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Kairos Prize for Spiritually Uplifting Screenplays

Kairos Prize for Spiritually Uplifting Screenplays

Contact

MOVIEGUIDE
1151 Avenida Acaso
Camarillo, CA 93012
(760) 687-9960 (voice)

Web: https://kairosprize.com
Email: contact@kairosprize.com

Contact: Michael Trent, Competition Manager
MovieBytes Interview: Michael Trent

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.1/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (3.8/5.0)
Feedback: 3 stars3 stars3 stars (3.0/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 13    
Have you entered?
Please submit a Report card.

Categories

Objective

Created by Dr. Ted Baehr, founder, publisher and executive producer of MOVIEGUIDE® and founder and chairman of the Christian Film & Television Commission, and Dr. Jack Templeton, the primary purpose of the prize is to further the influence of moral and spiritual values within the film and television industries. Seeking to promote a spiritually uplifting, redemptive worldview, MOVIEGUIDE® announces the Kairos Prize that will help inspire first-time and beginning screenwriters to produce compelling, entertaining, spiritually uplifting scripts that result in a greater increase in either man’s love or understanding of God.

Deadline/Entry Fees

Deadline Date Entry Fee Days till Deadline
Early Bird August 1, 2018 $50 41
Regular October 1, 2018 $75 102
Late November 1, 2018 $100 133

Rules

IMPORTANT NOTE: There are many screenwriting competitions that honor wonderful, exciting and entertaining scripts, and some that honor moral scripts, but the Kairos Prizes for Spiritually Uplifting Screenplays endeavors to encourage the production of feature films that are wholesome, uplifting and inspirational, and which result in a greater increase in either man's love or understanding of the one true Creator Triune God who came in the flesh and gave his life and was resurrected to save all mankind. Our intention in setting up the Guidelines and Rules of Content is to clearly define the competition so that you will be successful in your submissions. A word of warning: This competition is not for the nominalist, occult, new age, or other non-Judeo-Christian spirituality. Please read and follow these guidelines and content rules. Submissions that do not follow them may be disqualified.

  1. In selecting the winners of the contest, judges consider not only a script’s entertainment value and craftsmanship, but also whether or not the script in question is wholesome, uplifting, inspirational, spiritual, and if it teaches lessons in ethics and morality.
  2. Furthermore, the judges consider whether the script is primarily spiritual, rather than merely humanitarian, and whether it resulted in a dramatic increase in either man's love or understanding of God. Considering this, the judges will decide whether the script communicates God's wisdom and infinite love in new, effective, and creative ways, thereby helping people understand the relationship of the one true Creator Triune God.
  3. The script must be suitable for a G and PG rating and should be entirely free of foul language.
  4. In this regard, is it okay to have a spiritually uplifting dramatic script which hints, for example, that the person became a criminal or prostitute but repented by finding Christ? Of course.
  5. The script may be allegorical but must refer implicitly or explicitly to Christian and/or biblical principles, values, virtues, and/or refer specifically to the Bible, the Triune God of the Bible, and/or Jesus. To define this more clearly, judges will take into account the criteria that Movieguide® uses to evaluate films and television programs. These criteria include looking at each script:
    • Aesthetically by looking at the artistic value of the script, and by looking at how well the script is written.
    • Emotively by looking at how it captures and amuses the audience as entertainment and amusement.
    • Semantically by looking at the individual elements and their meanings, just as many parents do.
    • Syntactically by looking at how the elements come together and how the characters relate to each other, just as many teenagers and young adults do.
    • Propositionally by looking at what the script is communicating, as summarized in its premise.
    • Generically by comparing it to other scripts in its genre.
    • Thematically by looking at the themes that are present in the script.
    • Morally by looking at its moral perspective and content.
    • Biblically by looking at the biblical perspective and principles in the script.
    • Systematically by looking at how the script relates to other scripts.
    • Intellectually by looking at how the script fulfills its goals and premise.
    • Sociologically by looking at how the script relates to culture and society.
    • Politically by looking at the political perspective of the script.
    • Cognitively by looking at the age group to whom the script is marketed, the age group for whom it is suitable, and how it will impact a particular age group.
    • Psychologically by looking at how the script deals with mind and soul.
    • Historically by looking at how accurate the script is in presenting history.
    • Sexually by looking at how the script deals with sex and sexual relationships.
    • Philosophically by looking at the philosophical perspective and worldview of the script.
    • Ontologically by looking at how the script deals with the nature of being.
    • Epistemologically by looking at how the script deals with the nature of knowing.
    • Spiritually by looking at how the script deals with God, faith, and religion.
  6. The script must adhere to the short form of the Motion Picture Code:The basic dignity and value of human life shall be respected and upheld. Restraint shall be exercised in portraying the taking of life. Evil, sin, crime, and wrongdoing shall not be justified. Detailed and protracted acts of brutality, cruelty, physical violence, torture, and abuse, shall not be presented. Indecent or undue exposure of the human body shall not be presented. Illicit sex relationships shall not be justified. Intimate sex scenes violating common standards of decency shall not be portrayed. Restraint and care shall be exercised in presentations dealing with sex aberrations. Obscene speech, gestures, or movements shall not be presented. Undue profanity shall not be presented. Religion shall not be demeaned. Words or symbols contemptuous of racial, religious, or national groups, shall not be used so as to incite bigotry or hatred. Excessive cruelty to animals shall not be portrayed and animals shall not be treated inhumanely.

