How to Win at Horror Film Festivals

The below article originally appeared in 2006, in Indie Slate magazine. That was nearly 20 years ago, but the advice still holds true.

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I'm in my third year of reviewing films for the Tabloid Witch Awards, sponsored by the Hollywood Investigator. It's an easy contest to enter; any short or feature length horror film is eligible, no entry fee required. Thus, I've received entries from across the spectrum of experience, from camcorder hobbyists, to film students, to professionals. I also see the same recurring mistakes among the losing films. Yet they're easy enough to avoid. Follow the below rules, and your film should be far more competitive in any festival you enter. 

1. Writing Counts

"If it ain't on the page, it ain't on the stage." If you insist on writing your own script, you must study the art of storytelling as seriously as you'd study your camera. Too many filmmakers think screenwriting is only about format. Too many directors want to be "auteurs" and write their own scripts without learning the art of storytelling.

If you're not a writer, and don't plan on learning the craft, then find someone who is. Successful directors often film someone else's screenplay. There's no shame in it. Poor writing creates many problems, such as...

2. A Vignette Is Not a Story

I've seen too many entries that confuse the two. "X rises from the grave and kills Y. The End," or "Zombies eat people. The End." Nor should you rely on a (often predictable) twist. "X is a serial killer who dates Y who turns out to be a vampire. The End." I've probably seen over a thousand horror films and TV shows so I know every "surprise" ending. Festival screeners tend to be well-versed in cinema history, especially in their festival's genre, so don't rely on your film's ending. You need more. Tell a story. And if you don't know what that is, see Rule 1.

3. Keep It Short and Sweet

Even a good film can be ruined by fat. Rich Mauro trimmed Mole to its perfect length. Distributors had advised Mauro that a one hour feature was a hard sell, but Mauro chose the best length for his tale of reporters seeking "mole people" in the abandoned subway tunnels under Manhattan. And it worked. Apart from winning a Tabloid Witch for Best Horror Feature Film (and Best Actress, and Best Supporting Actor), Mole also found distribution as part of a four film horror DVD package.

Jamie Renee Williams's Slinky Milk (Honorable Mention), a black and white surreal film reminiscent of Un Chien Andalou, was intriguing at its five minutes. Were it a half hour, it would have overstayed itswelcome.

I've seen many losing entries that would have been stronger at half their lengths — films sabotaged by overlong expository shots, or directors in love with shots that fail to contribute to the story, or characters wandering around or engaging in pointless chatter.

If a line is unnecessary to the story, don't say it. And if a line is necessary, say it in a way that's sharp, funny, clever, intriguing, memorable, or interesting. Dialogue should reveal character or move the story forward. Characters should not sound alike. Vapid chatter that achieves nothing may sound realistic, but banal banter makes for a dull film.

4. Acting Counts

Acting quality was the single biggest element separating winning films from the losers. Actors who are wooden, self-conscious, affectatious, or chew scenery can tank an otherwise decent film. I rejected one film that did a decent job of recreating the 1860s, in costumes and furnishings, only to populate this period piece with some painfully bad acting. There's no excuse for this. Big cities teem with trained actors willing to work cheap, or even for free. And even small towns usually have a college or community theater with trained actors.

Of course, I've also seen horror "parodies" in which I suspect the director thought his bad cast was an asset. Wrong. An amateurish cast rarely produces a film that's "so bad it's good," but more often a film that's "so bad it's unwatchable."

If you still insist on casting your friends and family, insist they get professional training. Seriously. Otherwise, you're shooting a home movie, and home movies can rarely compete against polished work. 

5. It Doesn't End With the Shoot

Mole, Legion, and Human No More all underwent extensive post-production to optimize their camera footage. The results were beautiful, with Legion (Best Horror Short Film, Best Visuals, and Best Supporting Actress) resembling such studio fare as Lost Souls in its dark and moody cinematography. On the low end of the scale, many losing entries had a flat "home video" look: poorly lit, with dull, fading colors. Yet post-production needn't be prohibitively expensive. Human No More achieved its impressive visuals with Final Cut Pro. 

6. Sound Counts

George Lucas understood this, which is why he founded Skywalker Sound. Christopher Alan Broadstone also understands this, which is why his Human No More (Best Sound, Best Actor, and an Honorable Mention) is a densely layered audio feast. And he did it with off-the-shelf computer programs like Bias Sound Soap and Bias Peak 4. It didn't require much money, only much effort. 

7. Rule Are Guidelines

Rules can be broken. Human No More is a vignette rather than a story. And Slinky Milk has no story and no trained actors. But Broadstone's film remains powerful because of its artistry and originality; and Williams's experimental genre doesn't require a story or acting.

Even so, rules are rules because they usually work. Violating them is a risk that rarely pays off. 

