The Fade In Awards were established in 1996 to assist talented new writers and writer/directors in getting recognized within the Hollywood community in order to begin a career as a working filmmaker.
In the last decade, the competition has done just that: After Jon Bokenkamp entered his thriller Preston Tylk, we signed him with ICM, he was hired to write a feature for director William Friedkin, has since directed Tylk and sold his documentary After Sunset to AMC. Bokenkamp, after writing a feature for Julia Roberts and another for Halle Berry, received sole credit on Taking Lives starring Angelina Jolie. After Josh Gordin and Will Speck entered their short Culture, both signed with ICM, Culture was nominated for an Academy Award™ and they just directed Will Ferrell in Blades of Glory. After Darryl Wimberley entered his noir Kaleidoscope, we signed him with ICM. He now has a two-book deal with St. Martin’s Press. And after George Olson entered his script Tesla, we signed him with Endeavor. You could be next.
Finalists of the 2008 Fade In Awards will be announced March 31, 2009. Over $15,000 in prizes will be awarded thereafter, including the Grand Prize and up to 16 finalists.
Grand Prize winner will receive an iMac Computer, plus an expense paid trip (hotel and airfare) to meet with top literary agents and studio executives for three days and two nights (or cash equivalent).
Fade In Magazine reserves the right to grant less than or no awards, at its sole discretion, if a lesser number of, or no entries meet the submission requirements and/or industry standards of excellence.
GRAND PRIZE: iMac Computer, plus an expense-paid trip (hotel & airfare) to meet with top literary agents and studio executives for three days and two nights (or cash equivalent).
FIRST PRIZE: (in each category): $750, script analysis by WGA-credited writer, Waterman fountain pen, and one-year Fade In subscription.
SECOND PRIZE: (in each category): $500, script analysis by WGA-credited writer, one-year Fade In subscription.
THIRD PRIZE: (in each category): $250, script analysis by WGA-credited writer, one-year Fade In subscription.
Winners will appear in an up-coming issue of Fade In, Variety and/or Hollywood Reporter.
COMPETE IN SEVEN CATEGORIES AND TWO FORMATS TO WIN!
(Features/Shorts)
Comedy
Action/Adventure
Thriller
Drama
Film Noir
Family
Horror.
“When I kissed the envelope for luck and sent in my script to Fade In’s contest, I was just another wannabe screenwriter. I needed an agent, but damned if I knew how to land one. Top agents don’t troll for scripts in the mail room – they read ones sent to them by people whose judgment they trust. I didn’t know any of those people. That left me standing on the outside, staring up at that high wall that guards the Hollywood palace from the rest of us. A few months later, Fade In called to say that my script was a finalist. ‘Cool,’ I said. Although, I had no clue how cool. Fade In didn’t just write out a prize check and wish me luck. They gave me excellent script notes. No vague admonitions to “fix the third act” or “strengthen the hero.” Precise suggestions that zeroed in on every weakness – every line of dialogue that rang false, every set piece that went on a beat too long, every plot point that wouldn’t play on screen. They sharpened my script, and then they made good on their promise to find me representation. Soon I had a top manager, then a William Morris agent and a seasoned entertainment lawyer. Then things really got cool. Michael De Luca said he wanted to produce my script, and Spike Lee called to say he wanted to direct. I hadn’t just scaled that high wall – I was across the moat, through the castle gate and into the main hall. A few months later came a seat at the head table – a writing deal with Sony Pictures. I owe my success to Fade In. These guys don’t just promise access – they deliver it. So kiss that envelope and send it in. Once Fade In gets behind you, you never know whose desk your script might land on.” – Frank Baldwin, 2005 Finalist “Sex, Drugs & Hemingway”
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“A few years ago, I won the Grand prize in the Fade In Awards…and I absolutely cannot say enough about Fade In magazine. Not only did they deliver on every promise of this competition, but the initial heat and ongoing support that I have received, as a result of winning the competition, have been phenomenal. I live in Colorado – Colorado, for crying out loud – and thanks to this competition I now have an agent, lawyer, a top-notch management firm, [Barry Sonnenfeld attached to direct my winning-script], and a rolodex of people in the 310 area code, which I would not have had if Fade In had not been so professional, so kind, and frankly, so well connected in this business. I now have relationships with A-list directors, successful producers and a lot of other industry folks who like my writing and want to see the next thing I write purely because of Fade In. Their support and advocacy has gone above and beyond the script that won the competition – they have been a trusted friend and advisor on every project since, and I have the deepest respect for the entire Fade In staff. This is a competition that means something. It certainly did for me.” -George Olson, Grand Prize winner 1996
