Contests in 2026: Do They Still Matter?

Screenwriting contests can be career accelerators—or expensive procrastination traps (sound familiar?). The difference is determined by strategy.

Two contests that consistently come up in serious conversations:

  • Nicholl Fellowships (Academy-backed, historically meaningful), which now emphasizes partner submissions and fellowship structure directly on its official site. 

  • Austin Film Festival (AFF), which already lists 2026 Script Competition deadlines and entry windows. 

Here’s how emerging screenwriters should think about contests:

  • They ARE NOT validation machines

  • They ARE distribution channels

  • They can create proof (placement) that offers script readings you couldn’t get otherwise.

The mistake is entering everything indiscriminately. So, what's the smarter play?

  • Pick 2–4 contests that align with your genre and goals.

  • Enter your best draft, not your newest (CRITICAL).

  • Use deadlines as a "forced rewrite" function.

And don’t ignore the hidden value- contests create community. AFF, for example, is built around the "festival-and-conference" experience, where screenwriters meet other writers and industry professionals in a storytelling-first environment. 

This week’s action: choose your “contest stack” for the year (3–4 max). Put deadlines on your calendar. Then build backward: “Rewrite draft due 30 days before submission.” That’s how contests turn into progress instead of noise.

The New Writer Tool Trap (and Final Draft 13)

Let’s talk software! Final Draft is still the industry standard, and Final Draft 13’s big emphasis is customization and workflow features that help writers stay productive (writing goals, different modes, outlining tools, and navigation upgrades). But here’s the trap: New writers spend more time picking tools than writing pages.

I’m not anti-tools. I’m anti-stalling. This is one way new writers often get caught up in option paralysis, which translates into procrastination. And procrastination is the success killer!

Software can help you solve problems like:

  • “I’m inconsistent with formatting,”

  • “I can’t track revisions,”

  • “I need a better outlining view,”

  • “I need to hit page goals weekly.”

What is shouldn't be used to solve:

  • “I’m scared my first draft will stink.”

Because it will. That’s the entry fee we all pay in the beginning. And that is a good thing, because it means forward movement.

A simple workflow that works with any modern screenwriting app:

  1. Outline in bullets (beginning/middle/end).

  2. Draft fast (don’t polish while writing- that comes later).

  3. Rewrite slow (structure first, then dialogue).

  4. Proof and format last.

This week’s action: set a writing goal inside your software (or on paper) - 90 minutes, two sessions this week. You don't have to finish the script. Just show up twice. Tools don’t create success. Habits do.

How Much Does a Screenwriter REALLY Make?

We often hear emerging screenwriters asking, "How much can screenwriters make?" The answer is crucial, especially the nuances of how deals are structured. Whether it's curiosity or survival, the real value of understanding pay isn’t about wistful daydreaming—in order to thrive as a screenwriter, you must know the rules of the game.

The Writers Guild of America (WGA) publishes resources outlining how compensation works across different deal types and experience levels, including a “Screen Compensation Guide.” 

Here’s the part emerging writers should focus on:

  • There are minimums (floor)

  • There are negotiations (ceiling)

  • There are deal structures (the actual maze)

Script “sales” are typically structured in one of three ways, each with distinct advantages and disadvantages:

  • Options (small money now, possible purchase later)

  • Purchases (price typically split into milestone payments)

  • Rewrite/polish payments (if you’re hired for additional work)

And if you’re selling a spec, negotiating a rewrite/polish can be crucial—because “work for hire” steps trigger different benefits than an option/sale alone. 

So what should you do with all this before you’re even WGA?

  1. Learn the vocabulary: option, purchase, steps, rewrite, polish, credit.

  2. Stop accepting “it’s complicated” as the end of the conversation.

  3. If you get interest, get advice—screenwriting lawyer, experienced mentor, reputable rep, etc.

Remember, watching out for your best interests is not “being difficult.” It's you being professional.

This week’s action: write a one-page cheat sheet of deal terms you keep hearing. Then look up each term until you can explain it to a friend in one sentence. That knowledge will pay off the moment a real opportunity arrives.

