ALL ENTRIES ON THE ISA SITE INCLUDE GENERAL FEEDBACK!
A Table Read can help change your script, one of ours can jump-start your career! Winners will be flown to Park City, Utah during SUNDANCE and Slamdance! Grand Prize Winner will have their screenplay read by professional actors and workshopped by a director. We cover Hotel & Airfare expenses during the festival. Plus, you'll get to network with the people who can change your career! Parties, Movies, Celebs & more!
Submission options include Feedback options:
Short Film Submissions:
- Feedback for $30
Television Pilot or Feature Film Submissions:
- Feedback on your first 20 pages for $30
- Full script feedback with 2-3 pages of notes for $55
Feature/Pilot Grand Prize Winner:
Q: How do I enter for one of the other cities?
A: Only oneï¿½able Read My Screenplayï¿½competition is held at any time. Future contests will be announced after Table Read Park City closes.
Q: What forms of payment do you accept?
A: We accept all payments through PayPal; however, you do not need a PayPal account to use it. Once you are taken to the payment page, you can select Pay by Credit/Debit Card.
Q: Do you accept check or money order by mail?
A: No; all payments must be made through PayPal.
Q: I would like to mail you a hardcopy of my script. How can I do that?
A: In an effort to maintain a green company, we only accept screenplays and teleplays through our website or one of our partner websites (the ISA, FilmFreeway, WithoutABox).
Q: Should I include my contact information on my title page?
A:You may, but it is not required. If you choose to do so, you may include your contact information on the title page, but it does not affect judging either way if you choose not to include it.
Q: Who will be reading my screenplay/judging the contest?
A: The final panel of judges will be comprised of members of the Los Angeles Film Community, including but not limited to producers, managers and established writers.
Q: Will you fly me to Park City, UT if I win?
A: It depends which category you enter:
Q: Can I enter my Short script as a Pilot?
A: You may enter your script however you wish, however our judges will be looking for formatting and structural techniques that are unique to each medium.
Q: When is the Table Read?
A: The Feature / Pilot showcase reading will be during Sundance Film Festival in January 2018. We will work with the winner to determine an ideal date to the best of our ability. If the final date as selected by TRMS does not work for the winner, TRMS will not provide any cash value matching for the non-accepted airfare and hotel, or movie ticket expenses turned down by the winner. We will be as flexible as possible, but the ultimate decision resides solely with TRMS.
The Shorts Winner will receive a digital recording of their script's Table Read no later than March 1st, 2018.
Q: Can we gift the Sundance film tickets to someone else?
A: The prize of Sundance film tickets is not transferable, and are forfeited if you decide not to attend the festival. However, if you know someone attending Sundance, you may bring them to a screening with you.
Q: Is this contest affiliated with Sundance or Slamdance?
A: While Table Read is not affiliated with Sundance, we will make every effort to ensure you enjoy the Festival and your time in Park City.
Q: How will I, as the Feature/Pilot Grand Prize Winner, participate in the Table Read?
A: You sit back, relax, and observe as a director works scenes from your winning screenplay with the actors in preparation for the showcase of your first 20 pages. We will also do a full table read of your script. There you can take a few notes of what's working and what might need some tweaking. We encourage you to watch the process rather than reading off the script because you will get to listen again when you receive the recording.
Q: Does the Short Grand Prize winner receive a Table Read?
A: The Shorts Winner will receive a live recording of their Table Read, which will be posted on ISA's Curious About Screenwriting Network and provided to the ISA's list of Industry Professionals.
Q: Do I maintain the rights to my screenplay?
A: YES, you retain all the rights to your screenplay. Table Read My Screenplay seeks to support and empower writers, rather than claim their hard work for ourselves.
Q: Do I need to submit a Synopsis?
A: Synopses are not required, and are not considered during the judging process.
Q: Can I submit a screenplay under a pen name?
A: Yes, you may use whatever name you wish, understanding that that is the name Table Read and the ISA will use to promote your script, should you win.
Q: Does my screenplay have to be registered with the Writers' Guild or another organization?
A: No, but we doï¿½ï¿½ï¿½recommendï¿½ï¿½ï¿½registering your work with the WGA West, the Library of Congress Copyright office or other similar organization in your country. It's really easy and a VERY smart thing to do.
Q: Is an adaptation of a published novel or other work written by somebody else eligible?
A: You must have the legal rights to adapt the book to enter your screenplay. Either the original work must be in the public domain, or you must have the author's permission to adapt it. Spec scripts without written permissionï¿½ï¿½ï¿½will notbe considered.
