Learn to Write

2020's grand prize winner received industry introductions to Devon Byers of First Fridays Ent, Andrew Kersey of Kersey Managment, and a one hour consultation with Mark Saffian from the Content House. Other finalists had consultations with Chalie Osowik from Osowik Managment in NYC, Justin Ross of the Bohemia Group, and Eric Boshart of Forest Road.

Great experience and competition! 👍

This was a good festival, and not because I won, but because they delivered on everything that the festival claimed they would. After announcing the winner, the emails with industry contacts and notes came fast. The director of the festival made communication reasonably easy. Although I didn't know much about the process, I was always steered in the right direction. I am humbled that my work was chosen winner in this very professional and prestigious event.
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The New York Metropolitan Screenwriting Competition is very well run, serious about film and supportive of screenwriters. They provided helpful notes, contest evaluations and introductions to film executives as promised. They were polite, prompt and positive in all their communications. Thanks to Joseph and his team for reading, judging and promoting Welcome to Valhalla, one of the top three prize winners in 2020.
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It was an honor to have my screenplay named a semifinalist in the NYMSC.
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2020 Winners

Grand Prize Winner!

Felsbrocken by Martin King

Finalists

Welcome to Valhalla by Karl Mather

The Prosecutor's Witness by Donald Ray Schwart

Semi Finalists

Ripley of Valor by RB Atkinson

Bitter Beans by Grietje Fortuin

The Freedom Ring by Michael Soussan

Love Thy Neighbor Jean Buschman

First and Ten by Carl Chambers

The Fixer by Tom Holloway

Camouflage by Christopher Willis

Revive Us Again by Sandra Reed

Three Rivers by Sarah Stusek 

The Scarecrow by Gemma Paul

Triangle by Akiva Penaloza

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The following is from an interview with the very talented Martin King, our 2020 Grand Prize Winner.

What's your background? How long have you been writing?  And what made you choose and or transition into screenwriting? I've been writing in some fashion as far back as my childhood. Always have been a storyteller of sorts and a lover of films, screenplay writing seemed like "natural selection," a place where my imagination could evolve.

What screenwriting training have you received? And what were some of your biggest breakthroughs? My only training is watching film and reading. I've dabbled in screenwriting for years. My first work was something I wrote years ago, "Frank & Harold" which I and a friend of mine produced and directed. It got some traction but I wouldn't consider it a breakthrough. I've written, directed and produced a short "Atomic Cocktail," winner, Palm Beach Film Festival & The Nihilist Film Festival, and a comedy feature, "Attack of the Slime People," winner, Ruff Cutz Film Festival.

What else have you written? What writing habits work for you?  Do you write in short bursts or long shifts, in the morning or late at night, do you write at coffee shops, at home, or at the office when no one else is looking? I'm an author of two novels and a book of poetry. I try to write a little each day, but often it's hit and miss, between moments of inspiration and lethargy. When writing books, I tend to go in long shifts, usually all nighters. I prefer isolation when I work.

What's the title of the script you entered, and what's it about? "Felsbrocken"  "A Nazi concentration camp commandant secretly befriends a Jewish prisoner to create a new kind of music."

Where do you look for inspiration and what inspired you to write this script? I can get fixated with Zeitgeist phenomenon and it can be a source of inspiration.  I'm a history buff, especially geopolitical and international conflicts. WWII stories for some reason grab my attention.

Describe your process? Do you outline your story first? Do you use notecards or a beat sheet? Or do you simply sit down and let it flow? Not big on formal outlines, however I find value in a good beat-sheet. Once I establish that, then I can let it flow.

What was your experience with our festival? Are you happy with your involvement? What did you like most about your experience? And what could we improve on?  This was a good festival, and I guess I say that because I won, my first win in a screenplay competition. Very happy to be involved. I guess I could say I wish there was more intra-competition between the writers. It seemed somewhat remote, communication by emails and phone calls. Would have been nice to have some kind of video presentation or a teleconference with festival staff and the winning writers. I'm a sucker for ceremony.

What are you writing now and what do you plan on writing in the near future? Got one in the oven, hopefully it will be ready in the next few months. And of course, there are always a couple on the stove top, on slow simmer.

Any advice for those about to dive into their first feature-length screenplay? Never go gravity, go helium. If your story does not uplift and inspire you, then don't waste your time.

