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Screenwriting Career Advice: WGA Committee of Women Writers

By Advice

Recently the WGA West invited Tom Dever, Coverfly’s Director Writer Development, to speak with their Committee of Women Writers. The WGA Committee of Women Writers represents the interests of female WGA writers who are seeking WGA-covered work. They sponsor events designed to increase our knowledge of the craft and the marketplace, discuss the role of women as storytellers, and foster networking and collaboration between women in all Guilds, as well as increase opportunities for education, employment opportunities, and creative expression.

Tom spoke about the state of the industry, opportunities for veteran women writers in development and representation, and general conversation on the craft and career of screenwriting. The event was private and for WGA members only, but here’s a quick rundown of what you missed, and how you can take the next step in your screenwriting career

Be your own best advocate

You do not need somebody else’s permission or contacts to pursue the career you want for yourself. You don’t need a manager or agent to set generals or meet with execs. Don’t be afraid to generate those opportunities for yourself any way you can (without breaking the law!).

Accelerate your career through self-generated opportunities. The time has never been better to promote your skills and your work. Enter competitions, promote your writing and get your name out there.

Be confident

Never apologize for your goals, ambitions, passions, ideas, or strengths. Someone has to do your dream job so it might as well be you! You are smart, capable, resilient, and talented enough to do it. Believe that you can be a working screenwriter and you can be.

Don’t chase trends

Film industry trends change faster than you can write. If you pitched John Wick, Stranger Things, or Get Out ten years ago, you’d have been shown the door and without getting your parking validated. So don’t try to write what you think other people want, because it’s a waste of time. Write what you want instead.

Write what you’re good at, no matter which genre it might be. And stay focused on what you want to do; not what you feel you’re expected to do. Not only will it make you happier, but it will likely lead to more professional writing opportunities than just following the crowd.

Be open to feedback in all forms

There is no universal metric of quality for material, especially not screenplays. Sure, there are common screenwriting conventions you should follow, but everyone scores scripts under subjective criteria. One reader could think you’re a genius, while another thinks your script is trash. That doesn’t make either of them right or wrong.

Take feedback and criticism in stride, because even bad feedback can help you grow as a writer. And remember, you’re neither required to take all of their feedback nor should you dismiss their opinions as a vendetta. Reviews and critiques are just data points on how someone responds to your material. Hear it. Heed it. Hopefully, you can use it.

Where you go from there is up to you.

Look in the long view

Despite a handful of “success stories,” nothing happens in Hollywood overnight. Script deals take time. Finding the right agent isn’t a one-shot thing. Even if you nail your first general meeting, you still have a lot of work left to do and a lot of time before you see the results of your hard work. And that’s ok.

Screenwriting is all about hurrying up and waiting. Things take time here to go from script to signing to screen. Learn to love the in-between times. And if you get impatient, just remember what your ultimate goal is. You can have a day, a week, or a month, where you don’t make the progress you’d hoped for. But when you trace your progress over the past 6, 12, or 18 months you should discover that you’re moving in the right direction. If that isn’t the case, then it’s time to rethink your strategy.

How screenwriters get discovered

Take advantage of Coverfly. Sorry I had to plug. Coverfly is here as a platform to help screenwriters at every stage in their career, whether you’re just starting out or you have multiple credits and still need a little support finding industry partners or pitching projects. Through our programs, initiatives, products, services, and community, we’re here to help take that next step in your career whatever it is.

Create your Coverfly Screenwriting profile today and see what taking the next step in your writing career really looks like.

screenwriter profile

5 Tips for Crafting Your Perfect Writer Bio

By Screenwriting 101

Putting the entirety of your life’s works, experiences, and accomplishments into a few sentences can be a daunting task even for the most talented writer, and one filled with lots of uncertainty. What do I include? What do I leave out? Should I be brief but not too brief? Do they care where I went to school?

Writing a bio– like writing– is more of an art than a science. We’re here to help you hone this art, and write bios that best showcase yourself to the industry.  Recently, we reached out to our network of literary reps who provided kernels of wisdom to guide you in writing your best bio.

1. Share your unique voice and perspective

“Focus on what makes you unique.” – Cassie Duffy, Kaplan-Perrone

“How would you pitch yourself on why you NEED to be hired?” – Audrey Knox, Cartel

When writing a bio, many writers feel a need to mention general information about their hometown, where they went to school, or why Reservoir Dogs is their favorite movie. The problem is, that info is true for thousands if not tens of thousands of other writers. When including info, really focus on what perspective or characteristics you have that set you apart from the crowd.  Be wary of putting your educational highlights, especially if you went to a common writing school (“…everyone’s gone to USC”).

2. Connect with them and make them smile

“Be funny. And if you can’t be funny;  have style.” – Harris Kauffman, Storyboard

Get creative with the writing– you are a writer after all. If you’re a comedy writer, your bio should definitely include a joke or two. If you’re more on the drama side, your bio definitely shouldn’t make anyone cry, but it should display some of the writing craft you’re asking this person to read more of. Avoid anything standardized or boring at all costs.

3. Keep it short

“Only include information that matters.” – Derrick Eppich, Empirical Evidence

If your bio is longer than 3-4 sentences, cut cut cut.  This is an elevator pitch about yourself, not an autobiographical book.  Imagine you’re speaking your bio, word for word, to a manager, agent, or producer.  How long would you make it before you’ve lost their attention, or worse, they interrupt you to get on with it?  You have even less time to make an impact on your bio. The sweet spot is three sentences and between 300-400 characters following the structure of: recent accomplishment or development, overview of your career, and something that sets you apart.

4. Hook them from the beginning

“Put the most recent and most impressive stuff first.” – Audrey Knox, Cartel

When writing their bios, many writers feel a need to start at the beginning and work their way to the present.  Just like a great script, you need to hook your audience at the very beginning, otherwise they toss the script. Start with the most impactful items first. Andlike a resume, you should start with the most recent, relevant, and impressive experience at the top. 

5. Reference your industry knowledge

“Showcase your industry mentorships and referrals.” – Cassie Duffy, Kaplan Perrone

Managers and agents need the assurance that you know the business, and that you’re going to represent them well in meetings and other business situations.  If you have industry experience, definitely include that in your bio. If not, any industry creator, professional, or mentors will go a long way in legitimizing and validating your work. 

A few examples:

To help you write a compelling bio, here are some inspirational bios, and some lackluster bios.  Note: we’ve edited these from actual bios so as not to call-out individual writers.

