We're proud to announce the finalists of the Other Network Comedy Contest 2009-10.

Several people sent in multiple script entries this year and, while each individual entry was read 'blind' (no cover page or author info), when we realize that someone wrote more than one script that made it into the finals, we're kind of impressed. That is definitely the kind of thing that an agent or showrunner will look for.

One good script is good, but several good scripts let people know that the writer is prolific - and that's one of the essential ingredients for a career writing comedy.

That being said, the potential winners, in no particular order, are...

Shaz Bennett, "Alaska is a Drag" (Original Pilot)

Brendan Rovan & Timothy Cascino, "Curb Your Enthusiasm: Larry's NSD" (Spec Script)

Teddy Goldsmith, "30 Rock: Fear of a Fat Cat" (Spec Script)

Sara Cravens & Teddy Goldsmith, "Welcome to Stankley" (Original Pilot)

Tyler Burton Smith, "30 Rock: Little People Boxing" (Spec Script)

Deborah Gross, " Conversations With Deb" (Blog Entries)

Derek Taylor Kent "Original Sketch Pack" (He didn't waste any creativity on the title), "The Sarah Silverman Program: When Sarah Met Groucho" (Spec Script), "30 Rock: Poached Lemon" (Spec Script).

Thank you all for your hard work, and for making us laugh. Stay tuned for the winner(s).

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.

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.

My name is Greg and I am a done-aholic.

I love finishing, my own projects or anyone else's. The joy of completion. The fun of being done. Again. Because of course you're going to do another draft. But for now, done.

I think it's really important to take a second and celebrate such a miraculous expression of your will. You've gotten this draft (or year) behind you. Good for you!

Oh wait, you haven't finished yet? Well, there are probably very good reasons why.

1. The beginning just isn't right yet. You keep working and reworking the opening. And it does keep getting better. Or does it? Guess what? The beginning can't be right until you've gotten to the end because the end is what you're writing towards the whole time.

A couple of recent wake-up calls.

1) STOP THE PRESSES
Apparently Universal has announced they are suspending all feature film development until 2010. Even though film box office is doing great. High-end shenanigans from corporate parents or just part of the general climate of fear?

2) BLAME THE WRITERS
I don't know if this is true for stars and on-camera talent, but at the Emmys last week, a major TV network instituted a new policy about limos. The network still hired cars to take nominees to the awards ceremony, but when one writer/producer who won one of the top awards wanted to take their Emmy out on the town, they were told the network was only paying for the car to go to the awards ceremony and then drop them home. If they wanted to go to any other parties they had to pay for the car themself!