Last, but not least, what have been your biggest victories since entering our festival? Any more awards, any representation, any options, connections, new opportunities, and or plans to move to New York or LA (or stay if you’re already here)? It's been a couple of weeks since I won. Yet the Red Sea has not parted. Maybe it takes a month...lol. I'm a native of LA, no need to move... so it's business as usual, as I continue to plow though the soil of the writer's mind. We'll have to wait and see what the universe wants to grow.

I was drawn to this competition because as an east coast inhabitant, I cringe whenever people say that all the best screenplays come from LA. What does Louisiana have over the rest of us? This is an outstanding contest that does not focus specifically on New York subject matter. Just good writing.

Friendly, positive and fantastic at feedback - I would recommend these guys to everyone.

The staff I have interacted with at NY Metro Screenwriting Competition has been fantastic. They are respectful and encouraging. They are truly supporting screenwriters. I would recommend this competition!

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2019 Winners

Grand Prize Winner!

She's Unexpecting By Angela Vaut

Finalists

Perigee Heart by Robert Languedoc

Sideshow Bandit by Marie Wilson

Semi Finalists

Beauty Possessed by Ben Lokey

Nice Trick by Justin Jackson

Katharine to Tesla, Faithfully Yours Written by Natalie Paige Bentley

Honour by Richard Sloggett

Exposed by Sheri Davenport and Lois Norman

The O’Malley by John F. Sarno

Connecting by Tristan McIntosh

The Bliss Killer by LeLe Park

WWJD by Samuel Garza Bernstein

Committed by T.N.D.

Richer than a White Man  by Christine Stevens DeLorenzo

At the Mercy of Faith  by Samuel Lee Taylor

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The following is from an interview with the talented Robert Languedoc, a previous finalist.   

1. What's your background? How long have you been writing?  And what made you choose and or transition into screenwriting?

Formally educated in Engineering and Computer Science, I’ve written technical papers for conferences and symposia for decades. When our first was born, I temporarily left industry to be a stay at home dad. A consummate consumer of movies, I always wanted to write a screenplay. Coupled with the free time I had while on sabbatical from the workforce, I decided to see if I had what it takes. In college I wrote a syndicated humor column, but I hadn’t attempted anything so ambitious as a screenplay. Spurned on by youthful optimism, I wrote my first screenplay after reading an article that detailed the shortage of scripts in Hollywood for aging actors.

2. What screenwriting training have you received? And what were some of your biggest breakthroughs?

I printed out a fifteen page article off the internet explaining the major points of script formatting, then I starting writing my first screenplay. I think formal education in the arts can make you better but can never make you great. I learned this from watching my son play the trumpet. He’s an accomplished horn player who arranges as easily as he plays music. My musical education consisted of learning how to recognize notes on a staff and translate that data to an instrument. I was pretty bad at the guitar until I got worse. My son learned to recognize notes by their sound, and his perfect pitch gives him a very unfair musical advantage. Like other arts, writing screenplays requires something intangible to be effective, and those that have it never seem to experience writer’s block. For them, there’s not enough time in the day to get everything in their head down onto paper.

3. What else have you written? What writing habits work for you?  Do you write in short bursts or long shifts, in the morning or late at night, do you write at coffee shops, at home, or at the office when no one else is looking?

I’ve written three screenplays because that is the limit of entries on many contests. I wrote a family film, a drama and a sci-fi. I recommend writing different genres to demonstrate a breadth of writing ability even though an industry professional once recommended that I perfect a single genre. I disagree. A good veratile writer can make the phonebook compelling. I write in year long bursts when I’m penning a film. It takes about three weeks to produce a first draft with the remaining time being spent listening to others and endlessly tending to the devil’s details. I don’t write everyday even though most authors like to say that they do so “to hone their craft.” I think about what I’m going to write every moment of every day so by the time I sit down with quill and ink, it goes pretty readily. Once I went into my local coffee shop to write because I felt that’s what all good writers do, but they kicked me out after two hours saying that the “free” wifi was not worth a $3.99 cup of joe. I guess I shouldn’t have worn an ascot.

4. What's the title of the script you entered, and what's it about?

Perigee Heart is a sci-fi about the International Space Station being repurposed as a luxury retirement home for Americans as medical research points to the health benefits of low gravity living until a pilot and his uncle begin to question the operation of the facility. It’s a story that couples the future evolution of surveliance technology with an unhealthy dose of paranoia for large corporate operations.