Streaming Is Pickier Now—So Make Your Pilot “Binge-Proof”

Streaming Is Pickier Now—So Make Your Pilot “Binge-Proof”
by Steve Kirwan

During the "streaming gold rush," tons of scripts were purchased, many of which were just plain awful. In the streaming correction that followed, fewer projects got greenlit, and quality became far more critical. Now, to even be considered, a script needs to hold attention. And that’s not about gimmicks—it’s about designing your story for momentum.

A binge-proof pilot does three things:

  1. Starts faster than you’re comfortable with.

  2. Ends with a question that needs an answer.

  3. Promises a repeatable engine, not just a cool setup.

In 2023, the Writers' Guild of America (WGA) deal that incorporated streaming platforms pushed streamers toward more transparency and new residual structures—signals that the business is adapting to the performance and subscriber realities already existing in screenplay and television writing. 

So what are streaming platforms actually hunting?

  • Worlds with clear rules (so viewers settle in quickly)

  • Characters with sharp contradictions (so scenes generate conflict automatically)

  • Stories that escalate without reinventing themselves every episode

One of the most common mistakes emerging writers make is writing a pilot like a slow-burn novel. Beautiful writing. Great atmosphere. But then, the episode ends, and nothing is left "hanging." That’s instant death in a scroll-and-swipe world.

Here’s a pilot test you can do today:

  • At page 10, does something irreversible happen?

  • At page 30, did the story complicate, not just continue?

  • At the end, did you change the character’s situation in a way that demands the next episode?

If you can’t answer yes to all three, don’t panic. Fixing structure is easier than fixing “no idea.” You've already done the hard part.

This week’s action:
Rewrite only your first 5 pages with one goal: introduce character + central problem + tone by page 3. Not “explain,” but Demonstrate.

TV After the Strike and ‘Minimum Room Size’

TV Staffing After the Strike: What “Minimum Room Size” Really Means for You
by Steve Kirwan

If you’re aiming for TV, you’ve probably heard people toss around “mini-rooms,” “short orders,” and “compressed staffing.” The truth is: staffing has been unstable—but the 2023 WGA agreement created clearer guardrails around room size and duration. 

Here’s why that matters to you, the new writer: the path into TV is still real, but the bar for being considered “ready” is higher. Because when rooms are tighter, showrunners can’t afford passengers. They need writers who can pitch cleanly, break story fast, write production-ready scenes, and take notes without melting down.

The staffing conversation also changed how writers should build samples. The “just write a pilot” advice is incomplete. In many cases, your pilot needs to prove:

  • you can sustain character engines,

  • you understand act breaks and escalation,

  • you can write scenes that shoot (not just read pretty).

Also, staffing minimums aren’t magic. They don’t guarantee a healthy room culture or that every show is hiring wide. They do mean that writers have a stronger contractual baseline in certain situations. 

So what should an emerging writer do with this information?

  1. Write a pilot that reads like a produced episode.

  2. Write a second sample in a different lane. (Feature or second pilot.)

  3. Practice pitching out loud. A showrunner can smell “I only write alone” from space.

This week’s action: take your pilot and write a one-page “season engine” doc: recurring conflicts, episode types, and what changes by the finale. That’s the muscle rooms use every day.

2026 Spec Market Up: What it REALLY means

The Spec Market Is “Up”… But That Doesn’t Mean What You Think
by Steve Kirwan

Every time you hear “spec sales are back,” your brain does the same thing: Okay—so I should write one spec and sell it for a life-changing amount. That story exists, but it’s not the point.

What is the point? Specs are heating up because they function as high-end samples—the cleanest way for studios, producers, managers, and actors to see what you can do without the baggage of an assignment. In August 2025, trade coverage pointed to a noticeable spike in spec activity—enough that people started talking about a “spec boom.” 

But here’s the part emerging writers miss: even when deals rise, the majority of writers “winning” are using specs to:

  • land representation,

  • get general meetings,

  • secure rewrite/polish steps,

  • get on lists for open writing assignments.

That means your goal isn’t “write a spec that sells.” Your goal is “write a spec that opens doors.” Those doors can lead to staffed TV, rewrite work, paid development, and long-term relationships—often faster than waiting for a lightning-bolt sale.

