I used it a couple of years for feedback on my screenplay. The feedback was good and constructive and actually led us to do some good rewrites, but they aren’t always professionals there so you don’t get to choose who gives you feedback. It was ok for free feedback
I think Coverfly is a useful and helpful tool to use. Tracking competitions, results, and all drafts of a screenplay are my faves. But they also have many prodcos, managers and agents that visit to have a look at the better performers. All without charging any fees.
I've only used Coverfly a few times, Soph. I used it twice to enter short script contests, and I used it to search for other contests. Coverfly's easy to use.
I was very publicly against it upon launch because I feared the system would only exasperate the mushrooming of script competitions at the time. In all fairness, they've actually helped clean things up a little.
It's pretty much a passive service for most as it's mostly aggregation of existing data. I have access to the industry side of the site and they do a good job of effectively pitching the best performing material.
I think it's going to get a lot better with this culture shift away from competitions to coverage that's happening, as it means the script analysis is a lot more considered. On the flip side, there's no doubt there's some conflict of interest there with the aggregator also running many of the services that feed into it.
As ever, any aspiring writer putting all the eggs into the competition/coverage/evaluation basket is being foolish. Especially if they are simply spinning the roulette wheel over and over. Tactics like this need to be part of a bigger strategy that puts a lot of focus on networking and personal development.
Like CJ, I’m cautious about screenplay competitions. I’ve only entered when they’re free, which is why I have a Coverfly account. I entered one contest there.
Like CJ Walley mentioned, Coverfly is essentially an administration portal that simplifies all things contests/fellowships/labs/coverage. If you are not entering any contests, Coverfly has very little tangible benefit. If you are a writer who enters, and your scripts begin to do well in contests, then there's basic metrics which will show you where your projects stack up vs. the competition on Coverfly, and you also have a one-stop shop to keep track of where your material has been submitted. It's free. It's easy to use. I like it for what it is, but it just feels like a very old, waning platform. I think CJ Walley is also right on the shifting landscape of competitions. There's not much empowerment going on in a cycle of enter contest and hope, enter contest and hope. Even if you are doing WELL in contests, scoring lots of high finishes, nobody's goal is to be the King and Queen of high-contest finishes. Truth is, outside of the top fellowships and some top competitions & festivals, contest wins don't often translate into many writers getting snapped up by reps. Stage 32 is really the place you want and need to be. For a lot of reasons, not the least of which is that the foundation here is not built upon the enter and hope two-step. It's all about taking other steps to assert more control over what you're shooting for, networking with others, learning, and just going after it.
You just have to remember that entering screenwriting competitions in the hope of starting a career is like saying you want to be an investment banker and taking your capital to a casino.
I don't even think it gives you an indication of where you stack up.
They're supposed to be a little thing you do on the side with the slim chance you advance to a notable level, and the even slimmer chance the exposure leads to an industry member valuing it.
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I used it a couple of years for feedback on my screenplay. The feedback was good and constructive and actually led us to do some good rewrites, but they aren’t always professionals there so you don’t get to choose who gives you feedback. It was ok for free feedback
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They mastered using data into a thriving script services.
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It can be helpful.
But like anything else, it's not the end all for your writing.
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I think Coverfly is a useful and helpful tool to use. Tracking competitions, results, and all drafts of a screenplay are my faves. But they also have many prodcos, managers and agents that visit to have a look at the better performers. All without charging any fees.
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I've only used Coverfly a few times, Soph. I used it twice to enter short script contests, and I used it to search for other contests. Coverfly's easy to use.
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Thanks so much everyone!
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You're welcome, Soph.
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I was very publicly against it upon launch because I feared the system would only exasperate the mushrooming of script competitions at the time. In all fairness, they've actually helped clean things up a little.
It's pretty much a passive service for most as it's mostly aggregation of existing data. I have access to the industry side of the site and they do a good job of effectively pitching the best performing material.
I think it's going to get a lot better with this culture shift away from competitions to coverage that's happening, as it means the script analysis is a lot more considered. On the flip side, there's no doubt there's some conflict of interest there with the aggregator also running many of the services that feed into it.
As ever, any aspiring writer putting all the eggs into the competition/coverage/evaluation basket is being foolish. Especially if they are simply spinning the roulette wheel over and over. Tactics like this need to be part of a bigger strategy that puts a lot of focus on networking and personal development.
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Like CJ, I’m cautious about screenplay competitions. I’ve only entered when they’re free, which is why I have a Coverfly account. I entered one contest there.
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Thanks CJ and Mike, that’s very interesting.
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Like CJ Walley mentioned, Coverfly is essentially an administration portal that simplifies all things contests/fellowships/labs/coverage. If you are not entering any contests, Coverfly has very little tangible benefit. If you are a writer who enters, and your scripts begin to do well in contests, then there's basic metrics which will show you where your projects stack up vs. the competition on Coverfly, and you also have a one-stop shop to keep track of where your material has been submitted. It's free. It's easy to use. I like it for what it is, but it just feels like a very old, waning platform. I think CJ Walley is also right on the shifting landscape of competitions. There's not much empowerment going on in a cycle of enter contest and hope, enter contest and hope. Even if you are doing WELL in contests, scoring lots of high finishes, nobody's goal is to be the King and Queen of high-contest finishes. Truth is, outside of the top fellowships and some top competitions & festivals, contest wins don't often translate into many writers getting snapped up by reps. Stage 32 is really the place you want and need to be. For a lot of reasons, not the least of which is that the foundation here is not built upon the enter and hope two-step. It's all about taking other steps to assert more control over what you're shooting for, networking with others, learning, and just going after it.
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Thanks so much DT, I really appreciate your advice!
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Anytime Soph
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You just have to remember that entering screenwriting competitions in the hope of starting a career is like saying you want to be an investment banker and taking your capital to a casino.
I don't even think it gives you an indication of where you stack up.
They're supposed to be a little thing you do on the side with the slim chance you advance to a notable level, and the even slimmer chance the exposure leads to an industry member valuing it.
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Absolutely, CJ - 100% agree