Annual Reflection: Where RT7's Been and Where It's Headed
Entry 15: Looking Back on 2025
Hey Everyone,
Happy New Year’s Eve! Since today wraps up 2025, I thought it’d be a good time to pause, take a breath and reflect on where Rescue Team 7 has been this year and where it’s headed next. Think of it as an end-of-the-year check-in from someone building something long-term.
So with all that said, let’s wrap a bow around 2025 and plan ahead for 2026.
Where RT7 Has Been
Contests
Since April, Rescue Team 7 has been submitted to twelve screenwriting competitions(yes, twelve). The goal was exposure and visibility to the people who matter: managers, producers and agents.
Some of the more notable ones included:
Get Repped Now!
Script Pipeline’s First Look
Slamdance
Out of those twelve submissions, the pilot placed in three:
Final Draft’s Big Break Competition — Quarterfinals
Stage 32’s Sci-fi/Fantasy Contest — Semifinals
ISA’s Great Pitch Competition — Quarterfinals
Now, were these career-changing moments? No.
But considering how I didn’t expect to place anywhere this year, they meant a lot. More importantly, they taught me a few things.
What I Learned From the Contest Circuit
Submit To Competitions that Fit Your Genre
Just because a contest accepts all genres doesn’t mean it evaluates them equally. Genre projects, especially those genres like sci-fi, horror and fantasy need contests that understand their lanes.
Similarly, contests are expensive, with many costing $30-40 before early deadlines.
If I were doing it again, I’d only submit to 3-5 carefully chosen competitions, prioritizing fit over volume instead of scattershooting submissions.
Prestige Bias is Real
Many conests naturally lean toward elevated, prestige-driven scripts. While that isn’t a bad thing, it does mean commercial or genre-forward projects(even strong ones) may face steeper odds.
Think of it as readers choosing to champion Megalopolis over Jurassic Park.
Understanding that now helps me set better expectations and reminds me that it’s often easier to reward Oscar bait than the next commercial juggernaut.
Contests are Not the Best Way to Gain Exposure
Not only for the reasons above, but because contests rarely pay off in tangible ways. Even if you win and receive a script request from an influential judge, the odds of getting signed, staffed or referred remain low.
While RT7 did see some success, none of it provided the kind of exposure the project actually needed.
This isn’t to say contests are useless, but they work best if you’re:
A new or young writer who needs credibility
A prestige writer who seeking industry validation
Someone looking for actionable feedback
Outside of that, it may be worth sparing the charges and skipping them altogether.
Evaluations
I also dipped my toe into evaluations this year. In mid-June, I received a Black List evaluation back and…yeah, it didn’t go great.
That said, it gave me clarity on what needed fixing. After countless rewrites and internal debates, I landed on a version of the pilot that was clearer, more cohesive and most importanly more fun than the last draft.
Here on Substack
On September 19, I made a conscious shift. Instead of treating RT7 like a finished product, I started sharing it as a developing project, letting people see the world, characters and process as it grew.
That decision changed everything.
From how I viewed the series, to how I saw myself as a writer, Substact taught me to slow down and actually enjoy the process.
Where It’s Headed
Querying
Yep. It’s time.
I queried once before and didn’t receive any requests, but that was before placements, before public development posts and before I had a clearer understanding of where RT7 fits in the industry.
With a fresh year, new momentum and a refined manager hit list, I’m gearing up for Round Two.
No illusions. No rush. Just equanimity and a smarter strategy.
To The Market
Not in a flashy, but in a business sense.
As interest in RT7 continues to grow, 2026 is about clearly defining where it fits in the market. The basics are already there: an hour-long animated YA sci-fi/horror show with rich lore and emotional stakes.
But now, we need to answer the rest of the questions:
Who’s it for?
Where does it fit?
Why now?
From loglines to pitch language to comps, I’ll be refining how RT7 is presented so that its identity is unmistakable at a glance.
Back to the Drawing Board
Day by day, I’ll continue writing new episodes and refining existing ones, deepening the world while(anxiously) waiting for responses from managers.
RT7 is still growing, and nurturing that growth is what I enjoy most as a writer.
This project isn’t done baking. Not by a long shot. But I’m definitely okay with that.
Closing
2025 was a rollercoaster.
There were moments of surprise, frustration and a lot of quiet growth that didn’t always feel exciting in real time.
Sure, RT7 didn’t blow up this year —but it solidified. It earned credibility, support and a foundation strong enough to begin its long journey to Tinseltown. And that’s more than I could’ve ever asked for.
What’s Next:
2026: New Year, New Chances for RT7
Where RT7 Fits: A Business Perspective
The Battle Between Creative Control and Access
Before I sign off, I want to thank to everyone who read, commented, shared, or just quietly followed along this year. I appreciate you more than you know.
And if you’re new here, be sure to subscribe so you can see where we go next!
Good Luck