Awards

The Kairos Prize not only offers a substantial cash prize of $15,000 for both new and established screenwriters, but it gets your screenplay into the hands of top studio executives and production houses looking to purchase inspiring scripts.

Kairos Prize for Spiritually Uplifting Screenplays

Contact

MOVIEGUIDE
1151 Avenida Acaso
Camarillo, CA 93012
(760) 687-9960 (voice)

Web: https://kairosprize.com
Email: contact@kairosprize.com

Contact: Michael Trent, Competition Manager
MovieBytes Interview: Michael Trent

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.1/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (3.8/5.0)
Feedback: 3 stars3 stars3 stars (3.0/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 13    
Have you entered?
Please submit a Report card.

Categories

Contest Comments

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Kairos Prize for Spiritually Uplifting Screenplays

Contact

MOVIEGUIDE
1151 Avenida Acaso
Camarillo, CA 93012
(760) 687-9960 (voice)

Web: https://kairosprize.com
Email: contact@kairosprize.com

Contact: Michael Trent, Competition Manager
MovieBytes Interview: Michael Trent

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.1/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (3.8/5.0)
Feedback: 3 stars3 stars3 stars (3.0/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 13    
Have you entered?
Please submit a Report card.

Categories

Contest News

Movieguide Names Kairos Contest Winners

North Star by William Gebby has been named the winner of the Kairos Prize for Beginning Screenwriters. The script is about an emotionally cold Quakeress who learns to love after she rescues an eight year-old runaway slave. The Kairos Pro Prize for Established Screenwriters has been awarded to Alexandra Boylan for her scirpt Switched, which is about a woman who is tired of turning the other cheek. When she prays that her nemesis, the Queen Bee of social media, would know what it’s like to walk a day in her shoes, her prayer is answered in an unexpected way when they switch identities.

Updated: 02/13/2018

Kairos Prize Announces Finalists

The Kairos Prize has announced the top 10 finalists for the Ninth Annual Kairos Prize for Spiritually Uplifting Screenplays by First-Time and Beginning Screenwriters.

Updated: 01/31/2014

Kairos Announces Semifinalists

Fifty-five semifinalists have been announced for the 8th Annual Kairos Prize for Spiritually Uplifting Screenplays.

Updated: 01/22/2013

MOVIEGUIDE® Announces Kairos Prize Winners

The 18th Annual Faith & Values Awards Gala wrapped up its awards presentation Tuesday night, February 23rd, and handed out more than $300,000 in cash prizes, including $25,000 to Dwight Carlson and Gregory Carlson for their Kairos Award-winning Screenplay, The Good Doctor.

Updated: 02/25/2010

Twelve Finalists Named for $50,000 Kairos Prize Screenplay Competition

MOVIEGUIDE®: The Family Guide to Movies and Entertainment announced its short list of twelve finalists for the 5th Annual $50,000 Kairos Prizes for Spiritually Uplifting Screenplays by first-time and beginning screenwriters, funded by a grant from the John Templeton Foundation and presented by MOVIEGUIDE®.

Updated: 02/10/2010

Kairos Prize for Spiritually Uplifting Screenplays

Contact

MOVIEGUIDE
1151 Avenida Acaso
Camarillo, CA 93012
(760) 687-9960 (voice)

Web: https://kairosprize.com
Email: contact@kairosprize.com

Contact: Michael Trent, Competition Manager
MovieBytes Interview: Michael Trent

Report Card

Overall: 4 stars4 stars4 stars4 stars (4.1/5.0)
Professionalism: 4 stars4 stars4 stars4 stars (3.8/5.0)
Feedback: 3 stars3 stars3 stars (3.0/5.0)
Signficance: 3.5 stars3.5 stars3.5 stars3.5 stars (3.7/5.0)
Report Cards: 13    
Have you entered?
Please submit a Report card.

Categories

Interviews

MovieBytes Interview:
Screenwriter David (Nicholas) Hartmann

An interview with screenwriter David (Nicholas) Hartmann regarding the Kairos Prize Writing Competition.

Q: What's the title of the script you entered in this contest, and what's it about?

