Basically here's all you need to provide: two copies of your feature film screenplay, the entry fee, and a completed application (application, synopsis, and  release). The screenplay must not have been sold or optioned at the time of submission. Work that is not the original idea of the author must stem from information in the public domain or the author must send written proof that they control the rights to the material. See our entry rules if all you are looking for is an outline of the the submission process.

Where can I get my application?

Applications can be printed from our website, downloaded in pdf format if you have the Adobe Acrobat Reader, or you can contact the American Accolades by mail for a hard copy. When requesting by mail, please include a stamped, self addressed, business sized envelope to:

American Accolades Screenwriting Competition
2118 Wilshire Blvd.
Suite 160B
Santa Monica, CA 90403

When is the American Accolades entry deadline and what does it cost to enter?

Entries must be post-marked by the following dates in order to be considered: 
FINAL  DEADLINE: February 25, 2006 / (fee/$60)

All payments should be made by check or money order, payable to: The American Accolades.   

All writers who compete automatically receive new application forms for subsequent competitions.

May I enter more than one screenplay?

Yes. Applicants submitting more than one screenplay must use separate application forms and include separate entry fees for each screenplay in competition. Writers submitting multiple scripts in the past have photocopied their application forms. This is acceptable and encouraged.

May I use any form of delivery service?

Yes, as long as your package is postmarked, dated, or arrives on or before the deadline.

How do I protect my screenplay?  

Many Copyright material and/or register with the WGA.  


May I use foreign currency to pay the entry fee?

No, only payments in US dollars. International writers should pay their fee with a money order, issued at any bank.  Screenwriters wanting to pay with cash may do so, but they must send the money at their own risk. 

How should I choose a competition?

Be aware that some competitions are not run by professionals. Check the credentials of the Director of the competition you are considering. Also, sometimes the location of the competition might give you a hint about its credibility. Competitions based in film-making towns are more likely to expose your material to Hollywood insiders who know the business.

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Eligibility

Writers from all countries are eligible as long as the screenplay being submitted has not been sold or optioned at the time of entry.  Applicants must be 18 years old or older at time of entry.

Yes. Adaptations of literature in the public domain, like Grimm fairy tales and the bible, are eligible. Adaptations or stories stemming from information that is not in the public domain (e.g. life rights of most living individuals, or for recent literature) may be submitted with documentation that shows you have secured your right to author a screenplay on the subject. Determining whether or not something is in the public domain is a critical issue and should be the first step all writers take before embarking on the journey of writing a screenplay based on anything other than an original idea.

Are collaborations eligible?

Yes, and encouraged if it helps your writing process. The drawback is that all prize winnings must be split between collaborators. If you are collaborating on a project, please note that all writers must sign the application to the American Accolades.

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Format Guidelines, Presentation, and Submission Tips

Screenplays must be written in English!

Most screenplays that are sold resemble each other in format. Make sure your material falls within acceptable formatting boundaries.

Research screenwriting formats described in "how-to" books. Consult your library or buy a book or two on screenwriting. The Writers Computer Store in West Los Angeles has several helpful books.

Here are some links containing examples of screenplays that have sold (if your computer software supports it):

LETHAL WEAPON by Shane Black

PULP FICTION by Quentin Tarantino, stories by Quentin Tarantino & Roger Roberts Avery

Don't cheat your margins. Stay within 1 to 1.25 inches on all sides. If you cheat, professionals will notice.

Font Style and Size: The industry standard is Courier 12-point, but similar fonts are acceptable. If your font is too big or too small, your screenplay will have the appearance of being too short or too long, even if it falls within the 100 - 135 page limits. Whatever font you use, make it one that facilitates a fast read.

Proofread your screenplay. Avoid senseless mistakes that might pull your reader's attention from the story, such as typos, punctuation, or grammatical errors. After you type "Fade Out," run a spell check on the screenplay.

Double-check your pages. Be certain your pages are there and in order. Photocopy machines and human error will hurt your chances of winning if part of your screenplay is missing.

Page Length

100 to 135 pages. This is an approximate figure based on industry standards. It is your job as a writer to determine the appropriate length of your screenplay. Ultimately, the story you tell will dictate the length of the screenplay.

Be aware that judges may be prejudiced against screenplays that are too long...but only if you fail to captivate them.

How should my script be bound?

It should be photo-copied on 3-hole paper and then secured with two metal fasteners called "brads." Brads are metal fasteners commonly used within the film industry to bind scripts together. Acco brand # 5 or 6 brads are usually the right size. Brads that are too short or flimsy will not hold your screenplay together. Be sure your brads firmly hold your script in place.  Some submissions have been known to fall apart--and we're not talking about the plot!  Also, brads that are too long may stick out and snag an Armani suit!

Please hand write the title of your screenplay on the spine of the script. The spine is the edge of the screenplay that is connected by brads. If the screenplay were a book on your shelf, the spine would be what you could read. Screenplays will be sorted alphabetically by title at the American Accolades. Use a felt-tipped pen and write on the edge in capital letters. With long titles, it is okay if you run out of space. Just end the incomplete title with "...".