Q:Can I send you a revised copy of my script??
A: Once we have received your entry, you have 24 hours to contact us about any replacements you need to make. After the 24-hour period is through, NO script revisions will be accepted FOR ANY REASON. If you would like to enter a revised version of your screenplay, you may do so as a new entry.
Q: Can I make changes to my genre or logline?
A: Yes, you may change your listed genre or logline at any time; simply e-mail us atï¿½ï¿½ï¿½info@tablereadmyscreenplay.comï¿½and let us know about the change. Once the contest is closed, we will not be able to make any changes.
Q: What stops you from taking my idea and developing it yourself?
A: Our panel of judges is comprised of respected industry professionals, and they have no intention of stealing your material. Theyï¿½ï¿½ï¿½re actually hoping to find new talent to work with. If you make it to the Semi-Finalist round, your work will be seen by these professionals, which in turn, gets you one step closer to getting your screenplay produced. You can sit at home and protect your ideas all day long hoping for that one right person to come along, or you can get your work out there and show us what you've got!
Q: Do you accept Web Series?
A: Yes, Web Series will be considered for the Shorts Prize and should be entered as such. However, we will only consider the Pilot episode of your Web Series.
Q: What about series intended for streaming (Netflix, Hulu, ABC Digital, etc.)
A: Generally-speaking it depends on script length; any Pilot over 20 Pages should be entered as a TV Pilot (likeï¿½ï¿½ï¿½Stranger Things, Catastrophe, etc). Series with shorter episodes likeï¿½ï¿½ï¿½Forever 31ï¿½andï¿½ï¿½ï¿½Agents of S.H.I.E.L.D.: Slingshotï¿½ï¿½ï¿½should be entered as Shorts.
Q: Can TV Pilots win the GRAND PRIZE?
A: Yes, Features and Pilots compete for the same prize; TV Pilots have won in the past.
Q: What's the minimum/maximum required page length?
A: Guidelines for suggested page lengths:
Q: My Feature Script is over 120 Pages. Will I be disqualified?
A: Scripts that run over suggested page lengths will not be disqualified; however, extra pages can affect everything from pacing to structure to marketability, and we would advise you to get your script as close as possible to where the industry expects it to be.
Q: Will I be charged more if I go over 120 pages?
A: The entry fee does not change. However, if youï¿½ï¿½ï¿½purchase feedback, we will need to invoice you $1 per page extra for the Reader, who will receive every cent of the additional fee.
Q: Can I enter two scripts in one document?
A: You may enter up to three scripts per entry, but all scripts MUST be in their own PDF document.
Q: Can I submit an episode from my series besides the Pilot for consideration?
A: We would advise against this, as our judges consider all TV episodes as if they are the first in the series. No one would read a film script that starts on page 20.
Q: Does the choice of genre matter in my submission?
A: Yes, but only to determine what your goal is for your work; ie, if you submit your script as a Comedy, we would expect it to be funny. All genres are in competition with one another, and there are no genre-specific prizes.
Q: The genre of my script is not an available choice; how should I enter?
A: You should choose the genre that is most closely associated with your script. If you have any questions, feel free to e-mail us atï¿½ï¿½ï¿½info@tablereadmyscreenplay.com. That said, we willï¿½ï¿½ï¿½notï¿½ï¿½ï¿½consider scripts for documentary, erotica, reality TV or musicals.
Q: Can I submit my screenplay in multiple genres?
A: Yes, you can; however, you will have to pay an entry fee each time as if they were separate scripts.
Q: Can multiple scripts from one writer place in the Top 100 Semifinalists list?
A: Yes, some writers may have more than one script reach the Top 100. Table Read My Screenplay is interested in promoting scripts as well as writers, and as such we choose the Top 100 scripts that we receive to move on to the Semifinals.
Q: Are Shorts part of the Top 100 Semifinalists list?
A: Beginning with this year's Table Read Park City, we will separate Shorts and Web Series onto their own Top 25 Semifinalists list. For all contests prior to that, Features, TV Pilots, and Shorts are all featured on the same list.
Q: I don't live in the United States; am I still eligible?
A: Yes, we accept International entries, but all submissions must be in English.
Q: My country currently cannot do business with the US so I cannot pay; may I receive a waiver?
A: Unfortunately, at this time we cannot grant waivers.
Q: Will you pay for my flight even though I don't live in the US?
A: Table Read My Screenplay will up to $1,500 for an international flight, and up to $800 for a domestic flight..
Q: If I choose not to fly or stay in your hotel, is there a cash equivalent?