5. Where do you look for inspiration and what inspired you to write this script?

I wrote Perigee Heart one day after I was thinking about the staggering debt the country is in and musing what the future holds for a government too big to fail. In this world of extensive and sometimes flawed data, there seems like an endless amount of inspiration for conflict.

6. Describe your process? Do you outline your story first? Do you use notecards or a beat sheet? Or do you simply sit down and let it flow?

I spend a lot of time thinking about what I’m going to write. Luckily, my wife is a consummate reader so she acts as my editor. She’s great at evaluating ideas and has come up with key facets in much of my work.

7. What was your experience with our festival? Are you happy with your involvement? What did you like most about your experience? And what could we improve on?

The New York Metropolotian Screenwriting Competition heralded a milestone in my writing career. Selecting my third script as a finalist in the contest allowed me to say that all three of my screenplays had garnished this status. Joseph also provided me with invaluable guidance for the next steps in my literary education by advising me to step back from the contests and to focus more on other things like making pitches. So many industry professionals give such vague advice like saying you need to be “more organically emotionally connected to your work.” Joseph said you need to be involved with this or that which I heeded much to my enlightenment.

8. What are you writing now and what do you plan on writing in the near future?

Currently I’m working on a comedy, the hardest genre by far. I hate when a trailer contains all the big gags in a film. I know advertisements are designed to get people to see a film, but there should be more than five funny scenes to choose from. I want to write a film that is so humorous that the viewing audience collective soil themselves. It’s my dream for theaters to reject my movie on the basis of the mess alone. Recognizing that I didn’t have the skill set to make people laugh for ninety minutes, I embarked on a humor blog posting twice a week for a year. I wanted to work under deadlines while producing a humorous product. I completed the year of blog then continued posting now only on Tuesdays. Blog of One has nearly eighty thousand page views and hundreds of subscribers. The task made me funny on demand and in general has been wonderfully educational. It gave me ample opportunity to write about celebrities, current events, medical procedures and politics.

9. Any advice for those about to dive into their first feature-length screenplay?

First off, listen to as much advice as you can get, but don’t heed nobodies like me who actually haven’t made it. If you have taken a class in screenwriting at a local college and you got an A on your final project which your professor wrote on the title page, “Great Job! You should enter this into a contest,” don’t bother. If that’s the only reason why you have a screenplay, then you’ll probably hate working as a professional screenwriter.

10. Last, but not least, what have been your biggest victories since entering our festival? Any more awards, any representation, any options, connections, new opportunities, and or plans to  move to New York or LA?

Over the past eight years, I’ve racked up eighteen placements in seven different contests with three different scripts. Recently, producer, film business consultant and author, Paula Landry recommended my family film to a production company for which she was conducting a script search. In 2018, Academy member, producer, actor and author Jimmy Hawkins read one of my scripts as a judge for the semifinal round of the Nicholl Fellowship in Screenwriting. He referred to the script as having a “good story” with “strong characters” and a “pleasure” to read. Being able to bounce ideas around with an industry professional who worked with Jimmy Stewart  in It’s a Wonderful Life when he was four years old was an unforgettable career moment.

2018 Grand Prize Winner!

Rest in Pain by Valerie Dalena and Mike Fuhrmann

 

2018 Finalists

Verrater by Randa Karambelas

Please Gentlemen, Ask Me Who I Am by Cinzia Gagliardi

 

2018 Semi-Finalists

Remembering Liz by Joan Beilstein

How To Address An Envelope by Alex Lyras

The Island of Blooming Stones by Russell Beneke

Dinner in Hyde Park by Jon Silver

Kaffarah (Atonement) by Tom Rossi

Redbone by Ned Eckhardt

Running Blind by John T Frederick

Snowfall by Robert Languedoc

Black Easter Resurrection by Jim Carroll

My Mother Murdered My Father by Josephine A. Perry

Breaking Faith by Jocelyn Jones

Luana by Danielle Erlich

The staff I have interacted with at NY Metro Screenwriting Competition has been fantastic. They are respectful and encouraging. They are truly supporting screenwriters. I would recommend this competition!

Outstanding contest experience driven by individuals looking for the best screenplays.

Friendly, positive and fantastic at feedback - I would recommend these guys to everyone.

