
Academy Announces Nicholl Screenwriting Fellowship Finalists for 2010
Beverly Hills, CA – Ten writers have been selected as finalists for the 25th annual Don and Gee Nicholl Fellowships in Screenwriting, presented by the Academy of Motion Picture Arts and Sciences. Their scripts will now be read and judged by the Academy’s Nicholl Committee, which may award as many as five of the prestigious $30,000 fellowships.
This year’s finalists are (listed alphabetically by author):
Art Corriveau, Santa Fe, New Mexico, “Nicky Flynn Finally Gets a Life”
Destin Daniel Cretton, San Diego, Calif., “Short Term 12”
Sebastian Davis, Los Angeles, Calif., “Drunk-Dialing”
Marvin Krueger, North Hollywood, Calif., “And Handled with a Chain”
Andrew Lanham, Austin, Texas, “The Jumper of Maine”
Tim Macy, Kansas City, Mo., “The Last Queen”
Micah Ranum, Beverly Hills, Calif., “A Good Hunter”
Cinthea Stahl, North Hollywood, Calif., “Identifying Marks”
Logan Steiner, Redondo Beach, Calif., “The Promise of Spring”
Sage Vanden Heuvel, Ann Arbor, Mich., “Inner Earth”The finalists were selected from 6,304 scripts submitted for this year’s competition. The competition is open to any individual who has not sold or optioned a screenplay or teleplay for more than $5,000, or received a fellowship or prize that includes a “first look” clause, an option, or any other quid pro quo involving the writer’s work.
The Nicholl Committee, chaired by producer Gale Anne Hurd, is composed of writers Naomi Foner, Daniel Petrie, Jr., Tom Rickman and Dana Stevens; actor Eva Marie Saint; cinematographers John Bailey and Steven B. Poster; executive Bill Mechanic; producers Peter Samuelson and Robert W. Shapiro; and agent Ronald R. Mardigian.
Fellowships are awarded with the understanding that the recipients will each complete a feature-length screenplay during their fellowship year. The Academy acquires no rights to the works of Nicholl fellows and does not involve itself commercially in any way with their completed scripts.
Since the program’s inception in 1985, 113 fellowships have been awarded, and a number of fellows have achieved considerable success. Mike Rich, a 1998 fellow, wrote the upcoming “Secretariat.” Susannah Grant, a 1992 fellow, earned an Oscar nomination in 2000 for her “Erin Brockovich” screenplay. Andrew W. Marlowe, a 1992 fellow, created and executive produces ABC’s “Castle,” for which Terri Miller, also a 1992 fellow, is a writer-producer. “City Island,” which was written and directed by 1991 fellow Raymond De Felitta, premiered at the 2009 Berlin and Tribeca film festivals, and premiered theatrically in March of this year.
New ‘Man Of Steel’ Television Spot #6


The Nicholl awards are rigged. The contest is a rip-off.
I believe you. But could you please elaborate?
Just because they didn’t choose your script doesn’t mean it’s not as good. The Nicholls tend to reward specialty/indie fare, your script may have commercial potential.
They’re not rigged. This is a nonprofit foundation, it’s not ripping anybody off. Most finalists and winners are logically going to be from California because real writers (not hobbyists) pack up and go where they need to be to seriously pursue their career, both the craft and the professional networking, and that’s Los Angeles.
All American, six from Cali… Boring.
They live in Cali; that doesn’t mean they’re from here. Probably slaving away at day jobs trying to get their writing careers started. Good for them.
It’s “California” not “Cali”. People from the midwest who wear popped collars and puka shell necklaces call it “Cali”.
Thanks.
LOL – I can’t stop laughing -thanks
The Nicholl chooses L.A. residents only due to not wanting to pay for airfare and hotel. The contest is rigged like professional wrestling.
What sucks about this and most screenwriting competitions is the eligibility requirements. Talented up-and-coming writers who have experienced moderate success can’t participate. I sold my first screenplay that got produced and distributed within a year of moving to Los Angeles. The movie tanked (thanks to the incompetent director) and I’ve been stuck writing for Reality TV ever since. I could easily win one of these so-called prestigious “screenwriting” competitions but I’ve made money writing so I’m automatically ineligible, and I certainly didn’t get rich from the sale of my first script.
I can tell you from personal experience that most screenwriting competitions are a big fat joke. They don’t even read the scripts. I once worked for a Reality TV production company that produced Sean Hayes’ “Situation: Comedy” They got so many scripts they had to pay employees to read scripts at $10 per script, and we were only required to read the first 10 pages.
