The Killer Shorts Contest is excited to bring you this interview with screenwriter Jason K. Allen. As an alum, Jason has placed as a Quarterfinalist with his script Night of the Swingin’ Dead and as an Honorable Mention with his 1-Page script Poking Dead Things With Sticks. Hailing from the wooded areas of Nashville, Jason has found great success with optioning his scripts, having over a dozen optioned from CJ Walley’s Script Revolution, a resource for writers to get their scripts discovered. Among his many accolades in screenwriting competitions, Jason found a huge learning opportunity when his script Lucky Fritz, starring Corey Feldman, was produced. Through this process, Jason learned how to approach his scripts in the future.

As someone who has placed in several screenwriting competitions from Screencraft, the Nashville Film Festival Screenwriting Competition, to The Killer Shorts Contest, Jason is open about the confidence boost it gives him as a writer. One message in particular that Jason shares is not placing in a screenwriting competition doesn’t mean your script is bad. This is a sentiment we share with Jason and want to emphasize. In our interview with Jason, he gives invaluable advice on the best approach when your script is optioned for the first time from researching the filmmaker to asking for samples of their work. Jason is a great example of the trajectory a writer’s path can go after placing in a writing competition.

Check out our interview with Jason K. Allen below.

Conversations with Jason

Where are you from and where do you currently reside? Do your surroundings have an impact on your writing?

I was born and raised in Nashville, TN, and still live in the area. My home is in a remote wooded area, so I would say the surroundings definitely impact my writing. Living close to nature is important to me. I love being surrounded by birds and wildflowers and trees, and I think it helps inspire my work. It brings me peace and helps me to focus. So I guess it’s fitting that many of my scripts take place outdoors and have a strong nature element to them. I don’t intentionally plan to write outdoorsy scripts; I guess it’s just what interests me. I actually write many of my scripts while sitting out in the woods. I bounce my ideas off the squirrels, haha.

You had 2 scripts place in Season 3 of the Killer Shorts Contest, Quarterfinalist Night of the Swingin’ Dead, and Honorable Mention Poking Dead Things With Sticks. What stands out to you about Killer Shorts that made you want to submit?

When I first heard about Killer Shorts, I looked them up, and right off the bat, I could tell they were real horror fans. I was super impressed by their list of judges. I mean, Joe Bob Briggs! Also, it was a pleasant surprise to find a quality horror contest that focused on short scripts. There aren’t many of those around. But most of all, I could tell they actually cared about the writers. They work closely with the writers, and their submission fees are low and affordable, unlike so many other screenwriting contests. And I must admit, I thought those Killer Shorts trophies were pretty darn cool, too. I thought to myself, I gotta win me one of those someday!

Poking Dead Things With Sticks was an honorable mention in our 1-Page category. What do you think is unique about this script that makes it a successful 1-Page?

Well, for one it’s a blend of horror and comedy. So if you don’t like one element of it, you may like the other! Also, it’s very visual. In fact, it has no dialogue. In my head, I pictured an old Buster Keaton short — but with a horror element. Without dialogue, a script is much shorter, which certainly helps when you’re attempting a one-page script. And it has a little twist/reversal at the end. I’ve never been good at twists, but here I was able to come up with one in less than a page, which was a bonus. I never really had a full-blown story in my mind with this one. Yeah, the script has a beginning, middle and ending, but it’s really more about a feeling I wanted to capture. Lighthearted and macabre. It was a fun challenge to attempt that with one page.

Were your scripts ready to go, or did the contest prompt you to write them?

The two scripts that advanced had already been written. Perhaps that’s why they were successful, I had more time to play around with them. I had set them aside several times and then I continued to come back and fine-tune them. The contest did prompt me to write some other shorts, however, and two or three got good scores via CoverFly. I’ve set those aside for a while as well and will hopefully improve them and perhaps submit again someday.

You have had several screenplays produced, your first being Lucky Fritz starring Corey Feldman. How did this experience of having a screenplay produced, inform, if it did, how you approach your writing?