So what kind of spec works right now?

  • A concept you can pitch in one sentence,

  • A "first ten pages" that slap,

  • A tone you can own (not imitate),

  • A finish that proves you’re not just clever—you’re controlled.

Also, stop trying to write “what Hollywood wants.” Hollywood wants what audiences want, and audiences want a feeling: tension, wonder, terror, catharsis, laughter. You deliver the feeling, you become valuable.

This week’s action: write your spec’s logline in one sentence. Then write a second sentence answering: “Why does this only work if I write it?” That’s your edge.

The 2026 Reality Check: Why It’s Good News

The 2026 Screenwriting Reality Check (And Why It’s Good News)
by Stecve Kirwan

If you’re an emerging screenwriter, the best and worst thing about this business is that it changes constantly. One year it’s “streamers are buying everything.” Next year it’s “budgets tightened,” rooms got smaller, and everyone’s chasing fewer greenlights. If that sounds scary, here’s the upside: when the market gets pickier, craft matters more, and unknown writers with undeniable pages can still break through.

The last couple of years have made one thing clear: the industry is hungry for execution, not just ideas. “High concept” is still valuable—but it’s not a golden ticket. Producers and reps want to read something that feels like it already belongs in the world it’s aiming for: the tone is consistent, the characters pop, the set pieces deliver, the ending lands.

Also, the definition of a “winning sample” has expanded. A great script can now do three jobs at once:

  1. Gets you read

  2. Gets you meetings

  3. Gets you staffed or assigned.

That’s the real prize. And it’s why we’re going to focus your weekly reading on the smartest moves: what specs are doing, how staffing is shifting, what contests still matter, what tools are worth your time, and how to build a body of work that screams “hire me.”

One more thing: don’t confuse “industry news” with “industry destiny.” Headlines are weather. Your pages are climate. If you show up every week with new pages and sharper instincts, you’ll outlast the panic cycles.

This week’s action: pick one script you’ve been “thinking about” and commit to a tiny deadline—3 pages by next Sunday. Not because it’s a lot. Because it’s real.

How Do I Get My Screenplay Noticed?

Screenwriting requires social media networking

Screenwriting is not a spectator sport! It requires active participation because if you don't promote yourself, who will? One of the most common questions I hear is, "how do I get my screenplay read?"

It's really a straightforward proposition- put yourself out there. There is no magic pill. Hard, old-fashioned legwork in the form of networking your primary tool, especially when you're early in your screenwriting career.

As an emerging screenwriter. self-promotion is an elusive but critical component, especially if you don't currently have industry contacts. So how do you get those connections? Well, the first step is to acknowledge that it's not easy. In fact, you'll work harder at building relationships than you will writing. But therein lies the secret because if it weren't difficult, it probably wouldn't be worth the effort.

So, how do you build those relationships, especially if you're not living in Hollywood or New York? Start with your social media. The more sites, the better- Facebook, Twitter, Instagram, LinkedIn, and so on. Of course, your workload increases exponentially the more sites your on, because you have to be active. Consistency is key. Once you commit, you'll need to set aside time daily. Treat is just like its a job, because well, it is!

Seek those working in the industry and reach out. Don't "pitch" them. They don't care that you're a screenwriter- at least not yet. If you rush the process, and try to pitch early, you'll likely be blocked- or worse. Just connect, person to person. Allow yourself time, as this is a slow but steady process. Over time, your network will grow, and eventually, once you are in regular communication, you'll be able to share your work (as in MUCH LATER DOWN THE LINE!).

LinkedIn might be a great starting place because you can focus on specific industries. LinkedIn is a PROFESSIONAL social media, so completing your profile thoroughly, including pictures, headers, resume, the works.  I can almost guarantee that people on LinkedIn will look at your profile to ensure they don't waste their time, so having a quality profile is utterly crucial. It can make, or destroy, your career! Remember that building relationships, especially online, is as much an art as writing.