When the fine folks over at the Writers Boot Camp caught wind of it they tried to horn in on it, and had the nerve to offer their students the golden opportunity to read scripts in exchange for some ridiculous discount on their tuition.
I know several writers who won Disney’s Writing fellowship and their careers have gone nowhere!! It’s no wonder movies these days suck. Good writers have to jump through F-ing hoops just to get their foot in the door only to be completely ignored.
KP
The eligibility requirements are not the problem. You had a shot — too bad it didn’t work out, perhaps not even your fault, and yes that sucks, but you still had a shot. These people haven’t. That’s the point of the eligibility requirements.
The idea that you could “easily” be one of only five winning writers selected from some 6,000 entries is also kind of a joke. Maybe you’d be literally one-in-a-thousand, but probably not. The luck of the draw has something to do with it either way…some Nicholl winners have won with scripts they submitted the year before which didn’t advance far at all, and they didn’t change a thing. So, neither you nor anyone else will “easily” win this competition.
The Nicholl Fellowships are hands-down the cream of the crop, the only screenwriting competition truly worth anything. Scripts written by Nicholl Fellows (Susannah Grant, Ehren Kruger, Andrew Marlowe, Mike Rich, etc…etc…) have been Oscar-nominated and grossed some 4 billion dollars at the box office, so that pretty much speaks for itself.
Put down your Haterade and get back to work on your scripts.
Hmm. Let’s see. Your first film tanked because of the director, but you could “easily win” a prestigious competition. Right.
A competition for ego size, perhaps, but writing? Maybe you’d like to tell us the name of the film so we can decide for ourselves if it was the writing or the direction that sucked.
Just keep at it. Try and enjoy the process.
Yup, most are from Cali. And only one female. Lame.
Actually two of the finalists are female.
Scripts are read blind so the readers don’t know the name, gender, or hometown of the writers. My guess (based on my past experiences as a script reader) is that the vast majority of submissions were by males.
Look, all the quibbler stating that there are too many “Cali” nominees here and only one woman and using that to cite the contest as if it was rigged: There are plenty of women judges here on Nicholls and many struggling screenwriters move here to “make it, be around it all.” To even suggest that their needs to be a bigger spread of winners as to ethnicity, gender, or otherwise is to suggest that they somehow RIG the outcome in the name of DIVERSITY… And THAT, my ignorant quibblers, would be the real PREJUDICE.
We have all experienced just such decision-making and it is truly the most unfair… I was a victim of it in graduate film school at USC and remember it well… Not. Cool.
Yeah, so I’m pretty sure that the readers don’t have names on the scripts that they are assigned. So how would they know the gender of the writer?
@rome The Nicholl is far from being rigged, but thanks for playing.
How is the contest a rip-off? Not trying to be flippant, just genuinely curious. I always thought it seemed like a good opportunity.
Nicholl is cheap and arguably one of the three or four contests worth doing in terms of prize and respect. The problem with Nicholl is that everyone knows that and the *quarterfinal* cut is so thin that the odds are astronomical. Sure, at least half the entries won’t be professional, but if you lop 50% off, that’s still another 45% of the entries you have to beat out to even reach the higher rounds.
The result of that is that you can vary enormously with the same script. Round 1 can be as much down to taste as the script review services that are uniform garbage because they’re not the ones buying.
Terrific contest. Not rigged.
Congrats to all the finalists!
It’s not rigged as far as I know and is the most highly regarded of the contest. That said, it’s also known for partiality to certain genres. Dramas are always in the vast majority of wins each year. If you’re a horror writer, the list of finalists for all years combined can be counted on one hand (or less). They are known for being a bit staid when it comes to subject matter. As they claim, they aren’t necessarily looking at the commercial aspects of the script. So, if you’re in one of the less well received categories, apply by all means, but be aware of the odds.
The genre-partiality is a claim a lot of people hold, but I don’t think it holds much water. Remember, this is a pool of “amateur” (i.e. at least never paid) writers, and what do the VAST MAJORITY of writers at this stage in their career spend their time and energy on? Lots and lots and lots of dramas…
A lot of them move into genre stuff when they realize that’s what the market will bear, but when they’re writing on their own (“from the heart” to quote the cliche), these writers produce tons of family and relationship dramas and period pieces, etc…
And a lot of them are quite good, it’s just not what the marketplace wants. Which is sort of the whole point of the contest (to kick-start these writers down the road to writing professionally).
