2014 ScreamCraft Horror Script Contest Quarter-Finalists Announced

By June 30, 2014Blog, Featured

Listed below are the quarter-finalists of the 2014 ScreamCraft Horror Script contest! Congratulations to those who have made it this far and thanks to all for submitting.

3 Days On Condor Island by William L. Bradley

7th Son by William Maurer

Abolition of the Senses by Carlos Burgaleta

Ace by Andrew Ferrell & Shane McAvoy

Afraid by Jeff Etheridge

Alice by Anne Summers

All In The Golden Afternoon by Greg Leitman

American Hunger by Victor de Oliveira

Ancient Enemy by Mark Lukens

And I Dwelt In The Land Of Nod by Parker Briscoe

Animal by Hunter Burke and Nick Lavin

Antecedent by Jared Kelly

Applejack by Tom Radovich

A Thousand Times Goodnight by Sandra Corkins-Schmidt

Barista by Kristin Kirby

Bats by Ken Larish

Bayonets by Douglas Henry

Belladova by William Miller

Below by C.M. Robinson

Beneath by George L. Lopez

Black House by Thom Lonardo

Blackburn Burrow by J.H. Levy

Black Friday by Dan Hoger (Story by Danny Saratino)

Blackout by J.P. Ouellette

Blood Drive by Kevin Ascolillo II

Bloodflowers by Frank Edward Kelly

Bloodthirsty by John Funk

Blumhouse by Evelyn Liebowitz

Boogie Men in the Bronx by Andrew Kevin Finnerty & Andrew Thomas Tosiello

Bramble Hill by Dominick Bagnato

Bridezilla by Joe LaMattina & Lisa LaMattina

Bucket of Blood by Jake Miller

Burrowed by Lonnie S. Nadler

Camp Mercy by Ryan Trigg

Children of the Dead by Jeff Bassetti

Christmas of the Dead by Andrew Parietti

Cold Chill by Tony Elwood and Michael Prevette

Come To Me by Margaret Riseley

Crimson Road by Anthony Filangeri

Crows Calling by Jon Hueber

Crows End by Wey Loh

Curse The Ground by Gabby Gruen

Dan by Tim and Steve Garrity

Dana’s Inferno by Andrew Weisman Fumento

Dance of the Blessed Spirits by Matt Pacini

Dead End by Billy Fox

Dead Head by Michael Souder

Deadlock by Jennifer Bosworth

Deadlock by Jonathan Barger

Deadman’s Song by Phillip Rogers

Derek by Jordan Minter

Descent of the Gods by Brian Godawa

Devilshines by Joseph J. Greenberg

DMV by Ken Giavara

Doc by Lori Bowen

Doctor Frankenstein and Mister Hyde by Jason Jenkins

Dogs of War by Timothy O’Rawe and Cathleen O’Rawe

Dunk by Susan Quarles

Echoes of Mercy by Tommy Trull

Edgar Allan Poe’s The Oval Portrait by Stephen M. Hunt

Edge of a Dream by Dennis Shutty

Esprit de Corpse by Charles Westfall

Eternal by Steve A. Finly

Exquisite Corpses by Rebecca M. Rudell and Mark S. Strassel

Extraction by Jon Paul Burkhart

Fetish by Austin Bosley

Fiend by Jeff York

Forgive Us Our Trespasses by Derek Bevil

Founding Fathers by Giles Daoust

Frost on the Pumpkin by Philip C. Sedgwick

Generation Z by Timothy O’Rawe and Cathleen O’Rawe

