Bank Robbing for Dummies by Robert Keith Watson
Blue Lady by Ron Cecchini
The Doll by Rich Figel
Paraplizzle by R. Ian Simpson
Stowaways by Daniel Wasserman
Terra Incognita by Tess Ortbals and JR Burningham
The Cows by Scott Donnelly and Joe Douglass
The Fix by Ryan Jackson
The Jack Johnson Story by Joseph Puterbaugh
The Jupiter Syndrome by Christine Downs

It doesn’t matter how these rumors got started, by whom or for what reason, what matters is that I am the boss and I take responsibility for what is said – good and bad. I stand by my competition, my script coverage business, each and every reader and judge that I employ. I only work with the best and the long history and reputation we have at The Script Department attests to that.

But one thing is crystal clear: The Silver Screenwriting Competition has grown exponentially and it’s time for us to address first round judging in a new way. Anyone who has spent two minutes or less with me personally knows that I am a professional and one of the kindest, most honest people you will ever meet in your life. Unfair and untrue accusations hurt more for that reason. But I do see that mistakes were made and I do not shy away from my responsibility to every writer who submitted.

If you have concerns about the competition, you are welcome to call my private office number 323-300-6051 between the hours of 10am and 4pm Mon-Fri and have a dialogue with me. If any entrant would like a full refund, you will receive it promptly. If you would like to send me your script and discuss it over the phone or Skype, I am at your service.

Please email me personally (I will be out of town from September 2nd through the 6th for the Labor Day weekend, however).

We are announcing the top ten scripts tomorrow, on schedule, and each and every one of us here, but primarily me, Julie Gray wants to let you know that we run this competition with heart and integrity and if a reader was publicly bitter about the process, if some of you have been misled to think that your entry fee is a coverage fee rather than an administrative fee, it is my responsibility to make that right. It is more important to me to run both my personal and business affairs with integrity than it is to wonder who is saying what and what their agenda is. I have one agenda. To do right by every writer who entered. I do not give credence to malicious rumor, only to the essence hidden within them – something needs to change.

Again, please call or email me for a full refund or with any questions or concerns you may have.

To help you understand how to write log lines for your life, let’s dissect a log line from the movie, Pretty Woman: “A cutthroat businessman who wants to remain detached needs a date for some social engagements, and hires a beautiful prostitute he meets… only to fall in love.”

This log line sets up the dilemma while making us feel empathy for the central character with the words, “A cutthroat businessman who wants to remain detached needs a date for some social engagements….” Then, it gives us the action that he takes, “and hires a beautiful prostitute he meets….” The irony is the goal: “fall in love” is completely the opposite of what he set out to do.

One log line for my life is, “When a work obsessed corporate executive experiences a perceived fall from grace when she is told that her contract is not being renewed, she is forced to turn her plan B into her plan A and discovers that her plan B was her plan A all along.” The set up of the central character is, “When a work obsessed corporate executive….” The dilemma is, “experiences a perceived fall from grace when she is told that her contract is not being renewed….” This is becoming a life experience for millions. The dilemma is prevalent. What do we do when our “moment,” which we’ve worked for all of our life, ends? The action is represented with “She is forced to turn her plan B into her plan A.” Many of us can connect with the idea that life takes a turn and we are forced to design a new plan. After this happens, many of us discover that the universe nudged us because it was our time. The goal is “and discovers that her plan B was her plan A all along.” This is utilizing irony as well. This is very universal. We can go back to our core and figure out what made us happy about doing our jobs in the first place. Then, we can design a new plan.

By writing theses types of log lines, you can find your truth. By finding your truth, you can write story from an authentic place. This will help you to identify your voice.

Next, I believe that writing a strong log line for your script, creating a powerful dilemma and having it stem into a clear goal will make your story work in the best way possible.

It is harder now than ever to get your scripts to land at the top of the pile. I have always believed that strong writing will rise. I have helped launch countless writing careers. While doing so, I have noticed some commonalities in the writers who make it. The biggest thing I’ve noticed is belief in self and a burning desire to make it happen.

If the writer starts their career with purpose, puts the work into writing the strongest scripts possible, learns the craft of storytelling and envisions success, it will happen. Learning the craft is the part that takes time and dedication. A large part of what I teach is getting the writer to draw from their truth and fictionalize it into their writing. I wrote a book, Story Line: Finding The Gold In Your Life Story that heavily explores this philosophy. It comes out in March of 2011. Guiding writers to understand this concept and a breakthrough method for constructing strong story that I’ve discovered has garnered big results.”

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We’ll be bringing you Jen’s guide in daily chunks over the next couple of weeks. For those entering the Golden Age of Television competition, this will be invaluable, practical help.