8. Entertain Us

While skillfully shot and acted, Cadaverous and SuperStore are conventional horror tales of no great originality. Yet each won an Honorable Mention because, while we can predict their endings, these films maintain our interest. They entertain us. The writing contains no fat and the story moves at a good pace. We are not bored or driven off by an amateurish cast.

These eight rules are simple to understand, but require much study and effort to master. However, a film that is well-written, well-acted, with beautiful visuals and a clear soundtrack, and is entertaining to boot, will more likely win an award.

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Hilarious Excuse for an Entry Fee Waiver

In running the Tabloid Witch Awards, filmmakers often solicit me for entry fee waivers. Usually they plead poverty. "We spent all our money making the best film possible, so we have nothing left for entry fees."

Okay. Not plausible -- I assume they're still paying rent, buying food, maybe even enjoying coffee at Starbucks -- but okay.

But a filmmaker recently sent me an email with a fairly novel -- and hilarious -- excuse:

"This project is a fully independent, self-produced work that was created without any external funding, commercial intent, or monetization. A fundamental principle of this film is that it remains entirely non-commercial -- this is not just a financial necessity, but a conscious artistic and ideological decision.

"For this reason, I am unable to pay submission fees, as doing so would contradict the very nature of the project. I kindly ask if you can offer a full fee waiver, allowing [redacted] to be considered in alignment with its non-commercial ethos."

Incidentally, this was obviously a mass mailing. I get many of those. Emails asking for waivers without mentioning my name or festival -- and submitting films that are inappropriate (e.g. submitting social dramas or romantic comedies to a horror film festival).

Festival directors don't like these junk mass mailings. But I suppose a handful of festivals might grant a waiver, so the filmmaker doesn't care if he annoys a few thousand others.

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BloodPool Wants Short Films with Strong Characters

Located in Liverpool, UK, BloodPool will hold its debut screening this October 27th.

This is a shorts only festival. Altogether, ten shorts will be screened, to be followed by "interactive attractions" (e.g., a haunted house) and a party.

Festival director (and former film student) Junior Davies wants films that "grab your attention from the go, are unique, and hang on suspense leading to an unforeseeable scare. A horror filmmaker should have the skill to hang on a shot and build tension. This leads to your audience guessing what's going to happen. The more cine-literate audience might be more aware, but a great director can use this as a pre-jump to try and catch them out."

* Character Is King

"I think the biggest mistake filmmakers make with a short film is not developing a character," says Davies. "The more your audience feels for a character, the more they will be drawn in to what's about to happen."

Like almost all horror festivals, BloodPool accepts all subgenres, but "paranormal is a favorite of mine, being able to see how filmmakers use different camera tricks and effects to confuse and scare the audience. In our first year, we've accumulated a lot of killer based thrillers which is also scary, as it's more believable."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Upstate New York Horror to Screen in Rochester

Founded in 2014, the Upstate NY Horror Film Festival will hold its 5th screening this October 12 and 13 at The Cinema Theater, in Rochester N.Y.

Festival director Joseph Kelly is himself a 15-year filmmaking veteran. Based on his experience, he advises filmmakers to do diligent pre-production. "If your film is five minutes, 30 minutes, or a feature, plan it out. When you first start making films, you are so eager to get out there. But know your budget. Do your research.

"Great video and sound is a good start, but there are so many other factors that go into a film. I prefer good acting over boobies any day. It's good to see a nice rack, yes, but in the long run, you want the best picture possible."

After the first edit, Kelly advises filmmakers to get audience feedback before submitting to festivals. "Have a few friends watch the film when complete. Take their notes. Some films drag too much. I saw a 30 minute film that was shot great, sounds great, with great effects, but that film could have easily been edited into 15 minutes.

"Get your point across to your audience before they fall asleep in their popcorn. I personally had this problem until I realized, it's not what you want, it's what your audience wants."

Post-production is not only about editing. After you review your first edit, your film might require additional production. "If you need ADR, go get it," says Kelly. "If you need to take a week and do pickup shots, do them. You will always have mistakes. Even the greats have mistakes, which they might not realize until the 50th time they watch their films. It's going to happen. Just do the best you can."

While Upstate NY Horror welcomes all subgenres, Kelly says that "we are starting to pull in more sci-fi films as well. No Sharknados. Just some good alien films."

This year Kelly will be screening his own film -- Clown Motel: Spirit's Arise -- at his festival:

"Each year submissions pile in more and more, and we are still giving everyone an equal chance. We had films play in our theater that were on a shoestring budget to multi-million dollars." A theater that, Kelly adds, "is considered one of the five oldest movie theaters in the United States."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Slice of Fright Is a Festival for Short Shorts

Nic White is a film festival veteran. "I've directed various short film festivals in the last five years," he says, referring to the Bump in the Night Film Festival and Spring Shorts Film Festival.

His latest venture, the Slice of Fright Film Festival in Bay City, Michigan, will hold its first screening this October 13.