Great Bios:

Interesting Career History

Samantha’s journey into professional writing started as an aide for a notorious politician during a scandal. Seeing the power of story to affect change, she enrolled at AFI film school. Her directorial debut short film THE SKYLINE is currently available on Amazon and her pilot THE DOLPHIN placed in the top 15% for Nicholl just last month.

The Accolades Bio

Starting as a plucky young assistant for Werner Herzog, Evan was integral in developing several features and series for his company. He utilized his co-producer credit as a springboard to write his short STALKER, which has been featured on Vice, Amazon, and Quibi. He is currently an assistant in the writer’s room for the Fox series, THE BOOK OF ESTHER.

 

The Witty Bio

Molded by his small, North Dakota  hometown and all the opportunity that it offered — none — Jonas’s passion for writing spawned from a desire to entertain — himself, first and foremost.. After accumulating a diverse and extensive body of work at The University of Minnesota, he headed to Los Angeles, where he is currently working as a writer’s PA on TNT’s WRESTLING IS REAL.

 

Please avoid Bios like these:

The Generic Info Bio

I was born in Southeast Michigan and graduated from Michigan State with a bachelors in Communication. I moved to Los Angeles five years ago and currently work in sales. I write in my free time and would like to be staffed on a network show.

 

The Irrelevant Personal Taste Bio

I have been a screenwriter ever since I fell in love with Raiders of the Lost Ark. I now specialize in Spielbergian action projects and love to tell stories of underdogs overcoming unconquerable odds.

 

The Long-Winded Bio

Born on the majestic enchanting shores of Hollywood California, I was the second of three children to an accountant and a school teacher. My grandfather, also an accountant, would sit me on his knee by the fireside of my parent’s Cape Cod style cottage and tell me bedtime stories that left me with a sense of wonder and a desire to create stories of my own. After graduating high school with mostly A’s and B’s, I went north to a state university where I majored in English after switching from Business. I learned lots and partied equally as much, but knew that once I was finished, I had to return to Los Angeles in order to pursue my writing career. My first feature placed as a quarterfinalist in Austin, ScreenCraft, PAGE, BlueCat, Slamdance, and the Oklahoma Film Festival, while my pilot placed as a semifinalist in Austin, Nicholl, Script Pipeline, Tracking Board, and Scriptapalooza. I am now currently developing my third feature and looking for producers that specialize in broad comedy social thrillers. Links to my Facebook, Twitter, website, and portfolio below.  You can believe me when I say: I have stories that rival my grandfather’s.

 

Oh, and it should go without saying, but…

“Don’t lie!” – Everyone

Being a writer and being self-conscious goes hand in hand. It may be tempting to fill a bio with embellishments or half-truths to make your body of work sound impressive but DON’T DO IT. While you want to put your best foot forward, any rep will be able to see through it and you might end up burning a bridge instead of simply getting a pass. 

Ready? Get started perfecting your Bio on your Coverfly Profile now! 

Announcing our First Virtual Live Read!

By Announcements

We are excited to announce the inaugural performance of the Coverfly Virtual Table Read Series in partnership with The Storytellers Conservatory! Coverfly’s monthly Live Table Read was previously an in-person performance with professional actors in Los Angeles. In light of the recent coronavirus quarantines, we’re switching them to virtual live-streamed video events – and the good news is that this allows for more people to join virtually!

Join us this Friday March 27th at 5pm PST through this link here — no sign up required. The virtual hangout will open ten minutes prior to the performance. Performers will appear on screen but all are welcome to watch! Closed captioning available for hearing impaired.

We have selected CRAWLSPACE by Jacob Wehrman, a thriller feature that follows struggling plumber who is trapped by criminals fleeing a murder scene. The screenplay was chosen by the Coverfly team after Jacob applied for the Live Read program.

Want to see your screenplay performed live by professional actors? You could have the chance to invite friends, family, colleagues, producers, and managers to an exclusive event celebrating you and your work. Connect and collaborate with working industry pros to improve your material. Coverfly’s monthly Live Reads are free, and accepting applications here!

For any questions, please email support@coverfly.com. See you there!

How 64 Emerging Screenwriters Signed with Hollywood Managers This Year

By Success Stories

Nearly all Hollywood screenwriters rely on a literary manager, lawyer and/or agent to help them navigate complex deal-making, set up meetings and shepherd their writing into actual careers. Signing with a great manager is perhaps the most important first step in a new writer’s career. 

“How do I get a manager?”

This is one of the most common questions that writers ask us. There are many ways to sign with a literary manager, and one of the most proven and efficient ways is to gain industry interest and exposure by placing as a finalist or winner in a major industry-recognized screenwriting competition. Coverfly has dozens of the industry’s top screenwriting competitions, carefully curated and all in once place. As a service to writers, Coverfly carefully considers a screenwriting competition’s merits before allowing a competition to be listed on Coverfly. A screenplay contest, fellowship, lab or writing program on Coverfly must adhere to all of these criteria.

We’re thrilled to celebrate these 64 writers who found their managers through Coverfly-qualifying screenwriting competitions and talent-discovery programs within the past several months. We’re honored to have such effective screenwriting competitions on our platform:

Coverfly
Pipeline Media Group
PAGE International Screenwriting Awards
HollyShorts Film Festival
Shore Scripts
ScreenCraft
WeScreenplay
Filmmatic
The LAUNCH: Million Dollar Screenplay Competition
Launch Pad Competitions by The Tracking Board
Scriptapalooza

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Coverfly

Lele Park signed with literary manager Eric Borja of EMB after pitching to him during Coverfly Pitch Week!

“Before Pitch Week, I was in a stagnant spot and needed direction. I was seeking guidance and really was on the cusp of what seemed to be a turning point. I felt the usual roller coaster, accepting creative life is feast or famine. And it still is that way, but being matched with Eric Borja was eyeopening. Participating in Coverfly’s Pitch week really was the much-needed fill-up! Thanks to Coverfly’s reputation as a legitimized presence in the screenwriting landscape, being selected and engaged in their Pitch Week brought momentum. I had in-depth conversations with Eric and learned a lot about how he evaluates talent. If you’re on the fence about Pitch Week I suggest you just do it. I genuinely feel grateful. They take the navigational process that screenwriters go through seriously, by vetting the competitions, festivals, and the connections they bring. It all lends itself to build a germane space, that has hard-earned credibility.” – Lele Park

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Nicole Jones signed with a literary manager after her screenplay Shrimp topped The Red List and was discovered via Coverfly.

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Vanessa Carmichael signed with management after submitting her script through Coverfly.