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One belongs to New York instantly, one belongs to it as much in five minutes as in five years.  

The following is from an interview with the talented and brilliant Marie Wilson, a prior finalist.

1. What's your background? How long have you been writing?  And what made you choose and or transition into screenwriting? 

I had a wonderful childhood growing up on the west coast of Canada. I’ve been writing ever since I could hold a pencil, telling stories in pictures, then penning my autobiography when I was eight (it was one page). When I grew up, I wrote a novel and Harper Collins published it. I’ve always loved movies, so screenwriting was a perfect fit.

2. What screenwriting training have you received? And what were some of your biggest breakthroughs?

I took Robert McKee’s Story workshop and read his book three times. Whenever I feel stuck, especially structurally, I go to his book. He knows. I’m currently doing a screenwriting intensive through ScreenwritingU. It’s advanced and if I hadn’t studied with McKee first, I’d be lost in it! I have breakthroughs almost every time I write - they are all big even when they seem small.

3. What else have you written? What writing habits work for you?  Do you write in short bursts or long shifts, in the morning or late at night, do you write at coffee shops, at home, or at the office when no one else is looking? 

My novel “The Gorgeous Girls”, was promoted by Harper Collins as “erotica for the thinking woman.” It would make a great TV series. I’ve written short stories and a graphic novel called “Kist”, which I’m currently shopping around. I write whenever and wherever I have the opportunity. I write at home a lot but when distractions get too much I head for a local cafe. I love writing in cafes.

4. What's the title of the script you entered, and what's it about?

“Sideshow Bandit” is the title. It’s a dramedy, based on a true story, very Coen Bros. True Grit with a mummy. “In 1976, a funhouse mannequin is discovered to be a real human body. An autopsy sends us back to the 19th century and a failed train robber seeking fame and fortune. Fame only arrives in his afterlife as a carnival mummy.”

5. Where do you look for inspiration and what inspired you to write this script? 

I look to history for a lot of my inspiration. There are so many incredible untold stories out there. And I have a particular passion for bringing to light the stories of forgotten people, like  the Sideshow Bandit. I also have a keen interest in writing about marginalized communities,  current or historical.

6. Describe your process? Do you outline your story first? Do you use notecards or a beat sheet? Or do you simply sit down and let it flow?

When I get an idea, I make notes. Then I do research. And then I do an outline. From the outline I start to flesh out the scenes. I do more research. When the whole story is blocked in, I put each scene on an index card and tack them up on my wall. This functions like a big map and helps me see where I’m going, or more accurately where my characters and their stories are going.

7. What was your experience with our festival? Are you happy with your involvement? What did you like most about your experience? And what could we improve on?   

I had a good experience with the New York Screenwriting Competition. What I liked most was winning! And the fact that I got a phone call telling me I was the winner - that was a nice touch. I also really enjoyed e-meeting Sherry Robb, a very interesting LA agent who was introduced to me because I won the competition.

8.What are you writing now and what do you plan on writing in the near future? 

I am currently writing a screenplay about a Hollywood actress who winds up having to direct an amateur Christmas play in her small hometown. When she casts a young trans woman in the lead role, the whole town is thrown into an uproar. In the near future, I’ll still be working on that screenplay – screenwriting is rewriting!

9. Any advice for those about to dive into their first feature-length screenplay?

a) Read and study and ingest Story by Robert McKee. b) To avoid clichés, research your subject. Then let your research inform your scenes without putting it on display. c) Act Two is the hardest to write - if you’re having trouble with it, you probably haven’t thoroughly thought your story through: refer back to McKee; the answers are there. d) Read and study produced screenplays. e) Don’t give up!

10. Last, but not least, what have been your biggest victories since entering our festival? Any more awards, any representation, any options, connections, new opportunities, and or plans to move to New York or LA?

“Sideshow Bandit” has won numerous awards since it won the New York Screenwriting Competition. Among the most eventful was the Female Eye Film Festival in Toronto. It was also a big thrill when Calum Worthy (The Act) told his agent that he “loved” my screenplay. But with no one attached, Calum’s love went nowhere. For all the winning, I still don’t have representation. I find it very hard to get a screenplay to producers or directors without an agent and very hard to get an agent without an optioned or produced screenplay. Catch-22.

Winter 2017 Grand Prize Winner!