A: The script is called "A Dolphin In Our Lake". The logline is: A Midwestern farmer in early World War II America must believe in the miracle of a dolphin appearing in his small fresh water lake, if he is to save his family farm, his terminally ill son, and ultimately his soul.

It's basically a coming to faith story. The dolphin is a huge symbol in the script. The terminally ill son first sees the dolphin, a promise from his dying grandfather. Then, the father and the rest of the family have to each decide for themselves if it is real - Do they "believe".

It sounds rather dark, but it has a lot of light moments in the script and quite a bit of humor. There are two children that play primary roles in the script, and I had a lot of fun writing for them.

Q: What made you enter this particular contest? Have you entered any other contests with this script? If so, how did you do?

A: The Kairos, unlike a lot of other contests, is very focused. It is very specific in its requirements. So, I knew that my script fit the criteria, and to be honest, with contests being a paid exercise, the amount of money offered for the Kairos is fantastic. It is far and away one of the better paying. You never assume you are going to win. But, if you are going to enter the arena, it's nice to know that there is a big payoff. And, their record of scripts getting optioned and/or produced is really impressive. I think it might be something like seven of the twenty-one winning scripts from the many years are moving forward into production or have been finished. That's a better record than just about any other contest.

The script has done very well in other contests. It was a semi-finalist at Kairos and then was heavily re-written for the winning year. It was a semi-finalist at Scriptapalooza. It was top 10% in the Nicholl. It was a semi-finalist (last 25 in family category) in the Page Awards. And, it was an Honorable Mention (Top 100) in the Writer's Digest International contest.

Q: Were you satisfied with the administration of the contest? Did they meet their deadlines? Did you receive all the awards that were promised?

A: I could write a book about this subject (or maybe a screenplay). The entire experience was absolutely top-notch. From the moment they called to tell me about the win, they were in constant contact to arrange the flight to LA, the hotel accommodations (Universal Hilton), pick-up from the airport, wonderful meals I have never met a more gracious group of people than those involved with the MovieGuide Gala and Kairos contest - Dr. Ted Baehr, Michael Trent, too many to name.

Most contests don't even have a celebration, let alone the red carpet gala that my wife and I experienced. They could not find a flight back for us on the night after the gala. So, they put us up for another night in the hotel and even took us on a yacht cruise for the evening which was never part of the winning package!

And, of course, the check came in the mail as promised. And, they have continued to work on my behalf in the industry to support the script which is obviously a huge asset.

Q: How long did it take you to write the script? Did you write an outline beforehand? How many drafts did you write?

A: It probably took about two years. I was working on other projects in between. It probably went through about a dozen major revisions.

I never have been an "outliner". Everybody finds their own way. I usually start with scenes done freehand on legal pads. This lets me free associate and jump back and forth between chunks of the script, write in the margins, etc. Then, I type it in, rewriting as I go. Then, I make all the rest of the revisions on the computer. Outlining would probably be much faster! But, it never works for me.

Q: What kind of software did you use to write the script, if any? What other kinds of writing software do you use?

A: I use Movie Magic. I started, probably like most, with Word, just using Tab, etc. But, getting a solid program, Movie Magic or Final Draft, is worth every penny. Once you get used to it, you almost wonder how you could work any other way.

Q: Do you write every day? How many hours per day?

A: I still have that "day" job. So, I try to put in at least a half an hour each night, sometimes a couple of hours. Then, on weekends, or days off, I may write for twenty hours straight. Not good for your posture, but it's all for the script, right?

Q: Do you ever get writer's block? If so, how do you deal with that?

A: I've never had writer's block. I always have more ideas than I have time to write. I probably have my next six scripts roughed out in my head.

Although, if I get stuck in a scene, the best thing for me to do is get up and get away for a while. Or, just jump to another section of the script, then come back.

Q: What's your background? Have you written any other screenplays or television scripts?

A: I started as a short story writer, then moved into stage plays. I had some luck there with a couple of productions. I still love that form of writing. I love the immediacy of theatre. But, script writing seems to really suit my skills better than other forms. The playwriting helped me to learn dramatic three-act structure and dialogue has always been a strength of mine. Since narration is not my strong suit, I don't think I was cut out to be the next great fiction writer.

I have written several other scripts. One of them has a similar contest record to the winning Kairos script. No wins for that piece yet, but a lot of close calls in several of the major contests (Nicholl, Austin, Big Break, Writer's Digest, and Creative Worlds).

Q: Do you live in Los Angeles? If not, do you have any plans to move there?

A: I don't live in LA. I would be willing to move if enough writing assignments occurred. Don't we all say that? And, I think any writer wanting to work in film, should make himself available for meetings in LA, New York, Austin, or wherever, if needed.

Q: What's next? Are you working on a new script?

A: Always. You have to market the old scripts and keep writing something new. The current script is a romantic comedy due in theatreswhenever someone will pay me for it.

Posted Friday, September 28, 2012