“For me, Coverfly has proven to be more than a script submission service – it’s a vital resource. I submitted my script for a contest and requested coverage. Within a matter of weeks, I had not only incredible notes, I had a Coverfly Writers Advocate who accomplished in a matter of months what I had not been able to do in years—secure representation. Today, I have capable and responsive literary management all because I chose to submit my script on Coverfly.” — Vanessa Carmichael, screenwriter

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Jennifer Cooney signed with Kevin at The|Machine after submitting her script through Coverfly.

“What Coverfly is doing is a much-needed service and is an absolute gift to writers. I can’t thank Coverfly enough. Working with the reps at Coverfly has been a dream. And I absolutely love how it came together, leading me to the wonderful pairing with Kevin at The|Machine, whom I’ve found to be the perfect fit as my literary manager. I’m speaking for myself, and I know many writers share my story; not being able to just pick up my life and move across the country can feel daunting, especially when all you hear is that you have to live in Los Angeles to make it in the film industry. And in this age of technology where we can FaceTime and Skype and be in touch instantaneously, ‘having to live’ anywhere seems archaic. So in this way and many others, I feel that what Coverfly is doing with this advocacy program is visionary and paving the road for the future of our storytellers. Brava. Coverfly will always be ‘how I got my foot in the door,’ and I would be delighted to be a mouthpiece for the benefits of this program. Thank you Coverfly” – Jennifer Cooney, screenwriter

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Crystal Ro signed with literary manager David Baggelaar at Good Fear after he discovered her via Coverfly.

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Colin Dalvit and Andrew Lahmann signed with management after Coverfly introduced them to their manager.

“Coverfly gave our screenplay valuable exposure to industry management. After years of hard work, it was through Coverfly that we were introduced to our manager. Not only was the Coverfly staff amazingly proactive, they were communicative every step of the way, which is a blessing for emerging screenwriters.” – Colin Dalvit & Andrew Lahmann, screenwriters

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Patrick Byrne signed with a manager after an introduction from Coverfly.

“After Coverfly put me in contact with a producer, I was fortunate enough to get signed this week! I’m now working with a literary manager whom I trust to guide me and my screenwriting career. Thank you Coverfly for working so hard and so passionately on behalf of screenwriters… and most of all for believing in our stories.” – Patrick Byrne, screenwriter

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Bandar Albuliwi signed with manager Randy Kiyan at Luber Roklin Entertainment.

“After years of sifting through countless screenwriting competitions, I am now able to simply search through an easy-to-read list on Coverfly and submit my projects all in one place. Never before did I know that the Nashville Film Festival had a screenwriting competition until I was introduced to it through Coverfly. I submitted my project and subsequently ended up winning the top screenwriting honor for my TV Pilot, Radicalized. Subsequently, I signed with manager Randy Kiyan at Luber Roklin Entertainment and I’m now in pre-production on my feature film, A Brotherhood, with David Moscow attached to produce.” – Bandar Albuliwi, screenwriter

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And here are some success stories from our partners that we are honored to work with:

Pipeline Media Group

Established in 1999, PMG filters over 20,000 scripts, books, plays, and short films annually, supplying its comprehensive network of executives with countless clients and projects. Their overall mission is to advance the careers of original artists, support diversity and socially conscious storytelling, encourage new generations of creatives, and foster a much-needed outlet for those with limited access to the entertainment industry.

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Jess McKillop signed with Grandview after Script Pipeline industry circulation and introduction. She was a runner up in the 2019 Script Pipeline TV Writing Competition.

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Peter Malone Elliott signed with manager Zach Book. He is the winner of the 2018 Script Pipeline Screenwriting Contest. Peter’s biopic on Frank Sinatra Jr. was hailed as one of the best true story screenplays Script Pipeline ever reviewed. Elliott wrapped production on his first feature, Wired Shut, in 2019 and has multiple other film and TV scripts in development.

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Joshua Johnson and Jamie Napoli signed with Octagon EntertainmentScript Pipeline execs introduced Octagon manager Jeff Diamond to the writing team, who have another feature in development.

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PAGE International Screenwriting Awards

The PAGE International Screenwriting Awards has a long track record of helping to match talented new writers with top-notch representatives. Each year, dozens of PAGE Award winners and finalists are contacted by agents and managers who read their scripts during the judging process, and anywhere from 20-30 writers end up signing with those reps as a result. PAGE just announced their 2019 winners on October 15, and thus far the PAGE judges have approached 36 of this year’s winners and finalists with interest and offers. In conjunction with their promotional partners, PAGE does a huge post-announcement promotional push for their winning writers, and, as needed, the staff will make individual introductions and offer specific recommendations and advice.

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Clifford Yost signed with literary manager John Ferraro at Valleywood Entertainment.

A year later, Cliff shares this update with the PAGE team: “Just wanted to thank you for leading me to John Ferraro. You were spot on when you said that John is selective and that his aesthetics would likely match my own. He really understands my stories. He gives honest, kind, and meaningful notes. He doesn’t fill me with hype or false promise. Rather, he helps me see my profession as one of relationships, patience, and collaboration. He was/is the right choice for me, my style of writing, my aspirations as a storyteller. While I don’t want to share specifics just yet, John is responsible for several projects being close to a reality.” 

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Mike Kujak signed with PAGE Judge John Zaozirny at Bellevue Productions.

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Elizabeth Werner signed with PAGE Judge John Ferraro at Valleywood Entertainment.

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Amanda Prentiss signed with PAGE Judge Lee Stobby at Lee Stobby Entertainment.

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Michael Moskowitz signed with PAGE Judge Derrick Eppich at Empirical Evidence and by UTA. 

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Miley Tunnecliffe and Jerome Velinsky both signed with Fictional Entity. 

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Ryan Lee signed with Good Fear.

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Lucy Luna signed with 831 Entertainment. 

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Michelle Davidson and Jeffrey Field signed with Writ Large and the Hudson Agency. 

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Oskar Nordmark signed with Epidemic Pictures.

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Glenise Mullins signed with Management 360.

“I signed with Management 360, and found representation at Paradigm Talent Agency. And then, incredibly, was staffed on the new Lord Of The Rings TV show on Amazon. You guys were a great jump start to my career and I greatly appreciate it,” says Mullins.

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Brady Nelson signed with PAGE Judge Tony Zequeira at Super Vision.

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Stuti Malhotra signed with PAGE Judge John Zaozirny at Bellevue and Zac Simmons at Paradigm. 

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HollyShorts Film Festival

HollyShorts Film Festival is devoted to showcasing the best and brightest short films from around the globe, advancing the careers of filmmakers through screenings, networking events, and various panel and forums. Categories include Short Animation, Short Live Action, Short Documentary, Music Video, Webisode, Commercials, Youth Film and Digital Microbudget. 

