ScriptDoctor911.com

In May/June, 2005 -- a workshop participant signed a blind deal

with Warner Bros. and then inked a 2-picture deal with Paramount.

2.success:

Doctored screenwriters have gone on to sell screenplays to studios

and independent filmmakers . . . and several have "rolled camera."

In the summer of 2007 -– a workshop alum inked an option deal on a

book adaptation.

In the summer of 2008 -- a workshop alum inked a remake development

deal with Nicole Kidman’s company (Blossom Films), i.e., a deal that

was set up at Fox.

In July, 1999 -- a screenwriter (who has had several scripts doctored

by Aubrey M. Horton) wrote a project which won an Emmy nomination.

In January, 2001 -- a workshop participant received a standing ovation

at Sundance for the movie he produced, i.e., Richard Linklater's

WAKING LIFE.

In November, 2004 -- a doctored screenwriter inked a contract per

a reality-TV pitch.

In January, 2005 -- a workshop participant rolled camera on his

low-budget indie as the producer-director-writer.

In the summer of 2008 -- a workshop alum rolled camera as a

writer-producer on one of her feature scripts at the Ranch Studios.

In 2006 -- a workshop alum "won first place for best script," and

the film based on his script won the "grand prize Platinum Remi

Award" at the 2006 WorldFest-Houston Film Festival.

In early 2007 -- a workshop alum shot a behind-the-scenes

documentary of a FRIDAY NIGHT LIGHTS' episode, then landed a

producer-assistant's job on Julia Roberts' FIREFLIES IN THE GARDEN.

In March, 2004 -- a doctored screenplay won third place in

the Cinequest Festival.

In August, 2008 -- a doctored screenwriter made the quarterfinals

(i.e., the top 5%) in the Nicholl Screenplay Fellowship competition.

In June, 2002 -- a workshop participant made the finals (the top 30)

in the New York International Film Festival/L.A. International Film

Festival.

In August, 2003 -- a workshop participant made the finals in the

Telluride and Hollywood Symposium.

In March, 2004 -- a workshop participant made the SFs in the

FADE IN short-script competition.

In November, 2004 -- a workshop participant made the SFs in

Scriptapalooza.

In February, 2003 -- a doctored screenplay won second place

in the Christian Screenplay Competition.

In August/September, 2002 -- a doctored screenwriter inked

a development deal and a rewrite deal with the same producer.

In the fall of 2004 -- a doctored screenwriter grabbed another

option deal.

In the summer of 2006 -- a workshopper lands a gig working as the

Director/Co-Executive Producer’s Assistant on NBC/Imagine’s

FRIDAY NIGHT LIGHTS.

In the summer of 2004 -- a workshop participant was offered a slot

in the MFA screenwriting program at UCLA film school. She also finished

a novel for a publisher and had two more book deals set up by her agent.

In the spring of 2003 -- a workshop participant inked an option deal

on his new book with Tom Cruise's C/W Productions.

In October, 2002 -- a workshop participant made the semifinals

in The Writer's Network 9th Annual Screenplay Competition.

In 2003 -- a workshop participant garnered an option to direct

one of his scripts.

In June, 2005 -- a workshop alum made the semifinals in the

American Accolades competition.

In July, 2001 -- a workshop participant made the semifinals in the

Scriptapalooza Screenwriting Competition.

In December, 2000 -- a doctored screenwriter won 1st Place, landed

an option deal, and was told that his short script would be produced

vis-a-vis the Latino Screenwriters Contest.

In September, 2001 -- two workshop participants made the

semifinals in the Chesterfield Screenwriting Competition.

In March, 2002 -- a workshop participant made the semifinals in the

Fade In: Screenwriting Awards.

In the fall of 2003 -- a workshop participant landed a job at HBO.

In October, 2001 -- a doctored screenplay made the finals in the

Texas Film Institute Competition. (New Line Cinema picked the winner.)

In 2001 -- a workshop participant made the semifinals in the

Acclaim Competition.

In July, 2003 -- a workshop participant was put under contract to

write/direct a 15-minute short.