Hag by Marcus W. Leighton

Hex’t by Jeff Hand

Hunter Lake by J. Holtham

Immaculate Deception by Bryan Holm

In A Crooked Little House by Garon Cockrell

Insatiable by Michael D. Morra

Iron Dogs by Neil Chase

It’s Only Safe At Night by John Shea

Jesse by William Sikorski Jr. & William Sikorski III

Kazen by Rod Cohen & Beckie Jas

Kill Me Before I Wake by Reid Taylor

Kill One Another by Brent Bokovoy

La Llorona by Daniel Leonetti

Leave No Trace by Derek Rethwisch

Let There Be Night by Mike Kochansky

Living Nightmare by Jay Sharron

Lockdown by Jeremy McCann

Mad House by Tommy Bryant

Malediction by Leslie R. Henderson

Medallion 56 by James Flores

Memory Adrift by Chris E.S. Johnson

Nether Edge by Richard Swindells

Night Work by John T. Maye

Open House by Thomas Della Bella

Play Voodoo For Me by Stuart Wright

Precarious by Penelope Thomas

 Protege by Julie Hoverson

Purple Armadillo by James G. Page

Recalculating Euphoria by Don Bapst

Recluse by Tim X Gordon

Red Christmas by Craig Anderson

Red Christmas by Chris Delaney

Red Envelope by David J. Sakmyster

Red Thorn by Stephanie Alban

Residual Image by Emma Austin and Ryan Bielak and Kelley Choi

Return of the Salesman by Clay Fusco

Revenant by Robert E. Hinkle & Jerron Spencer

Roadkill by Kevin M. Glover & Shant Yegparian

Rumspringa by Casey Nielsen & Michael C. Bowman

Run by Robert Forsyth

Rust by Michael E. Bierman

Sadie Hawkins by Shayna Weber Band

Saint Militia Ken Cirabisi and Theodore Kamarinopoulos

Saving Lexie Lee Kennedy by Michael D. Morra

Shane Road by Tory Christopher & Tony Hannagan

Shelter by Justin Harris

Sick Dog by Patrick Sullivan

Sid Vicious Shot Me by Trevor Hollen & Joe Telich

Sizzle by Roger C. Hull

Skeleton Falls by John Kestner

Skin & Teeth by Corbin Billings

Slasher Squad by Stuart Campbell & Nathan Stone

Slaughterbox by Hugh Phoenix Cross

Sleep Study by D. MaGee Fallon & Danny Miller

Something Within by Billy Grubbs and Brad Thorne

Soul Dark by Elmer L. Reedy

Soul Feeders by Miles Kimball

Spider Gates by Miles Kimball

Spirits by Brent Hartinger

Stealing The Devil by Ronnie Khalil

Stillwater by Jeremy D. Christensen

Stolen Seed by Kim Standring Jacobs

Sympathy for the Devil by John Cruz Alarid

Tantalus by Mark E. Davidson

Tatt by Rob Ingalls

Teens Abducted by Bad Aliens by Curt Burdick & Scott Burdick

The Age of Turmoil by Ryan Brannan Doyle

The Between Place by Marcus W. Leighton

The Book of Magic by Sheldon Woodbury

The Bottleneck by Colin Scully

The Boys Who Cried Wolf by Kevin P. Taft

The Bunker by Oliver Edlin

The Burning Touch by Erich Boettcher

The Care and Feeding of Professor Vampire by James C. Harberson III and Frazer C. Rice