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Tricia Lee signed with Jon Levin at Fourward.

Her short film Still Me was a semifinalist at the 2019 HollyShorts Film Festival. She recently signed with manager Jon Levin at Fourward after attending the Athena Screenwriting Lab. “They introduced Jon Levin,” says Lee, “as the person who found the script On The Basis Of Sex off The Athena List and helped turn it into a movie. I didn’t meet him at that event, but wrote him an email the next day. He read my script because it was in the lab, and loved it.” 

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Shore Scripts 

Shore Scripts is made up of a small number of filmmakers working in the US and UK film industry. Along with our Oscar, Cannes, Emmy, Golden Globe & BAFTA winning judges, we have strong industry connections. Over 100 production companies, agents & managers are all onboard to read each year’s best scripts. They also recently set up a director’s roster, creating another avenue for writers to have their work considered.

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Beth Curry signed with Elevate Entertainment.

After meeting a number of literary managers through Shore Scripts, Curry signed with Elevate Entertainment. Her winning feature, Moonflower, has been picked up by Oscar-nominated producer, Todd Black. “Shore Scripts is in a category all of its own,” says Curry. “After I won, they sent out my script to industry professionals that I would’ve never had access to. They have incredible industry connections, but more importantly, they have industry respect. They even did a follow-up mailing, reaching out to more industry folks. They helped me get amazing representation. Now, I feel like I’m finally on the road to being a working writer.”

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ScreenCraft

ScreenCraft’s mission is to foster the careers of emerging writers and filmmakers by providing inspiration and insight into the craft of screenwriting and the business of Hollywood, and by connecting emerging talent with working industry professionals. Every year dozens of talented writers find Hollywood career momentum via ScreenCraft’s educational programs, writing competitions, fellowships and events.

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Lucy Luna signed with manager Kailey Marsh of Brillstein Entertainment Partners via an introduction by the ScreenCraft team.

“Before entering the ScreenCraft Fellowship, I was trying to figure out how to navigate the industry, my needs and wants as a writer, and what next step would be the best or smartest thing I could do for my career. Before ScreenCraft I was listening to so many opinions, and I realized I had no real specific direction because all the advice was great but were so different, and were not tailor-made for me. After winning, everything changed. Everything became clear. I knew what I wanted and needed and knew what next steps to take. There are so many contests out there and it can get scary. I get it: I’m afraid to go back and see how much money I spent on competitions that were not worth it. ScreenCraft isn’t one of them. ScreenCraft cares. They are proactive, supportive, and are willing to push hard for you. They have the connections and the passion. They listen. They immediately understood where I wanted to go, and what I needed and they worked with me as if my dream was theirs. They are my guardian angels!” – Lucy Luna

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Caroline Franklin signed with literary manager Dash Aiken of Romark Entertainment.

Caroline worked closely with the ScreenCraft team who introduced her to the Romark team. – “I’m absolutely overwhelmed by the support I got from the ScreenCraft team. After my plays were named Finalists, the ScreenCraft team contacted me and has provided on-going advice, mentorship, and support ever since. They have worked for months sending out my material and discussing who may be right for representation. This industry can feel incredibly elusive and cold, especially for playwrights trying to break-in but Tom and the ScreenCraft team changed that. I can’t believe they invested so much time and energy into promoting my writing. Getting a foot in the door felt impossible for so long, but today, I am thrilled to have found my first rep. ScreenCraft is the real deal; you won’t find anyone more passionate or committed to helping emerging writers. If you are wading through the sea of screenwriting contests wondering which ones are worth it, there is no one I’d recommend more than ScreenCraft. I’ll never be able to say thank you enough!” – Caroline Franklin

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Nabil Chowdhary signed with manager Bash Naran at Writ Large less than one month after winning the grand prize in the ScreenCraft Sci-fi & Fantasy Screenplay Competition for his project Pod.

“Within hours, I was in touch with Bash at Writ Large. Three weeks later, we are officially working together. I was in constant communication with the ScreenCraft team, seeking advice and looking for guidance on how to navigate this very new situation for me and the couldn’t have been more helpful.” – Nabil Chowdhary

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Ivan Tsang signed with Jermaine Johnson at 3 Arts Entertainment.

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Michael Mirabella signed with manager & producer Scott Carr when he read Michael’s winning script Paper Thieves.

Now titled Joppatowne, Michael and Scott are developing the project together. – “The effort the ScreenCraft team has put forth in developing my relationships within the industry and carving a path for my career as a writer cannot be understated. The team fostered my script and showed genuine interest in my success– pairing me with manager, Scott Carr, who took interest in my talent and ethic. The ScreenCraft team continues to work closely with me even after all they’ve done to help thus far. If you have a screenplay you feel has a chance at success within the industry, then the ScreenCraft competitions and programs are a great way to test your script and possibly jumpstart your career.” – Michael Mirabella

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Molly Miller signed with managers Rachel Miller and Jesse Harra of Haven Entertainment after placing as a top 3 finalist in the 2018 ScreenCraft Comedy Competition with her feature spec, Eat Dead Bird.

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Rich Van Tine signed with literary manager, Jon Hersh of Housefire Management after placing as a Top 5 Finalist in the 2019 ScreenCraft Action/Thriller Competition with his contained, terrifyingly real thriller, Stuck.

Rich was also previously a 2017 ScreenCraft Fellowship Semifinalist with his twin detective thriller, Until the Candle Burns Out. – “I can’t thank ScreenCraft enough for championing me as a writer. I worked closely with the ScreenCraft team to get Stuck out there for agents and managers to see. They kept pushing the script forward and were super involved in the entire process. It was a great experience and I highly recommend any and all ScreenCraft competitions. Thank you to the whole ScreenCraft team.” – Rich Van Tine

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Gabriel Cruz signed with Scott Carr of Scott Carr Management after winning the half-hour category of the 2018 ScreenCraft Pilot Launch TV Script Contest with his script The King is Dead

“Winning the ScreenCraft Pilot Launch Competition really jumpstarted my journey. Almost like the flip of a switch, I went from total outsider to multiple managers requesting meetings with me, which was critical for someone with minimal to no connections like myself. Thanks to ScreenCraft, I never felt like I was navigating this new world on my own; I always felt like I had someone in my corner. I still feel that way. Burning for a chance to get my writing out there, I feel tremendous gratitude for ScreenCraft’s dedication.” – Gabe Cruz

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Kaycee Hughes signed with Abrams Artists Agency after winning the 2018 ScreenCraft Pilot Launch TV Script Competition, and through an introduction by the ScreenCraft team!