For best results, hit the bound edge against a flat surface before writing on it. This will smooth the surface for handwriting. (FYI: Do not do this when submitting your screenplays to agents, studios, and production companies. They may think your material is recycled if you send it in like this.)

Can I bind my script in any other manner?

Yes, but brads are the industry standard.

Script Covers

Covers are not necessary. They are a style preference that you can use if you like.

What identifying information do I place on the screenplay title page?

Type the title, author name(s), draft date, and your contact information (address, phone, email, etc.) on the title page. If it is WGA registered, include that information. If you have an agent or manager, you can include that information if you desire. This title page will be pulled off and filed away before your material is sent to judges. This protects all writers from name, gender, and any other form of potential bias. It also explains why the title on the bound edge is important. Do not include any other identifying information anywhere else on the screenplay.

What happens to scripts that aren't formatted correctly?

All entries will be scored. You could submit a novel or a handwritten screenplay on toilet paper if you like. We'll let common sense be your guide with this issue.

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Judges and the Judging Process

Screenplays are read, evaluated, scored and discussed. Top screenplays are advanced to new judges in subsequent rounds. The better the screenplay, the more reads it will get. Proceeding up the chain increases your chances of making professional contacts. The winners will be determined by our Finalist Judges. These industry professionals will read and discuss the screenplays with the highest scores (the top 15, or approximately 3 per genre category). Voting will ensue and the winners will be contacted by mail, telephone, and/or email.

Who reads?

The American Accolades does not reveal its judges by name, but the people reading may include producers, actors, writers, managers, studio execs, agents and/or professional readers. The farther your material advances, the more likely it is to be read by high-profile Hollywood professionals.

How do I advance?

Your ranking/scores determine how you advance. While it is more complex than this, essentially your scores are added together and the screenplays with the highest scores move ahead.

Once I've submitted my draft, will I ever have an opportunity to resubmit a newer draft?

No, this is not fair to other contestants, nor to the judges. However, if the deadline is not behind you, you can reapply (i.e., submit with a new application and fee). In this case, you will have both versions of the same screenplay being judged in the competition. Of course, there is always next year...

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Judging Criteria

What is the judging criteria?

The American Accolades provides its judges and readers with score cards containing guidelines for screenplay assessment. We do not reveal this information to our contestants. Rest assured, what's most important is that you write riveting stories. While any competition is not 100% accurate, essentially the best screenplays and the best writers will win. We feel confident saying that because each finalist will have their screenplay read by multiple judges, all of whom must like the material enough for it to advance.

Over $11,000 in Cash and Prizes

15 finalists receive a comprehensive story analysis valued at $120.

The 15 finalist names and screenplay titles are posted on the American Accolades Hall of Fame web page.

The 15 finalists receive a Syd Field DVD valued at $29

This category is for authors who write anti-structure films, obscure stories, or engage in genre bending. It gives all writers an opportunity. It also serves as an excellent safeguard in case there are two exceptional screenplays written in the same genre. Under these circumstances, the "other" category may actually be a second screenplay from one of the above-mentioned genres: Thriller, Horror, Comedy, Romantic Comedy, Drama, SciFi, or Adventure. See our synopsis application page for a more comprehensive list of genres we expect to receive.

Do I have to state the category in which I want my material entered?

No. The judges will determine the winners and place the screenplays in the appropriate genre categories. A film like "Serenity" clearly demonstrates genre-bending (i.e. SciFi, Western, Action, Comedy). Our judges will decide where a screenplay fits best. However, there is an area on your application where you circle applicable genres for your screenplay.

Can my screenplay win more than one genre category?

No. The most your material can win is one genre category and the grand prize; therefore, each year the American Accolades will always have 15 finalists, five genre winners, and one Grand Prize Winner.

Finalists are posted on our website, where the information can be printed. Hollywood professionals and other individuals requesting further information about writers can contact the American Accolades for the contact information for our contestants (provided they wish to divulge it).

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Can writers submit material to agents and buyers during the competition?

Yes, of course. Writers should always be in the business of selling themselves.

What happens if I sell the script during the course of competition?

Congratulations! Selling your screenplay is an achievement we want all of our contestants to experience. This will not prevent or improve your chances of winning our contest. We look forward to seeing our contestants screenplays projected on the silver screen.

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Feedback

What feedback will judges give me?

There are many services that offer in-depth screenplay analysis for writers such as The Academy Writers Clinic. See our links page for more examples of companies that offer these services.

The American Accolades is a screenwriting competition, not an evaluation service. Judges are not obligated to provide feedback to writers. This rule limits our judges' workload and keeps the cost of competition to a minimum, thus ensuring that the competition will continue year after year.  However, the American Accolades will attempt to provide contestants with some broad-stroke feedback (though not a guarantee). Also, as mentioned, our 15 finalists will receive a comprehensive story analysis.

Will my material be returned?

No. This would make the competition more costly and generates work that is unnecessary for the purposes of this competition.

Semi finalists and finalists often parlay their success to their advantage when speaking to (or sending query letters to) agents or producers.

Make professional contacts:
Reciprocally, agents, studios, and production companies who know about the American Accolades may seek out the winning material and meet with the writer. Some competition winners sell their material or find writing assignments in the Hollywood community.