Honestly, when that first film was produced I still had no idea what I was doing. Yes, I was a journalism major and had done some newspaper and magazine work, but screenwriting is a whole different beast. What I really learned is that I didn’t know very much, so I went back to the drawing board and studied screenwriting more thoroughly and rethought how I wanted to approach it. Looking back now, I think of that script and see so many things that I could’ve done to make it better. In those days I was trying to write what I thought people wanted to see. Or something that I thought would sell. But nowadays I write only what I’m passionate about — what excites me. If the script turns out well and other people like it, great! If not, well, at least I was true to myself and hopefully learned a few things along the way. I also learned to write with budgets in mind. When I wrote that one and some of my earlier scripts, I wrote whatever I wanted with no thoughts of budgets. Thus, when they made Lucky Fritz, they had to cut and change some things to fit their budget. Now I try to write scripts with minimal locations and cast members. It usually makes for a better story because you’re writing about a more knowledgeable world. And you also have a better chance of getting it produced.

What do you think is most beneficial, to a writer’s career, about also producing a short horror script?

For me, the biggest benefit is the confidence boost. So much goes into producing a film, even a short. There are tons of scripts out there in the world, and when a producer likes your script enough to buy or option it and then devote weeks or months of their life producing it, that just gives me a good feeling. Sure, it’s nice to get a film credit for your resume and maybe even an award or two if you’re lucky. And making connections with talented filmmakers is always a plus. But the confidence boost and the positive feeling are what stand out for me. It builds momentum and makes me want to create more and better work.

You have garnered several accolades for your work from Screencraft to seven-time finalist at the Nashville Film Festival Screenwriting Competition, just to name a few. How have these honors impacted your career and how you grow as a writer going forward?

Again, I go back to the confidence thing. Most writers have those days where they’re thinking: I’m no good at this, this script is terrible, I have no idea what I’m doing. I feel that way all the time! The accolades are those rare occasions when you can say: Hey, someone read my work and they liked it! It’s a nice feeling, and it helps keep me going. And sure, it also helps to have some contest awards when trying to promote yourself as a writer or land a writing gig. It certainly can’t hurt. It shows you’ve learned how to write screenplays to some degree and have been around the block a time or two. Perhaps it gives the producers and directors more confidence in your ability.

Do you think screenwriting competitions are an effective way of getting your work noticed, or even launching a writing career?

Yeah, I think screenwriting competitions can help — especially if it’s an established or well-respected contest. There are so many ways to launch a writing career, and all of them are equally difficult, haha. It seems no two stories are alike. I’ve tried a little bit of everything and still do. The business of screenwriting is constantly changing, and it’s sometimes tough to figure out how to attack it and how to get your work out there. But if you’ve written a really good script, entering a top-level contest is certainly one of your best options. On the other hand, don’t let it get you down if you don’t do well in contests. It doesn’t mean you don’t have a good script. What one reader hates, another reader may love. It’s all so subjective. Awards are nice, but at the end of the day, it’s all about finding that person who is passionate about your script and determined to get it produced.

CJ Walley, of Script Revolution, mentioned in our interview that you have successfully utilized the Script Revolution services. What is it about Script Revolution that stands out to you? And why have you found them to be a reputable source for making your scripts discoverable?

I’ve been super impressed by what CJ has done with Script Revolution. I’ve seen so many script services come and go over the last 20 years. I’ve tried many of them, but I’ve found only a handful that I felt were beneficial and worth the time. When I first heard about Script Revolution a few years back, I figured it was just another service that would come and go in a year or so. But then I looked into it and it sounded legit, and I also learned it was free to post loglines, synopses and scripts. So I tried posting a few as an experiment. It wasn’t long before I heard from someone who was interested in one of those scripts. And it was a legit producer with actual credits. And from there, the momentum built and I started placing more of my work on the site. Script Revolution is so well-organized and easy to use — and so affordable. And it’s constantly evolving for the better. I give all the credit to CJ and his hard work. He just really gets it. He’s a screenwriter himself and he is always on top of things. Nowadays I can hardly keep up with all of the script requests I get on Script Revolution. Some of them are new filmmakers looking to make their first film, but just as many are established filmmakers with credits. It’s become the go-to place for me.

You have optioned about a dozen short scripts through Script Revolution alone. What advice might you give a new writer looking to start the process of optioning a script?

