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Pitch Week

Pitch Week Prep: What to Do With Your 12 Minutes

By Uncategorized

With another season of Coverfly’s Pitch Week just on the horizon, we wanted to dive in and explore how you can set yourself up for a meaningful and productive interaction with any participating industry professionals!

Any time you have an opportunity to meet with an industry member, it’s important to assess what the meeting was scheduled for, what you want out of the meeting, and what you can conceivably accomplish in the short length of time you have. Much of the important work will happen before you get into the room itself, but here are some helpful tips for how you can make the most of your short time with an industry pro.

The First Minutes

Be affable and ask questions! You’ll want to use the first part of the pitch to introduce yourself and get a good understanding of what the person on the other side of the conversation is looking for. If you launch straight into your memorized pitch, you might miss an opportunity to connect in a more meaningful way.

You don’t want to spend the entire conversation going over your life story. Instead, focus on the main points of what brought you to writing. You can prepare an elevator pitch about yourself. More than a description of your journey, you should focus on what makes you and your writing stand out, what ties your body of work together. This will make it possible for the person you’re talking with to ask questions, too. 

The Pitch

The middle part of your conversation will vary depending on the type of meeting you’re having

  • If this is a general, you might talk about your whole portfolio, your writing style, or your past work experience. Make sure to touch on thematic elements in your writing and how you see your background and your stories talking to each other.
  • If you’re in a meeting about potential representation, you might be going over some very specific career goals you have for yourself and getting to the bottom of whether or not you would be a good fit for each other. Remember, having representation is important, but it’s best if that representative shares the same vision for your future.
  • If you’re pitching a project, this is where you would get into the details of your feature, short, or television script. What’s the elevator pitch? How is this story relevant to you and what you’ve already discussed in the meeting? Tailor the pitch to what you know about this person and the company they represent, and above all focus on the big picture of your story and not a minute-by-minute plot summary or a list of characters.

The big caveat is that none of this should feel rehearsed or tired. You’re a writer talking to another person about what you’re most passionate about. If you sound disengaged (even if it’s because you’re nervous), that’s going to be a red flag.

 

The Final Minutes

You’ll want to leave room at the end for questions about you and your project. The final minutes are meant to open the door to continued conversation. Establish the next step. Perhaps they’ve asked to read the script you pitched or are interested in following your career. Either way, the point of a short pitch like this one is not to make a sale or secure an offer of representation on the stop. It can happen, but in most cases, your goal should be to leave the door open for future conversations. 

If you’re confident, passionate, and concise, you’ll have made an impression. 

Hopefully now you have a better idea of what to expect when you head into your meeting with an industry member. Good luck on your pitch. And remember -- you got this!

How Coverfly Helps Screenwriters Get Discovered

How Coverfly Helps Screenwriters Get Discovered

By About Coverfly

Want to take your career to the next level? Here's how Coverfly helps screenwriters get discovered.

Coverfly is blowing the world of talent discovery wide open through a platform meant to bring writers and the industry together. With so many opportunities, it can be hard to figure out what is right for you at each point during your screenwriting journey. Here are just a few ways you can use Coverfly to reach your audience and stand out from the crowd.

Your Writer Profile

Marketing yourself using Coverfly’s writer profile

Filling out your profile to its fullest, including demographic information and writer bio, helps give our team and industry users (reps, agents, producers) the information they need to discover you. If your profile is blank or doesn’t feature any discoverable projects, you’re less likely to come up in industry searches.

By that same token, adding your Coverfly-qualifying competition placements to your profile gives industry members confidence in the quality of your writing. Making those same projects discoverable gives you a few more opportunities to reach the audience of industry pros looking for a project like yours. 

Coverage Marketplace

Improve Your Projects Through Vetted Coverage Providers

Coverfly has compiled some of the most well-respected coverage providers in one place where you can receive feedback on scripts at any stage in the writing process. Got an idea and a treatment? There's coverage for that. Ready to send your polished script out to producers? There's coverage for that, too, and everything in between. 

Coverfly coverage marketplace

Many writers see coverage as an integral part of developing a script idea and a useful way to get feedback from professional readers even before they begin entering competitions. Plus, Coverfly-qualifying notes and coverage can have a positive impact on your Coverfly Rank (we’ll get to that in a second).

Competitions

Find the right one for you

Most Coverfly writers submit to at least one competition, fellowship, or grant opportunity through the site. We feature only the most well-respected programs in the industry and review them for the value they provide writers. Search for competitions based on their primary benefits, price, upcoming deadline, and accepted formats.