The Charnel House by Paul Robert Herman

The Chill Seekers by Tim Reynolds

The Collector by Anne Sagel

The Covenant by Barry Morgan

The Crimson Confession by Raymond A. Just

The Cursed Flesh by Anders Nelson

The Damned by Rick Sande

The Dark Manor by Isabella Bronté

The Devil’s Backbone by Kevin Quaid

The Devil’s Footprints by Eric Jeske

The Ending by Nat Palazzo

The Eye of the Beholder by Chris Donovan

The Family Upstairs by Daniel Sunley

The Field of Fire by Jeremy Cordy

The 49th Day by Craig Peters

The Fright Lovers by Joseph Trent Nutter

The Ghost Machine by Tal Gantz

The Good Neighbor by Terrence Atkins

The Gotham Hotel by Sean M. Wathen

The Grey by Jeff Bassetti

The Harvester by Nick Morris

The Hollywood Fly by R.P. Degnore

The House on Dixon Street by Eric Eppinger

The Inheritance by Matt Hogue & Philippa Stethem

The Inherited by Jaime Cruz

The Lonely by Matthew Corry

The Lucky Dead by Jared Beck

The Malevolent by C.J. Wells

The Masseur by Zach Carter

The Moving by Lori M. Queirolo

Theo Baptiste by Josh Burnell

The Other Side by Kimberly Britt

The PTA Bloodbath by Elliot Campos

The Pulpit Collector by Peter D. Fraser

The School by Storm Ashwood and Tessa Little

The Secret Language Of Demons by Daniel Murphy

The Secrets of Jeremiah Valley by Landis Aponte

The Survivor by Matthew Layden

The Timely Death of Rudolph Bloc by Thomas W. Gatus

The Trench by Zac Sutherland

The Tunnels by Wayne C. Rogers

The Umbrella by Adam Ward

The Undoing by James Hickox

The Unjust by Hugh Newton

The Wolves by David Kempski

The Wretched End of Reve Clay by David Garrett

They Came by Jason D. Brawn

The Yellow Wallpaper by Kevin Brotman

Tik-Tik by Justin Bamforth

Trent Lively’s Paranormal Detective Agency by Paul Silberberg

Trident by Matt Lavender

Trouble Fire by Matthew Howe

Twisted Tales of Madness and Murder by Rick Tobin

Under Angels by Jace Daniel

Unquiet by Carroll Brown

Untitled Horror Movie by Mindi White

Usher by Gregory Cohen

Vicarious by Jason Williams

Wolf in the Wood by Nick Shepherd & Toni Wynne 

Woman in the Woods by Barry W. Levy

XX/YZ by Jess & Cindy Parra

Yakuza Death Trip by Billy Fox

Your Mom Sucks by Melanie McDonald 



  • Victor de Oliveira says:

    I find it incredibly hard to believe that my screenplay, “American Hunger”, did make the quarter-finalists. I’d like some kind of explanation as to why it did. And it makes me question whether the piece was even read in the first place…

  • Frank Kelly says:

    Alex ~ it could possibly be that your script walked the line between horror and thriller? It seems this contest chooses scripts that solely fall into the horror category. I entered a script last year (that had been very successful in other competitions – even winning a couple) that didn’t make the quarter cut here. My conclusion was that it veered too much from horror into mystery/drama. In any case, that script is in production now, so don’t fret! Keep plugging away!

    • Congrats Frank! Which script is in production?

      • Frank Kelly says:

        Thanks! That script is called Iris. I just double checked and it actually did make the quarter cut last year, so sorry about that! But, it definitely falls more into mystery than horror so I understand why it failed to climb the ladder here. Thanks for selecting Bloodflowers this year!

    • Hi Alex, Frank,

      Just to add to the dialogue you’ve already started, first of all, Frank, I remember reading Iris last year rather vividly and being happy it advanced in that particular contest. Even greater news to hear about the traction it has gotten! Keep us in the loop about the project’s progress.

      Alex, as a writer myself I sympathize with HEXEN not making the cut this particular time out. Contests are a viable outlet for getting scripts exposed and discovered–that’s why we administer them constantly–but no one contest or targeted read is going to make or break the life of a script. It speaks to the nature of screenplay competitions–or really any judged competition in any context–that a script can place in one or several venues and not place in another. It does happen, and I’ve been on the receiving end of it, so again I sympathize. Our readers and judges are all carefully vetted, up on the current market, and currently working in the industry. As such, there is a clear consistency in terms of recognizing craft and strong core elements, but there’s always that x factor of taste, and taste is subjective.

      But I assure you, our readers and judges are unsurpassed in the industry in terms of their diligence and commitment to close, full reading. No script is ever given short shrift in terms of being evaluated. Not on my watch.