“Winning ScreenCraft’s Pilot Launch Competition cracked open the floodgates, and within weeks, I had multiple meetings lined up not only with some incredible literary managers and agents but with networks eager to chat about my winning pilot as well. Ultimately, this led to me landing representation with a top-notch agent, a hurdle I had expected to spend years trying to overcome. I am so grateful for their hard work and motivation, and for joyfully championing up-and-coming writers with all the passion and determination of people who truly understand just how vital writers are to this industry. Thank you, ScreenCraft. You have done me an incredible service and kindness.” – KL Hughes

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Shiwani Srivastava signed with literary manager Nicholas Bogner of Affirmative Entertainment. ScreenCraft recommended Shiwani’s project Wedding Season and introduced her to Nicholas Bogner.

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Brock Newell signed with a manager through Coverfly‘s Rep Week program after winning the ScreenCraft Screenwriting Fellowship.

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Ian Southwood signed with literary manager Adrian Garcia during Coverfly‘s Rep Week after winning the 2018 ScreenCraft Comedy Screenplay Competition.

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Tate Hanyok signed with manager Kendrick Tan and Carrie Isgett at Lit Entertainment Group, formerly Madhouse Entertainment after placing as a finalist in the ScreenCraft Screenwriting Fellowship and a semifinalist in other ScreenCraft competitions.

“As a character actor I was used to adapting to various tones and worlds, so when it came to writing I truly didn’t know what kind of writer I was. I hadn’t found “my voice,” and so many types of stories interested me as a writer. So I started using ScreenCraft as my own personal development program by utilizing each contest as a self-imposed deadline to explore writing in different genres and formats, simply as a learning experience. I was submitting early drafts to the contests for the feedback, and to get a gage of how far I had to go. It’s easy to work in a bubble, but the subjective opinions of the readers became a fantastic tool. Watching my scores increase with each submission was a great source of encouragement, and motivation! Eventually I wrote a script that was reflective of what I now consider to be “my voice.” It spoke to Tom in particular, and he contacted me to say that ScreenCraft would like to help connect me with a manager. I was floored. I hadn’t won a contest but I had consistently been submitting a growing body of work. Soon we were sitting down and brainstorming who to put on the wish list for representation! Tom was so incredibly knowledgeable, a talented filmmaker himself, who was acting like my guidance counselor helping me apply to and choose the right college. This was such an exciting time and he was so incredibly attentive. I kept thinking, “how lucky am I!?” Here I was just do’n my thing, in my bubble, and this fellow artist I have so much respect for, is helping ME get to this very important step that can be so hard to access on your own. Sometimes it does take a village. I’m so very grateful that ScreenCraft has been an essential part of mine.” – Tate Hanyok

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Erica Tachoir signed with a literary manager at MXN Entertainment through an introduction by ScreenCraft. Erica’s screenplay Scattering Jake placed as a semifinalist in three ScreenCraft competitions, including the 2017 ScreenCraft Screenwriters Residency Program, the 2017 ScreenCraft Drama Screenplay Competition, and the 2018 ScreenCraft Screenwriting Fellowship.

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Peyton McDavitt signed with manager Sydney Blanke at Fourth Wall Management an entertainment management company that represents actors, writers, directors, and filmmakers across all media.

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Rhonda Baraka signed with her manager at Heroes and Villains after meeting her manager at the 2018 ScreenCraft Writers Summit in Atlanta. The ScreenCraft Writers Summit brings together emerging writers and industry professionals so that relationships like this can be made.

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WeScreenplay

WeScreenplay is Hollywood’s #1 script coverage service. Best of all, your coverage is delivered within 72 hours. All WeScreenplay readers have at least one year of relevant industry experience – this means they’ve worked in a reading capacity for an agency, studio, management company, or production company. Nearly all of our readers are still working these jobs and read additional scripts on nights and weekends. When you get your coverage back, you’ll receive a brief bio about your specific reader.

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Faisal Azam and Erica Velis signed with Zero Gravity Management, after winning the 2018 WeScreenplay TV Pilot Competition with their riveting script H8.

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Eric Glover signed with his manager at Zero Gravity Management. He is both a Diverse Voices Finalist and WeScreenplay TV Pilot Winner.

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Filmmatic

Filmmatic is an online-magazine and industry-networking site, created by entertainment professionals, for entertainment professionals and is a great source for entertainment news and movie reviews.

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Joe Leone signed with Zero Gravity Management for his feature-length political thriller True Destiny after winning the Filmmatic Screenplay Awards.

***

The LAUNCH: Million Dollar Screenplay Competition

The LAUNCH: Million Dollar Screenplay Competition is a first of its kind competition co-founded by Zachary Green, Jason Shuman and philanthropists Chuck and Marni Bond, to find the next generation of great collegiate screenwriters from around the world. The Top eight winners will split $100,000 in education grants and other prizes, with the top three gaining representation at APA and Valor Entertainment. The grand prize-winning screenplay gets produced by Zachary Green and Jason Shuman as a feature film, with a budget of approximately $1 million.

***

Stanley Kalu and Jacob Stock signed with agency APA and management company at Valor Entertainment.

***

Brittney Worthington signed with TCA Management after The LAUNCH: Million Dollar Screenplay Competition in 2018.

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Abdullah Alhendyani, Lee Whitten and Brady Morell all signed with APA and Valor Entertainment after The LAUNCH: Million Dollar Screenplay Competition in 2019.

***

Launch Pad Competitions by The Tracking Board

Launch Pad has helped hundreds of emerging screenwriters connect with the entertainment industry and launch professional screenwriting careers. Since its start in 2009, Launch Pad’s parent organization, The Tracking Board, quickly became Hollywood’s premier source for insider news, spec screenplay sales, exclusives, film rights, development tracking, reviews, analysis and more.

***

Dennis Curlett signed with a manager at Romark Entertainment, an agent at Verve, and landed a deal at Netflix, with his Launch Pad-winning script Just. One. Kiss. The movie is about a woman who can see her future with any man after one kiss.

***

Paul Chang signed with Romark Entertainment after his screenplay, Please Let Everything Be All Right, not only won the Launch Pad screenwriting competition, not to mention a writing staff position on the new Disney Channel show The Curse of Molly McGee.

***

Alexander Vargas signed with a manager at Recon Entertainment.

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Bradley Starr signed with Romark Entertainment after his script Point Nemo earned a top finalist spot in the Launch Pad feature competition. The script follows a shipwrecked man who thinks he’s been rescued when a mysterious woman comes to his aid.