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“As a result of winning the Grand prize, I received a number of story notes (from Fade In) that were intended to shape the script into a more marketable, viable and professional piece of work. These notes were very detailed and extensive and showed the amount of care and support Fade In was giving to the script and to me. Following the notes and feedback, I received a brand new iMac computer. [Then] I received a press release in Daily Variety that boasted “Georgie” in bold letters. This press release was followed by a series of emails and phone calls from various producers, managers and agencies. As a result, I now have representation. All this was then followed by a $1,000 check. (I live in the greater Los Angeles area and did not require to be flown out for meetings, so I was given cash value.) I also received a subscription to Fade In magazine and the first copy I received had my photograph in it as the grand-prize winner. My experience with the Fade In Awards has been very positive. All my dealings have been professional and helpful and the experience itself has helped me greatly to achieve some of my career goals.” -Kathy Garcia, Grand Prize winner 2001
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“I won the “Best Thriller Award” in the 1st annual Fade In Awards. It was the first and only screenplay competition I have ever entered or won, and it was the first step in building the career I have today. After winning, I received story notes from the Fade In staff. Not only was this my first opportunity to hear industry notes, but the comments helped improve the script which was sold, shot and distributed by Artisan Entertainment in 2000. In the months that followed, I was introduced to agents in Hollywood and eventually signed with the ICM agency. I am convinced my script would not have been read by any agencies without the influence of winning the competition. Believe me, I tried. It was through this process that I met the agent who still represents me today. I should also mention that Fade In also introduced me to the attorney who still represents me. Since winning the award, I have gone on to write screenplays for studios such as Warner Bros., 20th Century Fox, MGM, HBO and Artisan. I’ve been employed ever since. I had a wonderful experience with the Fade In Awards and I would recommend any aspiring writer to enter the competition. The Fade In staff is a very knowledgeable and experienced group of industry professionals.” -Jon Bokenkamp, Finalist, Thriller category 1996
...
“As a result of the competition, Fade In worked with me on developing both my award-winning script and a new script that they got to Stan Winston – Hollywood’s foremost creature-maker in the history of the film industry (he has created creatures for Steven Spielberg, Tim Burton, James Cameron, and George Lucas). Brian Gilbert, the president of Winston’s company, is currently developing my script in order to turn it into a major motion picture!” -Quentin Hidalgo, Grand prize winner 1999
“The Fade In Awards have an amazing track record of securing industry access for their winners. That’s why I entered. But at the time I really had no idea what kind of impact winning could have on my career. Since being announced last year’s Grand Prize winner, the Fade In folks have been incredible, working closely with me to get the winning script ready to market. Their feedback and suggestions have been outstanding. I’ve already been offered top-level representation, and I haven’t even been out to L.A. yet!” -Al LaSorte, Grand prize winner 2002
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ENTER YOUR SCRIPT OR SHORT TODAY!*
Deadline: October 31, 2008
Fade In Awards
287 S. Robertson Blvd., Suite 467
Beverly Hills, CA 90211
(800) 646-3896
*Contestants may enter as many times as they wish. One entry per application.
“When I kissed the envelope for luck and sent in my script to Fade In’s contest, I was just another wannabe screenwriter. I needed an agent, but damned if I knew how to land one. Top agents don’t troll for scripts in the mail room – they read ones sent to them by people whose judgment they trust. I didn’t know any of those people. That left me standing on the outside, staring up at that high wall that guards the Hollywood palace from the rest of us.