A: No. If you decide not to utilize the flight or hotel, they are simply forfeited.
Craig is an award winning writer, director and producer whose short film projects, Contract Killers and Karma Café, won acclaim both nationally and in his native Chicago, IL. He's written and produced a number of independent features as well as a television pilot called Wrigleyville. The pilot was very well received and helped Craig get a manager in Los Angeles. Unfortunately however, even though there was some network interest in the pilot, the writer's strike quickly changed the direction of that project. In a strange and wonderful way the result was that the International Screenwriters' Association (ISA) was born! Now Craig’s focus is on the expansion of the ISA and growth of its international membership. He is developing some writing projects in his spare time and hopes to get back to writing, producing and directing soon.
We are squarely focused on supporting emerging screenwriters in their professional growth by providing nearly every tool and resource available in the industry. It's our express goal to support writers of any level or background, who are proactive in developing their careers and are willing to learn from the insights and expertise of our community members. Screenwriting takes perseverance. The harder you work, the better this site will work for you.
I can't say that I've ever experienced a script or film about Canadian political espionage before. For that alone, I thought that this script had a uniquely engaging subject matter. While I might have heard rumblings about Quebec's separatist factions, this script digs deep into the divergence of the political philosophies in that part of Canada. Essentially, there are those who wish Quebec to be self-governed and separate from the rest of the country, and those who wish to keep Canada united under one national banner. Somewhere caught in the middle is Patrick, our protagonist. Clearly, Patrick falls on the side of the Alliance for a Unified Canada, but when he is being used as a pawn for their less-than-above-the-board leadership, his return to his RCMP roots is inevitable. I liked that the writer had a pretty clear way of presenting the political dichotomy, and also that he did a good job of showing that Patrick was between a rock and a hard place. As a protagonist, Patrick worked for me, because he didn't relish his return to police espionage, but I believed that he didn't have much of a choice, and that his motives for involvement as a sort-of spy were pure. In other words, I trusted him - which, I would assume, is exactly what the writer was going for.
I also thought that the writer was quite inventive in his creation of death devices. I loved that the rifles were controlled by scopes and remotes embedded in cameras. In this way, there didn't even have to be anyone touching the guns in order for them to perform their assassination. Also, this gave plenty of great opportunities for the devices to be used to different ends. The final showdown between English, the political figures, and Patrick, the writer makes great use of these guns in the action. I thought that this scene was really well-paced and well-timed in its placement within the script. The description kept the action clear, and it was fun to follow.
I would have liked to see a bit more action earlier in the script, though. I didn't feel a strong sense of danger for Patrick until the last 25 pages of the screenplay. I think that one way to heighten the tension would be to do some work on Munroe's credibility. Since Patrick is already aware, from his run-in at the train station, that English killed Simon, it isn't much of a stretch for the reader to instantly cotton-on to the fact that Munroe must be in cahoots. When this is revealed in a straightforward manner to the reader, I think that any reader would already know this fact from earlier context clues. I think that he writer could have made this collusion between Munroe and English more of a surprise. I'd rather see this as a powerful revelation, and a useful turning point in the plot. As it is currently written, I feel that it lacks the power for which it has potential.
Besides this, I feel that the writer didn't do the necessary work in the plot to maximize the presence of Monique in Patrick's life. Although we meet her in the second act as a waitress who piques Patrick's interest, her agency in the events of the plot are minimal until the very last moment. There isn't any work done by the writer to develop a relationship or a connection between these two characters. When Patrick asks Monique to take him out on the town, I felt that this was coming out of nowhere, and was slowing down the action of the main plot. In the middle of all this life-threatening danger, Patrick was dragging a cute waitress into the action? Why would he lose focus like this at such a vital moment? I felt that their relationship and their trust should have been developed in the first act, or at least earlier in the second act to make her involvement carry more weight. In this draft, when she is revealed as an agent, the double-cross doesn't hold much emotional punch. Patrick barely knows her, and we have no sense that she has earned his trust before she turns around and betrays him. In other words, I didn't feel any disappointment, but I think that I should have.
Finally, I had a hard time getting into the story in the beginning, because I was confused by the writer's choice to cut between Patrick's classroom in 1991, and actions that English performs in 1990. I didn't understand why the timeline was shuffled in this manner, or in what way this was benefitting the telling of the plot. Also, I thought that Patrick's lesson on the political unrest in Quebec went on too long. It is usually not beneficial to start off an action film with too much of a history lesson. I had to trudge through these opening scenes before I was able to settle in and enjoy the rest of the story.
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