***

Alan Baxter signed with Abrams Artists Agency and Recon Literary after his pilot, Lost Eden Canyon, made it to the Top 50 in the 2018 Launch Pad Pilots Competition. His show is about a man who resorts to robbing luxury yachts to pay for a surgery his daughter desperately needs.

***

John Wikstrom signed with an agent at Verve and a manager at Romark Entertainment and Good Fear + Management.

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Brian T. Arnold signed with management company Romark Entertainment and Verve Agency.

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Scriptapalooza

Founded in 1998 the Scriptapalooza Screenwriting Competition has become one of few most relevant screenwriting competitions in the industry. Over the last two decades, the company has developed several departments to nurture talent and create career opportunities.

***

Jonathan Clancy signed with Abrams Artists NY.

***


For all the latest from Coverfly, be sure to follow us on Twitter and Facebook.

 

 

New Coverfly Features: Understand Your Projects Better

By About Coverfly, Announcements

We’re excited to share new updates to Coverfly. Before we dive into the details, here are three big changes in this month’s update:

  1. Improved Project Page
  2. New Coverfly Score Page
  3. Request Projects from The Red List

Let’s dive into these new updates:

An Improved Project Page

Writers have been asking us for greater insights into their projects’ Coverfly scores, and we’ve listened. Now, on the project page, you can better gauge how well your script is doing, see clearer score updates, and find out if your script made The Red List.

Here’s how you can get the most from your new project page:

  • COMPARE. Compare your project’s Coverfly Score to other projects in the same format and genre
  • STORY TRAITS. Use our new “story traits” to get an idea of your project’s strengths and weaknesses. We base these off of numerical scores that coverage and competitions on Coverfly have shared.
  • RECOMMENDED DEADLINES. View recommended upcoming competition deadlines that fit your project, right on your project page
  • COVERAGE. View coverage entry types you’ve previously received from Coverfly coverage partners
  • SEE DRAFT HISTORY. Track your draft update history and download old drafts

A new score page for each project

Our Coverfly Score algorithm is complex, but understanding your Coverfly Score should be easy.  We’ve created new charts to help you compare your score with other projects on The Red List in that specific format and genre.  Now you can see your score increases more simply:

  • See how your project’s Coverfly Score has increased with each submission
  • View upcoming and past Coverfly Score updates for every competition submission
  • We’ve published an improved article on the Coverfly Score and how it works

Request top projects from The Red List

Is there a project you’ve noticed on The Red List that you’ve been dying to read? Or maybe you just wanted to get in touch with a writer? Now you can. Visit The Red List and click “Request” next to any project to send an email to the writer requesting to read their script.

None of this would’ve been possible without the help of the members of our new Sneak Peek program. Thank you to the writers who generously donated their time to provide feedback on these new features!

What is the Coverfly Score?

By About Coverfly, Announcements, Screenwriting 101

Helping Writers Get Discovered by Tracking Progress on Submissions and Coverages

Our goal is to become the most efficient way for writers to be discovered by the entertainment industry, and the most trusted guide for emerging writers to achieve their goals. We do this by offering a free database for screenwriters to host their screenplays. In addition to hosting your projects for free, Coverfly uses your project’s reviews from submissions to top-tier festivals, competitions, fellowships and coverage services to provide a measure of our confidence that an Industry professional would be interested in your screenplay.  We’ve also pulled together dozens of highly regarded screenwriting competitions and free fellowships and programs to help you improve your score. Check out those tips and resources at the end of this article. 

The Coverfly Score is simply a tool to help writers better understand how their project is improving while also helping industry professionals discover great writers and great projects. It is, of course, not the only or even most important factor in determining the success of your script.  While we want the score to be helpful and empowering, we don’t ever want it to dissuade you from writing more projects or putting your work out there. The best writers write a LOT of projects!

A Special Metric Aggregating Screenplay Evaluations 

Aggregating scores

To help industry professionals discover great matches on Coverfly, we have found it important for projects to be vetted several times.  This allows for greater confidence in identifying the strengths, weaknesses, and general quality of the piece. On average, it takes about five reads before we have gathered enough data to confidently rate a project for Industry consideration. Remember, many contests read a script multiple times, so 5 reads can happen quickly.

More Evaluation Data is Better (up to a point)

Chart showing confidence in score increasing

Larger score updates will occur for the first five scores as we build confidence in the quality of the project.  Once a Project has a mature score, larger jumps may still occur with draft updates and strong placements in fellowships or competitions, but mature scores often change less because Coverfly is more confident in how your script is being received. If you submit an updated draft for coverage, we’ll weight that score more than the previous coverages you received.

Each score increase takes many factors into consideration, but essentially, your Coverfly Score increases as readers from well-regarded programs respond positively to your project. Our algorithm needs 5 reviews to be fully confident in your Coverfly Score. After 5 reviews we’re more confident, and placements will change your score less. It’s also worth knowing that 5 reads doesn’t mean you need to enter 5 competitions, most competitions read a script multiple times as it advances, so you may only need to enter one or two.   But, rest assured, we follow a strict rule: a Coverfly Score can never decrease. So, you’re free to experiment as you hone your story, without concern that it will negatively impact your score.

A Project’s Coverfly Score Won’t Ever Decrease 

Chart illustration showing that the Score never decreases

There will be times when your score does not increase.  A common reason for this is that the most recent screenwriting competition placement or coverage is not strong enough to outweigh the recent historical scores on your project.

When your project places in a festival, competition, or fellowship, we usually wait until after the placements have been announced publicly to update your score.  To determine a fair score for the increase, we take several core variables into account: how your project placed or scored, the thoroughness of that specific script evaluation process, and the success rate for writers in that specific screenwriting competition, fellowship or lab. It’s worth noting that larger score updates will occur for the first five scores as our algorithm collects more data and builds confidence in the quality of the project.  Once a Project has a mature score of at least 5 evaluation data points, larger jumps may still occur with draft updates and strong placements in fellowships and competitions, but mature scores often change less dramatically because Coverfly is more confident in how your script is being perceived across many different readers and judges.

Your Coverfly Score Consists of 3 Types of Information From a Competition 

Chart illustration showing the variables that help define score updates

Two things to consider:

  1. Coverfly Score updates may take up to 30 days to appear after a Competition or Fellowship announces their placements.  To help you keep track of your Coverfly Score updates, you can see a list of all pending and completed updates from your Project’s Score Update Page.
  1. While a lot goes into our algorithm, a simple way of thinking of these submission variables is:
    • Placement Score = Placement Position / Amount of Submissions, 
    • Evaluation Thoroughness = Number of Reads x Detail of Reads, and 
    • Writer Success Rate = Number of Writer Successes / Amount of Submissions 

In order to help you gauge your project as our algorithm builds confidence in the current quality of your project, we provide guides on your Coverfly Score graph to help writers predict where their current draft will place once it becomes a mature score with at least 5 evaluations. The Red List is Coverfly’s leaderboard of top projects, filterable by genre, format and time range. The Red List guide is a line that lets you see  how average Red List projects in your project’s genre and format performed for each score update.