In January, 2000 -- a workshop participant made the semifinals in the

Chesterfield Screenwriting Competition.

In September, 2000 -- two workshop participants made the quarterfinals

in the New Century Writer Awards.

In 1997 -- a doctored screenplay made the semifinals in the

Nicholl Screenwriting Fellowship, which is sponsored by the

Academy of Motion Pictures Arts and Sciences (i.e., this writer had

his first screenplay doctored by Aubrey M. Horton . . . and that

edited script went on to beat out 3900 entries in the Nicholl competition.)

In June, 1999 -- a doctored screenplay progressed to Phase Two

(i.e., the semifinals) in the Carl Sautter Memorial Scriptwriting

Competition.  Note: The writer was impressed by the "reader

evaluations" (i.e., brief comments which mimic professional coverage).

In April, 2000 -- a workshop participant advanced to the quarterfinal round

(i.e., the top 6%) in the CineStory Screenwriting Awards.

In May, 2003 -- a workshop participant landed an internship at

Mosaic Media Group in the Story Department.

In June, 2008 -- a workshop alum made the finals in "The Broad Humor

Screenplay Contest."

In September, 2000 -- a workshop participant sold his first option and

was considered for a co-writing assignment on another feature for the

same producer.

In the summer of 2008 -- a doctored screenwriter rolled camera on a horror film

based on his feature script.

In 1998 -- a doctored screenplay (the writer's first full-length movie script)

was a semifinalist in the CineStory Screenwriting Competition (i.e., out of

1300 entries . . . hers was in the top 16 . . . thereby generating enough oomph

to grab the interest of a number of independent producers).

In 2007 -- a workshop alum's feature screenplay wins runner-up in the

Pacific Northwest Screenplay Contest.

In 2007/2008 -- a repeat workshopper aired a short on the BET network.

In 2005 -- a workshop participant’s feature film (which he wrote, produced,

and directed) was accepted into Cinequest.

In Nov./Dec., 2000 -- a workshop participant was named a finalist in the

Yolk Magazine Contest and in the Coalition of Asian-Pacific Entertainers

Contest.  Also, this writer was working with a director per an option deal.

In the fall of 2006 -- a workshop participant watched the camera roll on one

of her many feature scripts, i.e., a low-bud comedic horror.

In 2007 -- a workshop alum has her pictured published in the March issue

of "Essence" magazine via her $250 short being up for a possible $100,000

distribution deal.

In 2005 -- a two-time workshop participant received $1000 from the

Austin Film Society's Texas Filmmakers' Production Fund to roll camera

on his documentary.

In October, 2006 -- a workshop participant garnered the Audience Favorite

award for writing-directing a short, which was screened at the African

American Women in Cinema (AAWIC) Film Festival.

In the fall of 2006 -- a doctored screenwriter had two feature scripts make

the quarterfinals at the Screenwriting Expo.

In 2005 -- a workshop alum garnered a letter of intent from Willie Nelson

to star as Cactus Carl in her original screenplay titled "Jessie's Dream Snake."

In July, 2003 -- a workshop participant garnered representation by a

Hollywood manager and also signed with a WGA agent.

In 2005 -- an advanced workshop participant wrote, produced/directed,

and starred in a “wow” 13-minute short.

In August, 2006 -- an advanced workshop participant wrote/directed a short,

which made the top ten in Paste Magazine’s Online Fest.

In October, 2002 -- a workshop participant won 2nd place in the

New York Film Festival Screenwriting Competition.

In May, 2002 -- a workshop participant grabbed two honorable mentions

(i.e., he made the top 13 with two scripts) in the "Don't Get Mad; Get

Produced!" Screenwriting Awards sponsored by Autumn Moon Productions.

In September, 2004 -- a workshop participant made the finals in the

Anything But Hollywood Screenwriting Competition.

In May, 2002 -- a workshop participant zoomed into the semifinals

in the StudioNotes Screenplay Competition.

