Of the categories mentioned above, only the first two were deemed of significance in forging a professional independent career. One half applied directly and in fact developed considerable skill in writing grant applications. The others managed to somehow hook onto agents or arts administrators or colleagues who would do the grant writing. It seems that some composers are well-suited to this activity and other are just not. In many cases the receipt of grants provided a crucial element in the ability of the composer to continue along the chosen path.
Grants are very important.
Similarly, composer residencies figured prominently in the stable of awards received by many of those profiled. On the other hand, contests and calls for scores were just about universally scorned as events which had little or no bearing on the establishment of the professional career. I am certain about this since I asked each one of them to comment directly on this area. Our own personal experience bears this out as well. The problem as I see it is that, although contests and calls for scores will in some cases result in performances, there are two problems with this method of career advancement.