A few months later, Fade In called to say that my script was a finalist. ‘Cool,’ I said. Although, I had no clue how cool.
“A few years ago, I won the Grand prize in the Fade In Awards…and I absolutely cannot say enough about Fade In magazine. Not only did they deliver on every promise of this competition, but the initial heat and ongoing support that I have received, as a result of winning the competition, have been phenomenal. I live in Colorado – Colorado, for crying out loud – and thanks to this competition I now have an agent, lawyer, a top-notch management firm, [Barry Sonnenfeld attached to direct my winning-script], and a rolodex of people in the 310 area code, which I would not have had if Fade In had not been so professional, so kind, and frankly, so well connected in this business. I now have relationships with A-list directors, successful producers and a lot of other industry folks who like my writing and want to see the next thing I write purely because of Fade In. Their support and advocacy has gone above and beyond the script that won the competition – they have been a trusted friend and advisor on every project since, and I have the deepest respect for the entire Fade In staff. This is a competition that means something. It certainly did for me.” -George Olson, Grand Prize winner 1996
“As a result of winning the Grand prize, I received a number of story notes (from Fade In) that were intended to shape the script into a more marketable, viable and professional piece of work. These notes were very detailed and extensive and showed the amount of care and support Fade In was giving to the script and to me. Following the notes and feedback, I received a brand new iMac computer. [Then] I received a press release in Daily Variety that boasted “Georgie” in bold letters. This press release was followed by a series of emails and phone calls from various producers, managers and agencies. As a result, I now have representation. All this was then followed by a $1,000 check. (I live in the greater Los Angeles area and did not require to be flown out for meetings, so I was given cash value.) I also received a subscription to Fade In magazine and the first copy I received had my photograph in it as the grand-prize winner. My experience with the Fade In Awards has been very positive. All my dealings have been professional and helpful and the experience itself has helped me greatly to achieve some of my career goals.” -Kathy Garcia, Grand Prize winner 2001
“I won the “Best Thriller Award” in the 1st annual Fade In Awards. It was the first and only screenplay competition I have ever entered or won, and it was the first step in building the career I have today. After winning, I received story notes from the Fade In staff. Not only was this my first opportunity to hear industry notes, but the comments helped improve the script which was sold, shot and distributed by Artisan Entertainment in 2000. In the months that followed, I was introduced to agents in Hollywood and eventually signed with the ICM agency. I am convinced my script would not have been read by any agencies without the influence of winning the competition. Believe me, I tried. It was through this process that I met the agent who still represents me today. I should also mention that Fade In also introduced me to the attorney who still represents me. Since winning the award, I have gone on to write screenplays for studios such as Warner Bros., 20th Century Fox, MGM, HBO and Artisan. I’ve been employed ever since. I had a wonderful experience with the Fade In Awards and I would recommend any aspiring writer to enter the competition. The Fade In staff is a very knowledgeable and experienced group of industry professionals.” -Jon Bokenkamp, Finalist, Thriller category 1996
“As a result of the competition, Fade In worked with me on developing both my award-winning script and a new script that they got to Stan Winston – Hollywood’s foremost creature-maker in the history of the film industry (he has created creatures for Steven Spielberg, Tim Burton, James Cameron, and George Lucas). Brian Gilbert, the president of Winston’s company, is currently developing my script in order to turn it into a major motion picture!” -Quentin Hidalgo, Grand prize winner 1999
“The Fade In Awards have an amazing track record of securing industry access for their winners. That’s why I entered. But at the time I really had no idea what kind of impact winning could have on my career. Since being announced last year’s Grand Prize winner, the Fade In folks have been incredible, working closely with me to get the winning script ready to market. Their feedback and suggestions have been outstanding. I’ve already been offered top-level representation, and I haven’t even been out to L.A. yet!” -Al LaSorte, Grand prize winner 2002
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