      And Frank, you’re right–given our focus on genre-specific contests, we do actively look for and prioritize scripts that firmly fit into the particular genre. We’re looking for scripts that we can actively move and pitch as such. Commercial viability is a top mandate for us in terms of our taste and selection process.

      To cater to scripts that are multitiered in terms of tone and genre, we created our annual fellowship program. The 2014 fellowship will be launching this fall, and if you have a script that’s full of voice and not necessarily easy to pin down in terms of genre, I would strongly recommend submitting it to the fellowship program. All three of last year’s winners had scripts that adroitly blended tones and genres.

  • Hexen was considered by two of our judges. It’s a tough call to pass on a screenplay, knowing how many long hours and immense creativity it takes to finish a script. While we don’t want to pass on a good script, ultimately we have to rely on the taste of our industry judges.

  • Seth T. Miller says:

    Is there a way to find out from the Judges or from ScreenCraft Staff the overall impressions of a script that didn’t make the cut? Was it considered awful? did it even come close to standing a chance?

    Honest answers would be greatly appreciated, just so I know where to go from here.

    Thank you very much,

    • Hi Seth, If you didn’t request feedback, then the notes we keep on each screenplay are for our internal purposes only. However, we encourage you to get professional feedback (believe it or not, the reader you pick is really important because a good script needs a good reader to give you quality, relevant feedback). Feel free to shoot us an email with further questions!

      • Seth T. Miller says:

        Thank you for taking the time to reply. I did pay for feedback well after submitting an early draft of my script into the contest — I did a re-write of the script before paying for the feedback and I got great criticism from Cameron — I was just hoping for some thoughts from the judges … at least, did any of them even like it?


  • Jason Peters says:

    Hi Screencraft team. Well, I’m sad that my screenplay, “Obsidian” didn’t make it into quarter finals. I’m just curious if you could let me know the biggest thing that kept it from advancing, as well as how I could potentially approach it differently to make it better received. Any input would be appreciated. Thank you.

    • Hi Jason,

      Thank you for submitting and for following up. We offer a feedback option at the time of submission and also offer screenplay consultation at any time as a separate function. We cannot share our internal evaluations or provide feedback in any other informal context due to liability and administrative limitations. If you’re really looking for guidance on your script, I would absolutely encourage you to avail yourself of our official feedback and notes services. I’d also recommend Script Chix’ analysis, which is really on the ball and exceptional.

  • Zac Sutherland says:

    Hi Screencraft Team!
    Thank you for selecting “The Trench” to advance, among all of the great submissions you’ve received. Is there a rough idea as to when finalists/ winners will be announced?



  • Jeremy says:

    I highly recommend requesting feedback from screencraft! They are highly thoughtful and honest in ever aspect of what makes a good script. Receiving feedback from a skilled reader who doesn’t know you at all is the best thing for you as a screenwriter, especially if you’re a good one. Keep writing and rewriting everyone!

  • Nic Antony says:


    Please could you tell me if any screenplays from writers outside of the U.S.A made it through to the quarter finals?

    I submitted my U.K set screenplay ‘Lord Street’ and am wondering if it is worth me entering any other U.S based competitions. I’m just trying to get an idea why my screenplay failed to make the quarter finals.

    Many thanks for your time and I look forward to your response.


    • Hi Nic,

      Absolutely! We had a number of international scripts make the cut this year, from destinations as diverse as the U.K., Poland, France, Italy and China. I can’t speak for international track records in terms of other competitions, but I would posit that the only possible bias in terms of international submissions for U.S. contests would exist in regard to formatting and language barrier aberrations.

  • Cameron West says:

    Thank you for choosing SHELTER as a quarterfinalist. Justin and I had been hard at work on that script since 2004! Man…never give up on a dream I guess! Can’t wait to see if we progress any further! Fingers crossed!