  • DON'T start by saying you're a screenwriter looking to sell a screenplay
  • DON'T pitch your contacts as your first communication
  • DON'T brag about yourself
  • DO join industry groups and participate
  • DO thank everyone who accepts your connection request
  • DO make your comments personal (use their names)

Duplicate your efforts on other social platforms, but keep in mind that they become less and less targeted as you go down the list. LinkedIn is the smallest but the most highly targetable. Focus on Facebook and Instagram next, followed by Twitter, and then the others. They should all be part of your marketing strategy and each can be helpful in unique ways. The first step to succeeding as a screenwriter is to master social media.

This process will take time. Six months to a year is not unrealistic. But, once you've built a network and started interacting regularly, you can begin to focus on specific people to grow your relationships. It's there that the magic can happen. People want to help those they have an affinity toward, so make friends. It may take time and effort, but the payoff is worthwhile. There is no shortcut or easy way to build your network. But if you're consistent and persistent, your odds of making meaningful connections will increase manifold!

Filmmatic Horror Screenplay Contest

Filmmatic Horror Screenplay Contest

The entry deadline for season 7 of the Filmmatic Horror Screenplay Awards is only 5 days away. As you all know, I'm not a huge proponent of screenplay contests, but many of our members do have an interest. So, if you're so inclined, here's the link for the soon-to-close Horror screenplay contest.

Here is the information from their website:

"The Filmmatic Horror Screenplay Awards were created to locate and expose up-and-coming horror/thriller screenwriters, as well as to empower and promote those talented writers still waiting for their invitation to the mainstream industry.

Competition is open to feature-length and short works, screenplays and teleplays. All types of horror and thriller projects are eligible. All Finalists and Winners will be announced by 2/15/23. Laurels will be awarded to Quarterfinalists, Semifinalists, 10 Finalists and 1 Overall Winner. See below for prize information."

ENTER DISCOUNT CODE "25vampires" FOR 20% OFF!

Filmmatic Horror Screenplay Contest

 

Writing Bold and Unafraid

Bold and Unafraid Screenwriting

Many new screenwriters write as if they've never sold a screenplay, and readers can smell it like sharks in water. Timid writing, born of inexperience, will kill your chances as quickly as any grammatical or formatting error, and likely faster. Pro-level writing demands a commitment to craft far above the average screenwriter. It demands a gritty authenticity and boldness most new and emerging screenwriters have yet to develop. Well, it's time to knuckle down and buckle up, because if you don't write that way, you're doomed to fail.

Quality screenwriting is a blood sport. Timid story lines and weakly written characters don't inspire confidence, detracting from the overall tone and timbre of your screenplay. They drag down the overall impact, resulting in a lack of interest or worst of all, outright boredom. As immortalized by those great American poets Def Leppard, "it's better to burn out than fade away!" If you incorporate intensity and authentic boldness into your writing, you'll catapult into the rarefied air of experienced screenwriting.

As I said, screenwriting is a blood sport. The competition is fierce and the odds of success small. A screenwriter friend once told me that he believed "screenwriting is where the lottery goes to gamble."  That may be true, but I never became a screenwriter to get rich. That's what the lottery's for, LOL. I do it for the love and craft of writing, to challenge myself, and to make my voice heard. If you are serious about screenwriting, you need to dig in deeply. Treat your story as if its the antidote to a dying world. Make your writing burn with the same intensity that made you want to write in the first place. If you don't, readers will know it and you're screenplay will be doomed.

Every character, every plot twist and turn, and every page you write should be bold and unafraid. Let your passion shine through so that a reader, and if you're lucky and prepared, a moviegoer, will feel your passion. Passionate writing is interesting writing, and dull, dry writing is the kiss of death. Don't shut yourself down before you started. Write like your life depends on it. Your career just might!

WELCOME TO ASA (AMERICAN SCREENWRITERS ASSOCIATION)

The core mission of American Screenwriters Association (ASA) is to support, promote, and assist emerging screenwriters to ensure that they have all the tools needed to hone their skills and sell their screenplays.

We are dedicated to creating a dialog between screenwriters, producers, filmmakers, actors, and industry to ensure mutual success.

© 2023 S.Kirwan

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