In September, 2001 -- three workshop participants and a doctored screenwriter

made the second round in the Austin Heart of Film Competition. Two writers

in the family/adult category; one writer in the comedy category; and one writer

in both categories.

In early 2004 -- a workshop participant received an honorable mention

(i.e., the top 12) in the Independent Black Screenwriting Contest.

In June, 2001 -- a workshop participant made the semifinals in the

American Accolades Screenwriting Competition.

In June, 2001 -- a doctored screenplay made the semifinals in the

All She Wrote Screenplay Contest.

4.success:

In September, 2000 -- a workshop participant signed an option deal

with an L.A. producer/director.

Several doctored screenplays were quarterfinalists in the

Austin Heart of Film Screenplay Competition.

In 2005 -- an 8-week alum garnered an acting gig in “A Scanner Darkly.”

in November, 2005 -- a workshopper made the quarterfinals in the

Slamdance Screenplay Competition.

In 2005 -- an 8-week alum landed a WGA agent vis-a-vis the feature script,

which he’d developed in our workshop.

In the summer of 2008 -- a doctored screenwriter won 2nd place in the

Hook contest.

In September, 2001 -- a workshop participant garnered an official entry

of his film in the New York Film Festival.

In September, 2004 -- a workshop participant grabbed fifth place in the

Filmmakers.com Screenwriting Competition.

In March, 2003 -- a doctored screenplay made the quarterfinals in CineStory.

In September, 2002 -- a workshop participant made the "top ten" in the

WriteMovies.com Screenwriting Competition.

In December, 2002 -- a workshop participant won the Austin 48-Hour Film

Fest with his short script.

In August, 2001 -- a doctored screenwriter made the quarterfinals in the

Scriptapalooza competition.

In August, 2001 -- a doctored screenplay made the quarterfinals in the

Moondance International Film Festival Competition.

In September, 2000 -- two workshop participants made the top 10% in the

Austin Heart of Film Screenplay Competition.

In September, 2000 -- a doctored screenwriter made the semifinals in the

Nicholl Fellowships with a new script.

In February, 2001 -- a doctored screenwriter/workshop participant made the

quarterfinals in the Fade In: Screenwriting Awards.

In March, 2002 -- a workshop participant made the quarterfinals in the

Fade In: Screenwriting Awards.

In April, 2004 -- a doctored screenplay made the semifinals in the

CineStory Competition.

In March, 2002 -- a workshop participant received a Best Musical Score

award per a short film which he wrote/directed and entered in the New York

International Independent Film Festival.

In April, 2002 -- a workshop participant signed an option deal on a

low-budget family dramedy.

In April, 2002 -- a doctored screenplay made the semifinals in the

Barrier Magazine competition.

In the spring of 1998 -- a workshop participant won a $2000 production grant

from the Austin Film Society.

In November, 1999 -- a screenwriter who was offered advice years ago . . .

made the semifinals in the Moondance International Film Festival Competition.

In 1999 -- a workshop participant nailed a producer's credit on a feature film.

In September, 2000 -- a workshop participant won 4th Place in the

Austin Chronicle's Short Story Competition.

A workshop participant's screenplay was named "noteworthy" in the

1998 Slamdance competition. This same writer had a script selected

for a staged reading via the Austin Film Festival in 1997.

In January, 2000 -- a workshop participant was notified that one of

his screenplays made the quarterfinal round in the Empire Screenplay Contest.

In May, 2001 -- a workshop participant's script moved to "Phase Two"

in the Carl Sautter Memorial Scriptwriting Competition.

In the spring of 2003 -- a workshop participant landed an internship

at Warner Brothers Studio.

A number of doctored screenplays have made the quarterfinal round

in the Lone Star Screenwriting Competition. One was a semifinalist.

In September, 1999 -- a doctored screenplay advanced to a second reading

in the Austin Heart of Film Screenplay Competition, i.e., it made it to the

top 10%. This was the writer's first screenplay.

An ex-student was awarded a contract with Francis Ford Coppola

to produce a pasta sauce.

In June, 2003 -- a workshop participant made the QFs in the

Texas Film Institute Competition.

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