Your writer portal makes it easy to track submissions, review additional feedback, and most importantly, keep all of your accolades and scores in one place. 

The Red List and Coverfly Rank

A look into where your script stands 

As you amass more accolades and high scores from the Coverage Marketplace, you’ll see your Coverfly Rank go up. This is a great tool to keep track of your own progress as your script climbs the charts. 

An ancillary benefit of having a high Coverfly Rank (or an active month in Coverfly) is appearances on The Red List. Think of The Red List as the website’s leaderboard and listing of the movers and shakers in the competition field. Being on The Red List certainly doesn’t equate to overnight success, but it does mean you’re putting yourself and your work out there and moving in the right direction. 

Other Coverfly Programs

More FREE opportunities

We also offer several completely free opportunities to screenwriters. These include our bi-annual Pitch Week, bi-monthly Virtual Reads with The Storytellers Conservatory, a fee waiver program, and a Monthly Career Mentorship with Act Two Podcast. Find out how to apply for these programs under the “extras” tab at the top of your writer portal. 

We have had multiple writer successes come directly out of these programs, including a script optioned, writers staffed on television shows, and many who found literary representation.

Endorsed Writers

Giving those writers on the verge, that push they need to break in

We track placement lists, great coverages, and recommendations from our readers to highlight the best scripts and writers. Our writer development team is able to meet with dozens of writers a month to discuss their career goals and potential job opportunities. If we think they are poised to break in and just need that little extra push, we feature those writers in an email to industry users with our official endorsement

Endorsed writers often see an increase in industry script downloads, meeting requests, and other opportunities. In an industry that runs on recommendations, it helps to have Coverfly adding to the chorus of people who are already championing your work.

coverflyX

Connect with other writers

If your script isn’t quite ready for a professional reader, but your friends and family are tired of reading drafts, coverflyX provides the answer. The free service allows you to exchange your work with other screenwriters on Coverfly. This service runs off of a token exchange, strikes, and feedback ratings to ensure quality control over the notes you receive. If the feedback you receive really resonates with you, there are ways to reach out to the writer directly to collaborate with them further. 

Industry Dashboard

Where Hollywood finds screenwriters

The Coverfly Industry Dashboard is where roughly 2,000 industry professionals consisting of literary managers, agents, studio + network executives, and producers come to search for clients and projects. All industry accounts are personally vetted beforehand by Coverfly to ensure anyone granted access is providing value to our writers. Industry users have the option to view the latest trending writers, competition results, + Red List and Coverfly rankings, or search for specific projects + writers based on format, genre, writer background, or premise.

Take a trip around Coverfly and use this as a guide to plan your stops. And if you have any questions, be sure to check out our FAQ database, or reach out to our customer support team directly if you still can’t find what you’re looking for. 

The Greatest Year of Success Stories in Coverfly History

By Success Article

Coverfly was conceived, launched, and operated with the founding principle of helping writers. Navigating a career in the entertainment industry can be confusing, self-contradictory, defeating, and expensive. By building a platform that would provide writers with tools and insights into tracking their growth while providing an overall diagnostic of how others were responding to their material, we hoped it would offer clarity and opportunity.

But we always knew there needed to be a human component. In an industry built on relationships, there would never be a replacement for introductions, personal referrals, or finding the personality people can believe in. Coverfly’s Writer Development efforts started with one person, then another, then another, and then another until it became a full-fledged department, always with the focus being how we could bridge the gap between the talent of the writers on our platform and the opportunities in the industry. As our team and reach continued to grow, the sheer magnitude of what we saw writers accomplish in 2021 didn’t sink in until we took a step back to appreciate it.

  • Over 300 writers signing with representation or landing their first paid opportunity
  • Over 1,000 free consultation and career development provided to Coverfly writers
  • Over 200 writers participating in Pitch Week
  • Over 30 writers receiving episode credits on their series

Some of the most impressive stories within those high numbers seemed emblematic of what Coverfly is supposed to be about.

Providing Opportunity

Staffing positions in writers rooms feel like the elusive treasure for emerging writers and even their reps-- you’ve heard they’re out there, but never seem to find one. Not a problem for Kyra Jones, who met with an executive during Coverfly’s free Pitch Week while the exec was staffing a series and was a staff writer on a Hulu series a week later. She has since signed at a major management company, agency, and been staffed on an ABC series.