The Red List Guide Line Shows Your Project’s Estimated Current Trajectory 

Illustration showing how the Average Red List line helps compare your project's score

One thing to keep in mind: The Red List line is merely an estimation, and not a guarantee that your project will follow the same trajectory as the projected guide.  Your project may be shown as below a guide, but one strong placement in a major fellowship or competition can dramatically boost your aggregate Coverfly Score.

The moment you list a script as “discoverable” on Coverfly, your project can be discovered and downloaded by vetted industry professionals, no matter how many reads or submissions it has received.  In order to bubble up the top projects for our industry professionals, we use the Coverfly Score to create The Red List. Scripts with the best Coverfly Scores are listed by genre and format, allowing professionals to discover the best matches for their needs. However, you do not need to be listed on The Red List to be discovered by Industry Pros.

The Red List is Coverfly’s Leaderboard of Top Projects 

Illustration of different ways to be on the Red List

By default, your projects are “private” on Coverfly and viewable only by you, and by the competitions to which you submit your project. While everyone can see and search “discoverable” Coverfly project profiles, only vetted industry professional members can download your script.  And we’ll notify you if an industry member downloads your project.

We would love to hear your feedback on how we could improve the Coverfly Scoring system to better impact your improvement as a writer and facilitate Industry discovery. The important thing is to continually improve your craft and keep getting your material out there. Remember, writing is rewriting!

Happy Writing

Tips for Improving your Coverfly Score

  1. Use feedback to improve your script. This can be from friends, coverflyX, or just trading notes on social media — the important thing is to take the feedback and re-write process seriously. Once you’ve updated your script, you can update Coverfly with your latest draft.  While new drafts do not advance your score, a polished script will do better in competition submissions and script review services.
  2. Get professional script coverage to help identify areas of improvement. Writing is rewriting! The average produced screenplay undergoes no less than 30 rounds of notes, or more from various creative stakeholders. Getting and implementing notes is an important part of the craft.  
  3. Submit to top competitions.  Please be sure to research opportunities carefully. We only allow reputable and proven talent-discovery programs to accept submission on Coverfly, so it’s a great place to find appropriate competitions, festivals and fellowships for your project.
  4. Take advantage of free submissions whenever available. Check out our extras for free opportunities.
  5. If you’re low on funds, check out Coverfly’s fee waiver program which helps writers who demonstrate financial need.

Announcing Coverfly Pitch Week

By About Coverfly, Announcements

We’re very excited to announce Coverfly Pitch Week.

Pitch Week is a free-for-writers initiative that pairs talented emerging writers with industry professionals for virtual general meetings. These virtual meetings allow writers to pitch themselves and their projects to industry pros (agents, managers, and producers).

Coverfly Pitch Week is unique in two simple ways:

  1. Coverfly Pitch Week is free.
  2. Coverfly Pitch Week is merit-based. Writers opt-in to having their profile reviewed on Coverfly, and we select the top writers for Pitch Week.

Managers and agents who choose to hear pitches from top Coverfly writers understand that the writers they’ll be hearing from are talented and uniquely ready to have their work optioned or sign with a literary agent and/or manager.

We quietly launched our first Pitch Week in January 2019. We set up 160 virtual meetings between about 50 writers selected from The Red List and 20 representatives from companies such as CAA, Good Fear, Circle of Confusion, Zero Gravity, Lee Stobby Entertainment, Cartel Entertainment, and Management 360, among several others. We have since run three additional Pitch Weeks and facilitated writers signing with reps, landing paid assignment work, and optioning their projects.

Now, we’re opening it up to all Coverfly members to apply to have their profile and work reviewed. We’ll be running this event 2-3 times per year – so be sure to apply every few months. Are you interested in practicing your pitch and meeting industry professionals who are looking for talented emerging writers? Apply for free now!


See what writers are saying about Coverfly Pitch Week:

“Coverfly’s Pitch Week was a great icebreaker to gain access to the people who make things happen- it’s a good opportunity to be read and considered, everything else is up to the quality of writing.”

Brock Newell

“Coverfly is unique. They actually care. They care about their writers and want to do what they can to facilitate their success. So grateful to have a platform to be “heard.””

Beth Curry

“The chance to chat briefly with legit lit managers for free seemed too good to be true. But it was just as promised. A great opportunity for screenwriters trying to break in.”

Clint Williams

“The Coverfly Pitch Week is a great way to connect with reps from the comfort of your own living room, and given that you’ve only got 12 minutes, having that comfort zone helps make the most out of your limited time.”

Ned Farr

“I love Coverfly! Submitting my work to various contests and placing or winning them is great, but driving up that Coverfly score is almost more gratifying. A great score draws attention and, in this industry, that is what we are all looking for.”

Karl Archer

“Coverfly has been an absolutely incredible experience for me from top to bottom! Not only has it provided me valuable exposure and reads through the Red List, it’s also afforded me some invaluable opportunities to connect and meet with some amazing executives! Not to mention the fantastic staff at Coverfly who have been nothing but caring, wonderful and unwavering in their support! Oh yeah, and did I mention it’s all FREE? I am so grateful to have Coverfly in my corner!”

Aarthi Ramanathan

“Coverfly keeps expanding their free services, helping to connect writers with managers, agents and producers in search of powerful material to represent and produce. It’s a fantastic matchmaking service that benefits both sides of the industry.”

Cari Daly

“Coverfly is responsive, attentive, and really cares about their writers. I feel like they take an active interest in me and my career.”

Robin Fusco

“Coverfly is a fantastic service! It’s obvious that the Coverfly team have a sincere passion for helping new talent breakthrough!”

Mukilan Thangamani

“Coverfly has been great as a site where I can show that I’m a writer that’s less of a risk to take a chance with, and won’t waste anyone’s valuable time.”

Erik Sternberger


“Kudos to Coverfly! This organization is extremely classy. I felt like they had my back every step of the way. “

Heather Ragsdale

“Coverfly is great for streamlining the process of submitting my scripts, but for them to proactively set up ACTUAL manager meetings through ‘Pitch Week’ was a totally unexpected benefit that takes the service to another level. Looking forward to seeing this continue to grow as a resource and opportunity for writers.”