Slice of Fright seeks short short horror films. "Five minutes or less. The more bizarre the better. Films that create a strong tension from start to finish. Strong stories.

"The biggest mistake I've come across is lack of story. Some filmmakers create beautiful visuals, but neglect the story. If you want an audience to sit through your film, reward them with an interesting, amazing, blood-curdling story.

"Focus on story first. What is your film trying to say? If you keep that in mind as you dress the set, select costumes and makeup, adjust lighting, etc, it helps tie everything together. When your message is clear, it bleeds into the theme."

White also advises filmmakers to avoid the "obvious mistakes. Poor audio quality and lighting. It's hard to watch a film if you struggle to follow the story. Lighting and audio play a major factor here."

What makes for a great horror story? White offers two tips. "A great horror film always has a unique killer. Freddy, Michael, Jason, Art the Clown. And great horror always makes you think."

Which is not to say that Slice of Freight requires a psycho killer. "We're open to all subgenres," says White. "Personally, I'd like to see more creature films."

Slice of Fright will be presenting festival attendees with "door prizes" and their award-winning filmmakers with "one-of-a-kind trophies."

"There is a great deal of support for independent films within Bay City, which has a talented community of DIY filmmakers. And it's the home of one of Michigan's best independent film festivals, Hell's Half Mile.

"Directing a festival in Bay City is special for me. I grew up in Bay City. It's great to go back home."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Vancouver Horror Show Seeks Shorts

The Vancouver Horror Show will hold its first annual screening this October 23, at the Cinematheque Theatre in downtown Vancouver. Twelve shorts, no features.

Yes, that's right. VHS is a "shorts only" festival.

"A short film is a delicate balance," say Team VHS (David Taylor and Meghan Hemingway). "It's challenging to strike the chord of simple, effective storytelling with enough twists and turns to keep us interested."

To keep them interested, horror shorts should have "a compelling story, a specific vision, engaging characters, attention to detail, and a unique voice/point of view. The film must evoke fear, dread, or unease, using tropes recognizable to an audience as something that one would want to escape if encountered in real life.

"We are open to any subgenre of horror, but are not as fond of horror intended to shock through gore and viscera at the expense of a good story. That being said, when gore and viscera enhance a story, the result can be moving, scary, and memorable."

They also advise tight editing. "I can't tell you how many films could have been exponentially better if they'd had more ruthless editing. Sometimes it is clear that a filmmaker loved a particular scene or performance, but it ultimately took away from the overall story.

"A good filmmaker needs to be highly self-reflective, and be willing to let go of things they might love, but ultimately do not serve their project. Bringing in a trusted, outside editing eye that is less personally invested about the material can be a huge benefit."

Team VHS also warn against vagueness. "There is a fine line between letting the audience come to their own conclusions, and not telling the story. Sometimes a little bit of fog is mysterious, but if it's too foggy the story suffers and the viewer is left dissatisfied and frustrated. Filmmakers should remember the story they set out to tell, and be sure that on that final cut, the narrative integrity is sound."

In addition to having a "great editor," Team VHS also advises filmmakers to obtain a "great cinematographer."

"At Vancouver Horror, we focus on a 'good film,' before a 'horror film', which lends itself to a freedom when curating. Each member of the team is encouraged to fight for their favorites. The only rule is that each film must have 'an element of horror.'

"We believe in the universality of fear and want to bring together artists from all over the world to bolster our global community and get inspired by each others' work.

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Hotlanta Wants Fast-Paced, Exciting Horror

Horror Films in Hotlanta will hold their second annual screening this October 25 - 26, in Atlanta, Ga. It's a film festival that emphasizes "exciting horror."

According to festival director Caroline King, Hotlanta seeks horror films that are "Action packed and scary. The last thing we want for our audience is boredom. Our films really need to be exciting."

Toward that end, there are a few things to avoid. "Slow editing is a deal breaker. If your film is a long, teary-eyed drama, where someone gets stabbed at the end of the film, then submit it to a drama film festival.

"Great horror films scare the crap out of people. They make people jump, cover their mouths, hide their eyes and cringe. We like antagonists, villains, monsters, scary situations or circumstances that wake people up!"

She also advises filmmakers to avoid "Long, slow, time-wasting, rolling credits. And production company logos that never end. They kill the momentum at the event and slow everything down. Make festival cut with credits that are 60 seconds or less. It keeps the audience pumped up, ready for the next film."

Although Hotlanta wants exciting scares, there's also room for laughs. "We like to select a few comedic horror films that can bring some great laughs to the event, if they are really clever. But they must still be horror films."

Some filmmakers worry that their films will only get a cursory peek at festivals, before being unfairly rejected. King assures that's not the case at Hotlanta. "We have twelve judges that watch every film, and read every screenplay, before final judgment is passed."

Yes, that's right. Hotlanta also has a screenplay contest.

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.