Championing Underrepresented Voices

We found industry members using Coverfly to discover the writers, projects, and voices that didn’t have an existing reliable discovery mechanism breaking them into the industry. So when we knew Netflix was looking for romcom features from new perspectives, Shiwani Srivastava’s WEDDING SEASON was at the top of our list. Since packaging the project at Netflix, the film has been co-produced with Imagine Entertainment, was shot in spring 2021 and will be released next year. 

Providing  Free Resource to Everyone

Of all the deals, signings, staffings, and options we saw, the milestone we were most proud of was the number of writers we were able to reach and help take the next step in their career regardless of what that step was. Having a platform you can turn to for guidance, support, and advocacy was what we always envisioned providing when we launched the site way back when. To have personally interacted with over a thousand, and provided feedback + opportunity to thousands more was easily the most exciting development of the past year.

Looking Ahead

As our team continues to grow, we will have more and more chances to connect with amazing writers and their projects. To those out there we haven’t had the chance to work with yet-- congrats on the goals you reached this past year, tackle the ones you didn’t next year, know Coverfly is here to help however we can, and always always always keep writing.

Looking forward to 2022.

Share Your Projects

By Uncategorized

Coverfly allows you to host unlimited projects for free, but until now, it wasn’t always easy to share your project and its most recent draft with others.

Now, you’re able to configure your project’s permissions with much more granularity, and share your project’s page or draft with whoever you want--whether that’s any Coverfly member, or specific people--even if your project is set to “Private”.

If you share your project’s URL or download link with someone else, and subsequently update your draft, there’s no need to update the link you’ve shared. Anyone who has access to your project will automatically see the latest updates. Plus, you’ll receive an email notification anytime someone downloads your project!

To configure your sharing permissions, just go to your project’s page and click the sharing icon next to your project’s Discoverable/Private setting. Once you've specified who you want to be able to access your project, you can copy the URL by clicking "Copy Link", or simply copy and paste the link from the URL address bar in your browser.

 

Happy sharing!

Saying Goodbye to the Coverfly Score

By Uncategorized

When we launched the Coverfly Writer Portal almost 4 years ago, we knew we wanted to create a top rated chart for the most-awarded projects on our platform to help elevate writers. We built a dynamically-updated live ranking of projects, The Red List, based on all of the placements, scores, and information we had on a project. We called it the “Coverfly Score.”

The dynamic top rated chart has been a resounding success. It’s given writers something to achieve and celebrate, and, more importantly, built heat around writers that’s given them career traction. Today we’re generating a new “writer success” nearly every day where a writer is discovered by an industry exec or rep off a Coverfly list or through a Coverfly initiative.

But the underlying score these rankings are based on, known as the “Coverfly Score,” hasn’t had as smooth a ride. Some of its flaws were gradually exposed as it struggled to adapt to the growing needs of our industry and writer audience.

I can summarize the problems with the Coverfly Score as:

  1. It doesn’t reflect both a project’s quality and relevancy (or “heat”) simultaneously.
  2. It fails to react to new information or data points the way one would expect it to.
  3. It doesn’t convey enough information.

Problem #1: Reflecting Quality and Relevancy

In terms of quality, the Coverfly Score has proven difficult to “game” - that is, projects with very high scores are almost definitely of high quality. There aren’t false-positives, which is great! But the score does a poor job of highlighting projects that don’t yet have a lot of data. It misses out on quality projects that are new, or only have a few recent placements.

And in terms of relevancy, or “heat,” it totally misses the boat. The Coverfly Score, by design, doesn’t go down. That means projects retain their high scores as time passes and remain at the top of The Red List years into their existence. As the industry has increasingly adopted our platform for talent discovery, we have hundreds of execs scouring our lists every day, and many of them are looking for new, hot projects--they’re not always as interested in ones that have been collecting accolades for a few years.

Problem #2: Reacting to new information the way one would expect it to

Since day one, we’ve struggled to explain the Coverfly Score to writers simply and in alignment with their expectations. That’s because the Coverfly Score calculation is quite complicated - its variables include scores, placements, competition ratings, historical reader bias, number of scorecards for the given project, and more, into every calculation. We believe all of this information can be relevant to helping find scripts the industry will be excited about, but it’s difficult to boil down into a simple algorithm.

A complex or opaque algorithm wouldn’t be an issue in and of itself if its result was predictable, or at least within the realm of what we’d expect, but the amount of time our customer support team spends answering the question “Why didn’t my score go up?” is evidence that something isn’t right. 