Gareth Smith

“Coverfly raised the profile of my scripts for the past year. Now Coverfly Pitch Week has given me an extraordinary opportunity to introduce myself and my work to some top reps in a relaxed setting. Thanks much, Coverfly!”

John Dummer

“After only a year of entering contests, I am certain much of the success I’ve received was directly related to Coverfly. My script is not the norm, so their support has helped it move up the ladder at a significantly faster pace. They actively promoted me as a writer and have set up meetings with top representation. They have also invested their time and energy coming up with ways to support me as a filmmaker. If you get taken under their wing, Coverfly offers a writer, free of charge, more than you could ever ask for.”

Nicole Jones

“Coverfly Pitch Week was an unexpected surprise…just having the chance to connect with managers was really fantastic. I appreciate Coverfly doing all they can to help writers.”

Ervin Anderson

“This was a great opportunity to pitch to managers and make introductions that typically aren’t open to writers. Thank you for making the connection.”

Rich Orstad

“Coverfly is a refreshingly democratic and merit-based ranking system that encourages writers to improve and to branch out while giving them an effective platform to be seen by decision makers. Can’t wait for the next Pitch Week!”

Carlo and Erin Carere

Announcing Free Live Table Reads

By Announcements

Today we’re thrilled to announce the rollout of our latest writer discovery initiative: free, bi-monthly live table reads of projects atop The Red List.

Coverfly’s core mission is to facilitate the discovery of talented writers. That means helping writers get started, develop their projects, and gain exposure on those projects when they’re ready.

We already offer various free tools that help writers gain exposure on their projects, including free hosting on our Industry Dashboard (where hundreds of industry execs are currently browsing), Coverfly Pitch Week*, free project file sharing, a curated list of screenwriting competitions and fellowships, and The Red List.

Live table reads, on the other hand, bolster the tooling we provide for the bottom end of the project development pipeline – helping writers write. We think this complements the other two programs in this category, our fee waiver program and coverflyX.

The inaugural Coverfly Live Table Read (June 2019)

We are selecting writers with high Coverfly Scores who have a project that could benefit from a live performance. Basically, if there is a project with two characters and hardly any dialogue, it probably wouldn’t benefit from this. As much as THE QUIET PLACE was a great movie, a silent film may not make for an exciting table read. There needs to be something performative about the piece.

We are doing it on the first and third Saturday of each month. The table reads are produced and cast by our partner Shaan Sharma and his team at The Storytellers Conservatory and professional CSA (Casting Society of America) casting directors. The cast are entirely professional union actors. They are held at Culver City Casting Studios, the American Film Institute (AFI), or the Writers Guild Foundation Library.

The events basically serve three purposes: (1) a chance for actors, writers, casting directors, and creators to network, (2) allow the writer to workshop the latest draft of their project by seeing and hearing it aloud, and (3) the fun for the writer of actually seeing their material on their feet for typically siloed writers.

We hope this free program will enrich the work and careers of 24 writers on Coverfly each year. Click here to apply!

Happy writing!

*Coverfly Pitch Week is a week where we set up hundreds of virtual meetings between top Coverfly writers and literary managers and agents. It has been in stealth-mode and hasn’t been formally made public yet. There will be a public announcement about it soon!

 

Announcing Hosted, Shareable Coverfly Project Pages

By Announcements

Today we’re rolling out a feature that we think writers are going to love: hosted project landing pages that writers can easily share with their network.

Let’s say you’ve got a project on Coverfly. If you’ve made the project public, it may show up on The Red List, and Coverfly industry users can access it on their industry dashboard. But what if you want to share your project with colleagues, friends, and family?

A sample project landing page.

Now you can. Just go to any project from your projects page and click “Share” to get a beautiful, shareable landing page for your project that displays your project’s key details and competition successes. By default, no one except you has access to this page, but you can change the page’s privacy settings to allow anyone with the link to that page to view and download your project.

We won’t list the link/page anywhere, so if you enable anyone with the link to view your project, only those with whom the link is shared will be able to find it.

No more uploading your latest draft to Dropbox to share it – now you’ve got a free, hosted URL for your project. Coverfly doesn’t charge a penny for this service, and no credit card or personal information is needed to use it.

Happy sharing!

Announcing coverflyX: A Peer-to-Peer Script Notes Exchange

By Announcements

Today, we’re excited to announce coverflyX,  a new service from Coverfly – and we think it’s going to be a game-changer for screenwriters.

Up until now, if a writer wanted feedback on their screenplay, they’d have to either pay for professional feedback from a coverage service or screenwriting competition, or they’d have to ask a friend to read it. But not everyone has money, and not everyone has friends.

coverflyX, short for “Coverfly eXchange”, is a free service that allows writers to get peer notes on their screenplays in return for Coverfly tokens. Coverfly tokens have no monetary value and cannot be sold or bought.  Instead, writers can earn tokens by providing notes on the work of other Coverfly users, and in turn they can exchange those tokens for feedback on their own projects.

Upon receiving the feedback from the peer reviewer, the writer will be prompted to rate their reader’s feedback. Readers with higher ratings will have access to more scripts in the coverflyX marketplace, and will also be able to guarantee a certain quality of readers that have access to their own scripts.

coverflyX tokens are also given out to writers on Coverfly with Coverfly Scores above 400.  In addition, tokens can be spent by submitting to Coverfly’s list of Open Writing Assignments.

coverflyX writers can offer a “bid” of tokens for feedback on their projects. These tokens go to the reader that claims and completes the feedback. So, for example, you might bid 3 tokens on one of your feature scripts that’s 120 pages in length. If the bid is too low (and there are other scripts of similar length offering more than 3 tokens on the marketplace), then it may go unclaimed by readers, in which case, the writer might have to increase the bid to have it claimed.

coverflyX readers will have five days upon claiming feedback to complete their notes, which consist of 300 words on the strengths of the script, 300 words on the weaknesses of the script, and an optional section for any additional thoughts. Readers who do not complete the feedback on time will be penalized with “strikes“. Too many strikes, and the reader’s account could be suspended.

This concept is new, and largely experimental.  We don’t know yet if the marketplace will be able to balance itself and meet the demands of writers requesting peer notes, so we’ll be constantly monitoring and evolving the platform in the coming months.  Please feel free to reach out with any feedback!

Coverfly doesn’t charge a penny for this service.  No credit card or personal information is needed to sign up.  We hope coverflyX becomes another arrow in the quiver of writers as they develop their stories.

Of course, Coverfly also offers many other services to screenwriters. Notably: The Red List, a curated list of Screenwriting Competitions, and OWAs (Open Writing Assignments).