I would say figure out what your strengths are and do what works best for you. Don’t try to do everything “by the book” or what everyone else tells you. Optioning or selling a script is tough, and I feel you have to be willing to think outside the box. The first thing, of course, is to hopefully have a good script that someone wants to produce. If you’re using a service like Script Revolution, start slow and experiment and learn what works best. Write up a little bio on who you are and what you’ve done (or what interests you), maybe post a couple of your best scripts to start, try out some different loglines, etc. Find out what’s working, learn what producers are looking for, and figure out how to get your work noticed. Because once they request your script, you at least have a foot in the door. You have to learn to sell yourself and the script, too. Also, take advantage of the internet. There are more producers and directors looking for scripts than most people realize. Once a week, I spend a couple of hours searching the various script services and screenwriter sites and Googling and finding out who is looking for scripts and what types they are looking for. If you find something that fits your specs, be proactive and contact them. You never know when some random post on Craigslist or a website might be the thing that jump-starts your career.

What has the process of optioning a script looked like for you? 

First, when someone is interested in producing one of my scripts, I always thank them for taking the time to read my work. I know that may sound unimportant, but in this crazy, fast-paced world of ours with so many possibilities for our time, I’m always appreciative when someone takes the time to read my work — whether they like the script or not. The next thing I want to do is find out something about the filmmaker who is interested in my script. Learn more about them. Ask to see samples of their work. Look them up. I’ve done this long enough now that I can get a pretty good vibe about a person from their very first intro and email. Do they seem professional? Do they sound like they have a plan in place? Sometimes they might be a newbie who has never made a film before, but that doesn’t mean I disqualify them. If I like their attitude and passion for the script or something else about them, I might want to work with them anyway. But generally, for me, I have to like the person AND their work. Then, after we’ve discussed film stuff and creative endeavors and passions and such — and if we still want to work together at that point — THEN we can start talking business.

Were you always interested in the horror genre? Do you plan on continuing in this genre as your career progresses?

Yeah, horror was always my favorite genre to watch. I remember sneaking out of bed late at night as a kid to turn on my little black-and-white tv to watch old mummy and werewolf movies. Strangely, though, I never tried writing horror until recently. I’m not sure why. Up until now, most of my scripts have been a comedy or comic hybrids. Writing comedy was not something I planned on, it’s just what came out of me. Perhaps I found the thought of writing horror too daunting. Maybe I just wasn’t ready for it yet. But then I wrote my first horror short, and it was the most fun I’d ever had writing a script. Trying to scare or creep out someone with your writing… that’s quite a challenge. I’m not sure I’ve found my voice yet and it’s still a work in progress, but I find it deeply fulfilling and enjoyable.

What would be your dream writing job?

Geez, that’s a tough one. I have so many interests: film, horror, nature, hiking, baseball, books, music, chocolate, Scotland, Halloween, Christmas…  Maybe writing a screenplay (and getting paid for it!) that involves all of those things? It probably wouldn’t make a very good movie, but I would have fun working on it.

Do you have any upcoming projects you’re excited about?

Yeah, I recently finished the second draft of my first-ever feature horror script. I love 70’s horror, and it’s sort of a throwback to some of those weird, dream-like, supernatural films from that era. I also just finished a rough first draft of another feature — a drama with a supernatural element. It’s a really personal story that touches on my passion for the natural world. I wrote about 40 pages worth of ideas for it three years ago, but it was a pretty emotional experience so I put it away in a drawer. It’s had three years to sit and cook, and a lot has changed since then and some other new ideas for it have come to the surface. That’s next on my agenda. Previously all of my features have leaned toward comedy, so these two are new territory for me. We’ll see what happens!

Final Thoughts

At Killer Shorts, we love highlighting finalists who have found success with their script after placing in a screenwriting competition. We hope Jason’s experience optioning scripts and seeing them produced inspires you when deciding to submit to the Killer Shorts Contest.

Submissions to Season 4 of the Killer Shorts Contest are now live. Make sure to submit by the final deadline on November 25th for only $35. Submit here.

Jason K. Allen on Coverfly.

Jason K. Allen on Script Revolution.