Greg Beal has addressed the genre-partiality question pretty thoroughly, and has made a convincing case that in general the winning scripts reflect the applicant pool.
Congrats and best of luck to the finalists.
One woman? Unbelievable, what bullsh*t.
Two women actually.
see my above post. Pretty sure the readers don’t know the names of the writers, so how could there be any discrimination here?
“Rome” just sounds like a bitter WannaBe hack who though his ‘Brilliant’ script would walk away with the award…much to his SHOCK, it didn’t even make the final’s list. Bitter would be writers/waiters are a dime a dozen…couldabeen, wouldabeen, WASN’T. Stop your belly aching. If you’re a WRITER, keep writing. If you’re good and not just deluded because your Mama said you’re talented, you’ll get some results. Bitching that a long running, hugely respected contest is somehow “rigged” is just sour grapes and shows you’re NOT a “professional” in any way, shape or form.
Congratulations to the finalists and best of luck in the future (the fellowship is just a start so keep working it). Thanks for the Nicholl’s folks for putting on the contest.
We can complain about virtually every contest that involves judges. Perfect- no. A good thing- yes, as I’d like to see more solid movies vs another remake or Part VIII of some tired flick.
Only two people with middle names — lame! This is such a rip. I can’t believe how biased and ridiculous this is. Come on. They have always been known for selecting writers without middle names. Sheesh.
Congrats to the finalists. Writing competitions are hard to win. A lot of good scripts don’t even place. Best thing any writer can do is produce/direct their own work if they really want to see it made.
I am writing a script for Nicholl. It will take several years to complete properly. How does that sound? That’s what writing is. I know every Tom Dick and Flavor says they write a script in a month. I hear that I run for the hills. If you have really put the work in it is impossible to write a well executed story/script in under a year. Simply impossible. I don’t care what stories you hear from those who have made it. They ain’t true. Those are writers trying to make themselves sound bigger and better as if writing faster is better. I love Terrence Malik. You should too.
I’m biased because I submitted to Nichols and didn’t make it as a finalist, but I score in the top 10% which made me feel motivated.
The proof of Nichols’ failure is the fact that out of 6,000 scripts multiplied by the number of years the contest has been held, not a single script has been produced into a truly successful film. I suppose lots of writers have landed agents or staff jobs through Nichols, but the “readers” have failed miserably at finding a “hit.” I have to wonder how many great stories have been tossed in the trash by Nichols readers.
seems like it’s just not worth the time and effort.
Um, the purpose of the Nicholl Fellowships is NOT to find big commercial hit screenplays — it’s to discover and nurture talented writers. See the above post about multiple Academy Award nominations and 4 billion dollars at the b.o. (and too many successful and working screenwriters to list here) to see the Fellowships are an unqualified and massive SUCCESS.
That being said, a lot of Fellowship contest scripts HAVE been produced and some have done well (“Arlington Road,” “Finding Forrester,” “Excess Baggage,” more recently “Armored” and “Butter” just come to mind off the top of my head — there are more).
And again, for the most part we’re talking writers way outside the system (unproduced, unrepped, etc…), so no, the scripts they enter probably aren’t going to be the most commercial stories — the fact so many of them HAVE been produced is quite impressive.
I personally know someone who is on this list. He is not from California. He doesn’t have insider connections. He is definitely in the top ten because of his tallent, not because he rigged the contest in his favour. He didn’t imagine going this far, and he did. Jealousy is so ugly.
Um, the purpose of the Nicholl Fellowships is NOT to find big commercial hit screenplays, it’s to discover and nurture talented writers. See the above post about Academy Award nominations and 4 billion dollars at the box office from Nicholl winners and it’s pretty clear the contest has been a massive and unqualified SUCCESS.
That being said, a lot of Nicholl contest scripts actually have been produced and some have done well (“Arlington Road,” “Finding Forrester,” Excess Baggage,” more recently “Armored” and “Butter” come to mind — there are more).
Remember, these are scripts from writers way outside the system (unproduced, unrepped), so no, they’re probably not going to be the most commercial stories. The fact so many contest scripts HAVE been produced is pretty impressive.
I’m sure ROAR and Niad Management will be taking meetings any day now.
Interpret that statement however you want.
Butter was a good film? Really? The same Butter with the line about “racist ninjas”?