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If you are sending the application package by mail or courier, it does not need to arrive on the deadline day, it only needs to be sent (i.e. start its journey to us) on the deadline day.
If you are delivering the application package in person, it needs to arrive on the deadline day before 5:00 pm.
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- A producer can only submit a maximum of two applications per deadline.
- A writer can only be attached to one application per deadline.
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- You can apply with your project at the next phase of development only if the Committee has made the allowance for your project to come back at a later phase. This information will be indicated in the rejection letter.
- You can not reapply with your project at the same phase of development.
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Some suggestions for what the producer’s letter of interest should include:
- Producer has read the script and he/she is potentially interested in optioning the material at a later date
- Producer indicates why he/she feels this project has potential in the marketplace and who is the intended target audience
- Producer is interested in seeing the next rewrite of the script
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No, the producer must have two long-form production credits. Producers who lack the two long-form credits may partner with a co-producer who satisfies the minimum credit requirements. Co-applicants must co-own the property.
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No, the screenwriter must have two long-form screenwriting credits. Screenwriters who lack the two long-form credits can not apply on their own. They need to be attached to a producer who satisfies the minimum credit requirements or co-write with a screenwriter who satisfies the minimum credit requirements. Co-applicants must co-own the property.
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No, you do not need to have a story editor attached in order to apply to our Program. If you have already hired a story editor or are planning to hire a story editor, please note it in the budget for this phase and include the story editor’s name on the application form.
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The Fund requires the project to be certified by CAVCO as an 8 out of 10 Canadian production or receive Canadian Program recognition from the CRTC (must also be at least 8 out of 10 on the Canadian Content point system); beyond that, the story can be set in any location or told from any experience. Ultimately, the story should be universal in theme.
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The only information that should appear on the title page is the name of the project, the version and draft date. For example: “Title of Project”
Version 3
January 29, 2007
We ask that you remove the name of the writer and the production company information because the creative evaluation of your project is a “blind” read (i.e. the reader does not know who the writer or producer is). This process ensures that the creative assessment of all applications is fair.
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Our page count is a suggested guideline for the creative materials. However, if there is a significant overage or underage, please contact the Manager of the Script Development Program to discuss.
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The treatment should be written in prose, describing the basic narrative idea or theme, and it should include the three act structure, noting the characters’ development and action.
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- You should clearly outline your plan to develop the project into a screenplay.
- Address how you will research the project to make it authentic (e.g. travel or interview research).
- Use screenwriting terminology to make your point(s) clear for the reader (e.g. character development).
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It is recommended that the master scenes take place at a pivotal point of the story to best provide the reader with an example of the style, quality and potential of the screenwriter’s work.
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No, you need to submit two applications on the proper application forms with the required checklist materials.
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This evaluation is your opportunity to present your project directly to the Committee in your own words. You should discuss the marketability of the project, the intended target audience, your assessment of the script and how you intend to move the project forward.
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It must discuss why the story is adaptable and how the story will be adapted to a feature film. This two-page summary must also indicate any potential character changes and whether the script will deviate significantly from the original story.
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- You should clearly outline your plan for the next rewrite.
- Address how you will revise any flaws you perceive in the script.
- Use screenwriting terminology to make your point(s) clear for the reader (eg. character development, restructuring the third act, etc.)
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No, the one-page story synopsis should include the beginning, middle and end of the story.
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You should include the costs incurred for this phase of development. For example, scriptwriter fee, story editor fee, administrative costs, etc.
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It is written confirmation from the story editor that he/she has been paid the full story editor amount. We will not accept a copy of your cheque for the story editor or the story editor’s invoice.
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