Why is it so unpredictable? If your script becomes a Semifinalist in Nicholl, your score should go up, right? Well, not if the previous 9 scorecards we have on your project were great and raised its score already. But try explaining that to a disappointed writer who wants to celebrate every success--and rightfully so. Since Coverfly Scores can’t go down, we designed the algorithm to be really careful about letting them go up. That means your score might jump on a placement you think is “low-value,” but stay the same on a placement that you think is “high-value.”

Problem #3: Conveying Information

If you tell a producer that your project has a 640 Coverfly Score, it conveys almost no information about the quality of your script. Even if the producer is familiar with Coverfly Scores, they don’t know how hard it is to earn a 640, or how many projects are above a 640. What if 90% of the projects on Coverfly have a Coverfly Score over 640? That 640 isn’t so great anymore. 

By the way, in reality, a 640 Coverfly Score is insanely high, and represents the top 0.001% of our database. See? Presenting it that way conveys much more information. Oftentimes sharing the percentile of a score, rather than the score itself, is a much better indicator of the value of the score. “This project is in the 10th percentile of 40,000 projects on Coverfly” is much more powerful and understandable than “This project has a Coverfly Score of 520.” You’ll notice a lot of other popular scoring systems around you are relational in this sense. Rotten Tomatoes doesn’t use a raw number as its score - it uses percentiles of critics’ ratings. IMDB’s star meter is based on percentiles. That way, if internet traffic quadruples across the board next year, that kid in your improv class doesn’t have a star meter higher than Anne Hathaway’s in 2012. Most standardized tests convey the test-taker’s performance as a percentile-based score. To receive a 700 on the GMAT (a test for admission to business school), you need to perform better on the test than 90% of the other test-takers. No one cares about the percent of questions you answered correctly, though. Relational data is much more informative.

The most visited FAQ on our support page is “What’s a good Coverfly Score?” My answer has always been “a score higher than the next person's.” The true value of a Coverfly Score is that it places you higher on a list than someone else, and that leads to additional exposure on Coverfly.

The Solution

At the end of April 2021, we’re retiring the Coverfly Score in favor of a percentile-based ranking system with a new underlying metric. This underlying metric will have the following characteristics:

  1. The rank will always go up when a project receives a new placement.
  2. More recent placements will receive a value bonus that will diminish over time, but will still retain some value, even years later.
  3. The value of a placement will take into account the amount of submissions selected for that placement by the program, as well as the quality of submissions submitted to that program.
  4. After a certain number of top placements for a project, the value of additional top placements for that project will start to count less.
  5. Writers will have access to their percentile of this metric, but the metric itself will not be shared with anyone (including writers).

This solves a few problems:

  1. By reducing the “relevancy” value of a placement over time, projects with more recent placements will have an advantage and rise to the top of our top rated charts. This will surface more writers and give our industry members exposure to more timely projects and writers, which ultimately translates into more opportunities for more writers.
  2. By accounting for quality and recency in a placement, projects with only a few top placements per year will rank high on the charts.
  3. By recording your highest rank on the charts with our new badges, you'll be able to more easily switch focus to a newer project without feeling like you're abandoning a score or a hard-won rank on the top rated list.
  4. Because the underlying metric will move more predictably (and rise when a new placement is added), so will the project’s percentile ranking. We want movements in a project’s rankings to make sense.
  5. By focusing on the percentile/ranking instead of an arbitrary number, we’re able to better convey information about a project’s relevancy, which in turn helps industry members looking for great scripts.

In addition, we’ll be introducing the concept of Badges to writers’ profiles. Inevitably, there will be projects that rise to the top of the charts, but over timeas the placements that got them there age and diminish in valuefall off of the top rated chart. The writers of those projects should have something to show for their months or years of hard work, which is why they’ll receive a “Top 5” badge on their project page, for example, along with the date the badge was achieved.

Good for Writers; Good for the Industry

Within the next couple of years, we expect the majority of new paid, working writers in Hollywood to have been discovered through Coverfly or a Coverfly-qualifying program. Being a professional writer shouldn’t be dependent on who you know or whether or not you can afford to make the move to LA to start looking for work. We believe that, as much as possible, your chances of breaking in should be based on how good your writing is. Our goals are lofty, and in order to hit them we have to adapt quickly and attempt radical strategies. The new ranking system will help us better highlight projects and writers for our growing industry base; they’re hungry for fresh perspectives, and we know they’ll find them on Coverfly. We can’t wait to see the incredible writers who enter the industry through our pipeline in the coming years.

April 7th, 2021 // By Scot Lawrie, Co-founder

screenwriting career WGAW

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.

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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.

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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Jonathan Clancy signed with Abrams Artists NY.

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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!