My Kinolime Journey - A Story from Meara, A Runner-Up
Writing is a famously inaccessible profession, but it needn’t be. Anyone can become a writer - armed with a laptop or just pen and paper - but forging a career from it is another thing entirely. I was in my second year of working in and around screenplays when I came across Kinolime and things began to change.
My journey wasn’t atypical. I graduated film school in London, took on a string of low-paid running jobs, and quickly burnt out. I resigned myself to a ‘real job’ and began contemplating the conventional milestones: a mortgage, a wedding - the works. Five years after watching my creative aspirations recede in the rear-view mirror, I realised I had to give writing another shot.
I wrote my first feature - a piece I, like most writers, hope will never see the light of day. Then came my second, and this time, I thought: this might actually be good. While doing this I’m supporting myself by taking on other writing jobs - editing, critiquing, ghostwriting - which paid little and offered zero credit or appreciation. The industry was tough to navigate, particularly from Ireland and the UK, some 5,000 miles away from LA, the epicenter of the industry.
So I started to look into competitions.
Discovering Kinolime
I came across Kinolime through online screenwriting resources and discussion boards, where it was met with excitement and skepticism. The premise - a community driven competition where the winner gets their film funded and produced - instantly hooked me. A platform where cinephiles and screenwriters alike could interact, critique, and shape the future of film seemed refreshingly innovative. IT JUST. MADE. SENSE.
I submitted my screenplay, Peking to Paris, 1907. The process was simple, accessible, and remarkably - free.
An Unconventional Entry
Peking is a historical action-comedy epic that doesn’t really fit the conventional mold of indie competition darling. It’s a blockbuster and would require a budget to match. It didn’t make sense, but I hoped its uniqueness would stand out and resonate with readers.
Making Voting Fun
Before the expectation and pressure, one of Kinolime’s most appealing aspects was the early voting stage, where participants read and rated each other’s work. I devoured dozens of screenplays, astonished by the calibre of untapped talent all across the globe. Even the less polished entries offered valuable lessons; I really believe you can learn something from every screenplay, so I felt like I was working and improving my own craft while aiding others.
The process was democratic and transparent. Unlike some competitions, I could see and feel the people behind the scenes - feel their passion and personality. This was the driving force behind the project. When the hosts are excited, it’s tough not to find it infectious. The fact that my screenplay got clicks and votes at all felt like a victory unto itself.
Skepticism to the Final Three
With each milestone - quarterfinals, semifinals, and then the finals - I was genuinely taken aback. I’d convinced myself Peking was too ambitious to progress further or garner genuine interest. So making it into the Final Three was somewhat surreal.
This stage brought unexpected attention: downloads, social media engagement, and messages from people eager to read and vote. It was surreal to share the spotlight with Adam Hampton (The Waif) and Nina Tshabalala (Something Like Molasses). By the end, I genuinely felt like any of us could win, and I’d still feel fulfilled.
Community and Opportunity
It might sound sentimental, but there was a genuine camaraderie among the participants. Unlike the faceless entities behind many competitions, Kinolime felt personal, run by genuine film freaks. Interacting with people participating for the love of the game rather than a paycheck made all the difference.
Sharing my progress with friends and family was unexpectedly gratifying. Typically, I’m reticent to share and discuss my work, self-consciously aware of how much I still have to learn. But Kinolime’s format encouraged me to share, piqued outside interest, and propped me up.
When I didn’t win, Kinolime didn’t forget about the interest my writing garnered. They continued to show interest in producing my work, optioning the feature and exploring alternative avenues to get it produced. They liked me enough to offer me work within the company, where I’ve been writing screenplay analyses for them.
Why You Should Enter
Growing up, I always equated second place with being the first loser. Yet finishing in the top three was anything but a disappointment; it was a profound honour. The Waif is a deserving winner, and I can’t wait to see its journey to the screen.
Kinolime opened doors, connected me with collaborators, and reignited my passion for storytelling. Why should you enter? Why not? It’s free, accessible, and certainly the most rewarding opportunity available to emerging screenwriters. Even if you don’t win, you’ll gain something invaluable.