Cadeby by David Keogh

 

Winter 2017 Finalists

Circled In Red by James Byrne

Legacy by Danielle Erlich

 

Winter 2017 Semi-Finalists

Single Bullet Theory by Mike Bencivenga

How Bout Now by Daniel Gold

Motorhead by Luke Butler

Stranger Things by Ana Ziegler Loes

Armor by Bryant Daluz

Hudson River Crossing by Demetra Kareman

The Kosher Mutiny by Jim Norman

The Program by John Ravitz

Represent! bu Todd Serlin

Immigrant by Doug Peake

Parousia by Todd Sorrell

Post Mortem by Travis Carr

The Kid from Brooklyn by John Jack McGuire

Chlora & Phyll by Rowan Meyer

The Hippies Saved Physics by Henry Charles Montgomery and Amy Montgomery

Oh, Mighty River by Dan Ritter

Get Smacked by George Basiev

The Kid Next Door by Jim Norman

Gotta Itch for Mitch by Janice Haas

The Gentrifiers by Jared R. Goodman and Philip Aceto

Blame it on Warhol by Dan Corter

The Italian Vacation by Claudia Marinelli

Michelangelo by Roberto Lemos

Black Sheep by Janelle H

"Cool festival! They asked me if I could get my script to anyone who would it be. So I gave them a producer's name and now she's reading my script. What a cool prize! i wish everyone could be a winner."

"Janet Lee was always available and was so enthusiastic (as was Jerrol LeBaron , of InkTip, one of the sponsors) when informing me of my second place award. Overall, an enjoyable experience."

"Really positive festival. I'm glad I submitted."

"Wonderful experience for me and my partner."

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Summer 2017 Grand Prize Winner!

Cal Athan  Hawk Moon

Summer 2017 Finalists

Jeff McMahon New Deli

Brian Weakland  The Kingmaker

Over the great bridge, with sunlight through the girders making a constant flicker upon the moving cars, with the city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.

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From an interview with the brilliant and talented Valerie Dalena, a prior grand prize winner.

1. What's your background? How long have you been writing?

I’ve been writing story since I can remember. Starting at about age 8, writing stories in my room when things weren’t great at home was a wonderful way to escape. I’ve held jobs in TV and film, fashion design, women’s magazines and child abuse prevention. All have given me a certain insight into the human condition, contemporary issues and even the darker side of society.

And what made you choose and or transition into screenwriting?

I was taking classes in writings in the novel at UCLA and became interested in film as well. I got a job with a well-known screenwriter/director/producer and fell in love with the entire process and world.

2. What screenwriting training have you received?

So much. From books, from classes and seminars, but most of all writing, writing, writing.

And what were some of your biggest breakthroughs?

Discovering the book, “20 Master Plots” by Ronald Tobias. Reading things like the classics: “Save the Cat” and “Poetics.” Books by Sid Field, Linda Seeger, David Trottier, and Robert McKee to name a few. Reading scripts like MICHAEL CLAYTON by Tony Gilroy. Being a semi-finalist in PAGE Screenwriting Competition with my script, SAVANNAH ROSE, and then being chosen to attend Stowe Story Lab in Vermont. And, of course, winning GRAND PRIZE in the New York Metropolitan International Screenwriting Competition for our script, REST IN PAIN (now titled FINA’S CHILDREN). They got it – the added-in music and lyrics, the woman’s journey as a serial killer and her ultimate and tragic redemption.

3. What else have you written?

I write psychological thrillers about women who suddenly find themselves in life-threatening situations and have to overcome huge obstacles and dangers to survive. All of them struggle to discover the truth, what is real about themselves and their world. DEPTH OF FIELD was my first – a woman falls in love with a famous war photojournalist and gets caught up in a terrorist plot in Paris and Marrakesh. In SAVANNAH ROSE, a famous televangelist’s life is turned upside down when her former John threatens to expose her sordid past. In ANIMAL GAME, a New York socialite accompanies her Brazilian fiancé to Rio de Janeiro to meet his parents, her fiancé disappears, and she suspects everyone.

What writing habits work for you?


When I’m in the middle of a script, I start quite early in the morning, take breaks for exercise and food and get back to it. Sometimes a little wine helps. I can’t get the story and characters off my mind. Do you write in short bursts or long shifts, in the morning or late at night, do you write at coffee shops, at home, or at the office when no one else is looking? Ha. I write short and long, morning, afternoon and night, mostly at home.

