There are several hurdles that almost every writer has to get past in almost every writing project; scripts, books, plays, or even a substantial essay or article.

As a writing coach I've helped many writers and talented would-be writers get over – or around – these hurdles. I've also written over a dozen scripts myself – plus many projects that never got finished because of one or more of these stumbling blocks.

Webster's defines a 'hurdle' as: “an artificial barrier over which racers must leap”. I think the key here is remembering they're artificial blocks, usually psychological, and they're almost always put in your way by you. Of course, they seem - and act - pretty real.

HURDLE #1: GETTING STARTED

You might be one of the lucky ones who has no trouble here. If so you've probably gotten started on way too many projects. If you’re one of those people, you can skip directly to the second hurdle. But if you’re having trouble getting going it’s probably due to one of the following reasons:

“I’m too busy with other things!” aka “I can’t find the time!”

Solution #1:

Are you nervous because you're afraid someone will steal your underlying idea or even your script itself?

A writer recently contacted me via LinkedIn expressing concern about submitting a script to The Other Network Comedy Contest (or any contest). Here's my response:

You can create a paper trail and 'protect' your script by registering it with the Writer's Guild (it's not a copyright per se, but it establishes ownership on a certain date).

The underlying concept is actually less secure since you can't copyright an idea, just the 'specific expression of the idea'. That's why lawsuits usually focus on specific characters, scenes and story structure. There's really no way to totally protect an idea and still get your work seen. It's vaguely reassuring to submit your script through an agent, manager or lawyer if you have one, but still not much protection except against blatant theft - which is rare.

As the nervous writer said, "in order to get it out there you just gotta get it out there."

I can tell you that establishing a relationship with a talented writer is more valuable to someone in the business than co-opting one idea and burning a bridge. And you should be generating enough material so that you don't have to be overly precious and paranoid about any one script or idea. I can also tell you that our specific reader pool is small, we know them all personally and can vouch for their discretion and confidentiality. I can't vouch for any other contests.

Let me know if you have any other questions. We look forward to stealing... I mean 'seeing' your work.

btw, if you do decide to take the plunge and submit your script, you may want to take a look at our previous blog 8 Rewrite Notes for Any Comedy Script and do one more punchup rewrite on your script. I can tell you without even having read it that these notes will make it better.

The Other Network Comedy Contest deadline is Dec. 15, 2009 and we're happy to announce a special guest judge this year: Erin Keating.

Erin is a development consultant at IFC TV focused on original series development and production. Before that she was director of programming and development at Magna Global Entertainment, produced for ComedyNet, was a development consultant to BBC America, worked at NBC and Comedy Central.

The contest deadline is Dec. 15, 2009 and this year, the contest is accepting any comedy format: TV spec scripts, original TV pilots, feature screenplays, plays, personal essays, sketch packets, shorts, produced pilots, even standup - with potential winners in every category. And what do winners win?

Other contests give you cash or software. The Other Network Comedy Contest is the only contest that actually gets your foot in the Hollywood door: we put winners work into the hands of top TV showrunners to put you on their radar - and get their feedback on your work.

Previous winners have had their work reviewed by Bob Odenkirk, Alan Zweibel, Bill Oakley & Josh Weinstein, Cindy Chupack and other top comedy professionals, plus managers at Brillstein-Grey, agents at Metropolitan, execs at Starz and Comedy Central. Get details and enter now.

We thought you'd enjoy this article by John Truby, the Hollywood 'story guru' who has, by the way, no known credits for any script that he himself has written. Although we find conventional wisdom vaguely depressing, he does make some good points, and this is probably fairly realistic advice given the current contractive state of the market.

10 Story Techniques You Must Use to Sell Your Script - by John Truby

The key question that all screenwriters should ask themselves is: how do I write a script that Hollywood wants to buy? Most writers mistakenly think that success is all about connections and star power. Not so. The real trick to writing a script that will sell is to know and use Hollywood’s central marketing strategy. And that can be summed up in one word: genres.

Over the years, we've developed a number of techniques to take some of the pain out of the rewrite process. It's inevitably going to be a little painful,  because you have to confront the fact that you're writing isn't perfect. Yet.

Beth just sent me this quote about the creative process from Nathaniel Hawthorne: "Easy reading is damn hard writing".

I use these techniques when I work as a writing coach for private clients. We also use them, and others like them, at The Comedian's Way Workshop for Writers, Performers and Other Humans (next class this Sunday, Nov. 1, 1-4pm at M Bar in Hollywood).

There's nothing magic about any one of these. The point is to make a game of the rewrite to keep yourself from taking it so seriously that you get blocked. I realize some of these are going to be way too cutesy, or too woo woo, for some of you serious writer types. Maybe you'll feel differently the next time you're in the middle of a pit of rewrite despair and considering slitting your wrists.