  • Glenn Mercer says:

    I cannot understand why my screenplay, The Mourning After, did not progress to the quarterfinals. I have won another horror screenplay contest with it and my mom said it was the scariest, screenplay she had ever read… Haha. But seriously, what is the turnaround time on your coverage services?

    • Hi Glenn,

      Thanks for the comment. I’m glad you have confidence in your script because as writers we always have to sustain that passion to carry us through. The worst thing you can do is look at not placing in one particular competition as a resounding blow. The fact that you’ve done well with the script in another contest is fantastic. With screenplay competitions in particular, the goal isn’t winning for the sake of winning, the status of winning is really a formality. What matters is using winning or placing as a launching pad for getting your script attention and targeted reads.

      Feel free to email me at cameron@screencraft.org. I’d love to hear more about what competition you won and weigh in about how to move your script forward.

      In terms of our coverage services, turnaround time is typically within 7 days, often sooner.

  • Jason D. Brawn says:

    Thank you so much for They Came, now in the quarterfinals.

  • Marcus W Leighton says:

    Thanks for moving The Between Place and Hag to the quarter finals! Excited and nervous to see what happens in the next round. Good luck to all!

  • John says:

    Thank you VERY much for BLOODTHIRSTY placing in the Quarter-Finalists. I am more grateful and appreciative than I can put into words, which is ironic for a screenwriter, but please know this means the world to me, and I am trying very hard to cast/finance this very special, scary, commercial, contained, elevated picture, and this can only prove to be invaluable. I will always have a special place in my heart for this competition, and the opportunities I hope it will result it.

  • aurel radu says:

    okay, whatever. quite a disheartening response system;

    Cheers to all the other writers

  • Nick Morris says:

    Thanks for selecting THE HARVESTER for the qf round, Screencraft. Vey exciting!

  • Jason says:

    Hey Screencraft, although I’m pretty bummed about not placing, I’m curious if my script “Bloodlines” might’ve got some consideration. I saw “Bloodflowers” and “Bloodthirsty” and got pumped for a second, but quickly came back down.

  • Richard says:

    Thank you for considering Nether Edge for further dissection in the upcoming ‘semi finals.’ I’m thrilled that I have placed in the quarter finals in this prestigious competition and hopefully it will progress further. I received feedback on my script which described it as extraordinarily bleak, visually creative and willing to take chances, the person giving the evaluation however did point out several flaws, some which I dismissed, others that I’m willing to take on board regardless of whether the script inches forward or not. Congratulations to everyone that has placed in the quarter finals and good luck to everyone else – by the way Nic Antony, I’m from the U.K.

  • Ah well…

    I’m intrigued by screenwriting contests, and surprised to see the feedback here (such as it is). That’s very kind. Makes me wish I had asked for the feedback option.

    I am reminded how subjective these competitions can be — the script that didn’t make it here just won Best Screenplay at another competition. Roll of the dice, huh?

    Keep up the good work!

  • Malcolm Walsh says:

    I learned of this through a Final Draft newsletter during the last week of the contest.
    Had I learned of the contest sooner, “Snow” would have gotten a few drafts to correct some stuff. Sad it didn’t place anywhere.
    But, however, the contest did light a fire under my ass to get the script from partial idea to a complete first draft in one week!
    On that note, it was fun. (I’m trying really hard to not beat myself up over this.)
    Thanks ScreenCraft!

  • Anders says:

    Thanks for considering my screenplay, “The Cursed Flesh”, and for advancing it to the quarter-final stage. I made it to the top 20 last year with “The Man Who Killed Sandra Wallace”, so I appreciate your continued support.

  • Ambrile says:

    When are the finalists going to be announced?

  • Paul Robert Herman says:

    Much love to the ScreenCraft judges for moving “The Charnel House” into the quarters. Inspiring to see industry professionals out there who still appreciate a little Edgar Allen Poe/HP Lovecraft flavor. I’m excited to see the list of finalists. Good luck to everyone!

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