4. What's the title of the script you entered, and what's it about?

REST IN PAIN, which is now titled FINA’S CHILDREN. It was co-written by my writing partner at the time, Mike Fuhrmann. The logline is: Haunted by her past, trapped between heaven and hell, truth and illusion, a mercy killer struggles to change her destiny, die in peace and save her soul, but first she must redeem herself with those responsible for the monster she’s become — her equally tormented younger selves. One gets a sense that something terrible has happened to Fina or she’s done something terrible, but it takes awhile to figure it out. The story world seems normal, but it’s just a bit off. Time is off. You start to identify with her, even though you might not want to. Then, you finally realize the truth. Our dream “Fina” is the incredible German actress Nina Hoss.

 

5. Where do you look for inspiration and what inspired you to write this script?

Inspiration seems to come out of the blue and usually has to do with a theme or question I’m pondering in my life. With FINA’S CHILDREN (REST IN PAIN), it all started when my writing partner told me about a story idea he had in high school. The finished product is completely different, but it started the creative process of this piece. I love the themes of FINA’S CHILDREN: Sometimes the right thing is the wrong thing; take care of your children for they are us; and what if the end was only the beginning?

6. Describe your process? Do you outline your story first?

I have done loose outlines and more detailed outlines. Usually I write down notions – characters I see in my mind, a locale, conflicts, dangers. I look for a hook. I paint a story world that’s interesting to me, one I want to explore and get to know.

Do you use notecards or a beat sheet? Or do you simply sit down and let it flow?

I’ve done both. Beat sheets are always helpful. When a story gets particularly complicated – as thrillers do – I often go to the notecard system so I can spread them all over the place and rearrange. It can actually cause pain to the brain.

Then there is that. I go back and forth. It sort of feels like “right brain” in the flow stages, and “left brain” when I’m focusing on plotting it out. Creating characters is a lot of fun and a good time to let the mind wander a bit.

7. What was your experience with our festival? Are you happy with your involvement?

It was fabulous. Of course. I’d highly recommend this competition to anyone who is serious about writing and selling screenplays.

What did you like most about your experience?

First, the personal phone call from Joseph that I had won. I kept telling him he had the wrong number. Then, I asked the contest to please forward my script to a particular production company. They contacted the company and got approval to send the script. And what could we improve on? Obviously, we all want exposure. This interview is a great idea and very generous.

8. What are you writing now and what do you plan on writing in the near future?

I’m finishing a final draft of a piece called MIMOSA PRECIOSA, written with a friend and colleague in Germany. This is somewhat a departure – an unlikely friend/love/roadtrip/comedy-drama. I love the wonderful, endearing, crazy characters. Since the story takes place in Germany and Southern Spain, we are meeting with producers in both countries to create an international joint venture production. I also have my own film and theatre production company, Stiletto Rosso Productions, LLC www.stilettorosso.com

9. Any advice for those about to dive into their first feature-length screenplay?

Learn about the market and marketing scripts. Learn about how producers and production companies work. Read – not just books on screenwriting, but on directing and acting. Take writing and acting classes. Talk to everyone about your story. Make sure it is protected with a copyright. Don’t give up. Set the intention. This business is super hard, but never impossible. It all depends on how determined you are and how hard you’re willing to work.

10. Last, but not least, what have been your biggest victories since entering our festival?

At least three times, we came very close to putting a deal together with producers in the US and in Germany. The truth is, we could self-produce and raise the money, but that’s probably not going to happen. I like collaboration. I like to find the team.

Any more awards, any representation, any options, connections, new opportunities, and or plans to move to New York or LA?

NY Metropolitan was the last contest I entered after doing well in the Austin Film Festival. Since then I actually moved FROM LA. I got involved with MIMOSA PRECIOSA and traveled to Germany and Southern Spain to meet potential collaborators and look at locations. I’m very involved in a local women’s film festival and create trailers and marketing for them. I live in a very active theater town so to make sure I stay close to the creative process and work with talented people on a day-to- day basis, I’m now producing a fabulous hit play that contains physical theatre and music, with an internationally known director. For me, it’s all about story: interpreting story, creating story – in promo pieces, scripts, live theatre -- however I can and whenever I can. 

Thank you for asking!