money is contingent upon the winner signing an option or any other professional writing agreement, it will count toward the writer’s $5,000 earnings limit.
Q. When would winning a contest make a writer ineligible for the Nicholl competition?
A. Any contest that offers prize money of over $5,000 that is contingent upon the winner signing an option or any other professional writing agreement would make a writer ineligible for the Nicholl competition.
Miscellaneous
Q. Do you provide the judges’ notes to entrants?
A. No, we do not. While we recognize that such notes might prove to be valuable to entrants, we simply have found that it is physically and fiscally impossible for us to provide notes to thousands of entrants each year.
Q. How many scripts have been entered into the Nicholl competition since it started?
A. Through 2007 we’ve received more than 83,000 entries. Here’s the breakdown by years:
1986 – 99 entries
1987 – 459 entries
1988 – 223 entries
1989 – 1,395 entries
1990 – 2,888 entries
1991 – 3,814 entries
1992 – 3,515 entries
1993 – 3,854 entries
1994 – 3,934 entries
1995 – 3,695 entries
1996 – 4,181 entries
1997 – 4,006 entries
1998 – 4,446 entries
1999 – 4,150 entries
2000 – 4,250 entries
2001 – 5,489 entries
2002 – 6,044 entries
2003 – 6,048 entries
2004 – 6,073 entries
2005 – 5,879 entries
2006 – 4,899 entries
2007 – 5,050 entries
Writers and Screenwriting Contests
Q. Over the last few years, screenplay competitions have proliferated. Besides the obvious – the cash prizes – why should amateur writers consider entering competitions?
A. First, a few words of advice: Don’t enter screenplay competitions solely because you need the money. These competitions may seem like lotteries, with plenty of money to go around. But all of them, especially those that offer the largest prizes, are highly competitive. More than 99 percent of writers who enter contests will not receive a cash prize.
But there are a number of positive results that can arise from entering a competition:
Contests can serve as stepping-stones.
Winning writers, and occasionally runners-up, have used the “heat” generated by their contest victory or placement to jump-start their careers. Winners of the largest contests usually find an agent quickly (if they are not already represented). Their scripts are welcomed by major production companies and studios. If the writer so desires, this typically leads to meetings with countless development execs. Writers who have won major contests have often sold or optioned a script or been hired to write or rewrite a project within a year after winning. This often leads to other work or other sales.
Contest results can be added to a résumé or query letter.
Placing in a contest should certainly be mentioned in a query letter and added to a résumé when appropriate. While the mention of a victory or placement in an obscure contest will not guarantee positive responses from agents or producers, it can’t hurt you. Mention of placement in major contests has often garnered writers reads at agencies and production companies.
Contests can serve as yardsticks.
While most contests do not offer any kind of written feedback on an entrant’s script, the script’s performance may serve as a good indicator of whether the script is ready for submission to Hollywood agents and producers. Reaching the second round of any contest suggests that something is going right. Reaching an advanced round of highly competitive contests may suggest that the script is meeting or is close to meeting professional standards. On the other hand, an early departure from one or several contests may suggest that the script isn’t ready.
Contests can open doors and initiate professional contacts.
Since many contests use industry professionals as judges at advanced levels, it is possible to make contacts simply by advancing in a competition. Some contests provide lists of quarterfinalists, semifinalists and finalists to interested agents, producers and development execs. For a very few writers, these contacts have led directly to a career.
Contests provide readers.
For a writer who has no other means of getting his script to someone in Hollywood, contests represent an opportunity to get that script read.
Contests provide deadlines.
Writers have been known to complete scripts when a deadline looms.
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