Jan 13
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 1/13/20

By | Contests | No Comments

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon.

JANUARY 15 — CINESTORY FEATURE RETREAT AND FELLOWSHIP COMPETITION — Early Deadline — $60

JANUARY 19 — PAGE INTERNATIONAL SCREENWRITING AWARDS — Early Deadline — $40+

JANUARY 20 — APPLICATION FOR STOWE STORY LABS NARRATIVE LABS AND WRITERS’ RETREATS, FELLOWSHIPS AND PARTIAL SCHOLARSHIPS — Regular Deadline — $45

JANUARY 21 — CREATIVE SCREENWRITING UNIQUE VOICES SCREENPLAY COMPETITION — Early Deadline — $29

JANUARY 31 — SCREENCRAFT SCREENWRITING FELLOWSHIP — Regular Deadline — $69

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

 

Jan 06
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 1/6/20

By | Contests | No Comments

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon.

JANUARY 9 — LAUNCH PAD MANUSCRIPT COMPETITION — Final Deadline — $95

JANUARY 10 — NANTUCKET FILM FESTIVAL SHOWTIME®TONY COX SCREENPLAY COMPETITION — Regular Deadline — $65

JANUARY 15 — FILM PIPELINE SCREENPLAY COMPETITION — Exclusive Deadline — $20

 

JANUARY 15 — CINESTORY FEATURE RETREAT AND FELLOWSHIP COMPETITION — Early Deadline — $60

JANUARY 19 — PAGE INTERNATIONAL SCREENWRITING AWARDS — Early Deadline — $40+

JANUARY 20 — APPLICATION FOR STOWE STORY LABS NARRATIVE LABS AND WRITERS’ RETREATS, FELLOWSHIPS AND PARTIAL SCHOLARSHIPS — Regular Deadline — $45

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

 

Jan 02
2

Screenwriting 101: How to Get an Agent

By | Contests, Screenwriting 101

It takes a lot of effort, time and possibly even a good amount of sweat and tears to write a kick-ass screenplay. Some of us have been at it for years. There are plenty of classes and books to help you along the way as you craft your story for the screen, but the one thing most people don’t mention is what to do after you have a screenplay that’s ready for the marketplace. 

Screenplays are products and to sell one, you need a literary agent. Some writers get by with just lawyers, but if you’re a new writer, you’ll likely want to start by getting a manager. A manager who believes in you will be able to refer you to agents with whom they have relationships. Agents, on the other hand, are most useful when you’re at the point where studios and/or producers are interested in one of your screenplays and can negotiate a deal. Most industry professionals recommend getting both a manager and an agent to set up your career with the best odds of success. 

If you don’t have any of the above, the first thing you’ll want to do on your quest for an agent is to get your screenplay read by industry professionals. Here are the best ways we’ve determined to get your script in front of Hollywood eyeballs and move your career to the next level. 

1. Make Query Phone Calls

It used to be common to send query letters, then emails. Finding an agent’s assistant’s email address is easy and there’s very little stress clicking the send button. But it’s just as easy to find that assistant’s office phone number, too. Very few people make phone calls anymore so this is a chance for you to stand out. Most likely, you won’t be able to get the assistant on the phone your first try so try a few times (1:00 PM to 2:00 PM PST is the industry standard lunch break, so avoid calling then).

If you do get them on the phone or are forced to leave a message, the secret is expressing your passion for your project while sounding like a sane adult. If you can make an argument as to why the story in your screenplay is the most gripping, relevant or funniest story of the year, you may get some interest. If you’re leaving a message, leave your phone number AND your email address, as they are more likely to email you back. But be smart about who you contact. If you know a manager represents primarily comedy writers, there’s no need to waste your time calling them about your post-apocalyptic sci-fi epic.

2. Attend Screenwriting Conferences and Summits

Some of the better conferences like Story Expo (held in New York and Los Angeles six months apart), Toronto Screenwriting Conference and ScreenCraft Writers Summit, invite successful screenwriters, literary agents and managers to give talks and be available to answer questions. These events are set in a much more casual environment than most industry events, so the odds of walking up and introducing yourself to a literary manager at one of the social mixes are in your favor.

3. Send Your Script to Screenwriting Competitions

Most of us have heard stories about doors opening for a screenwriter after winning a screenwriting competition. At the very least, many managers will request to read the winning script and that’s a good thing. But do your homework. Screenwriting competitions can get expensive so you need to target the competitions you enter. The likelihood of a raunchy comedy winning the Nicholl competition is pretty low, so send them your best dramatic screenplay. If you write horror, focus on The Bloodlist. Austin Film Festival has a great competition and their conference is very writer-friendly. There are several good competitions out there that can open doors for new writers.

4. Go to Film Festivals

Even if you don’t live in Los Angeles or New York, you can still go to film festivals like Sundance, Slamdance or South by Southwest and meet other filmmakers, producers, agents and managers. Bring a stack of postcards or business cards that have the name of your screenplay or web series, the logline, your website/blog and your email address. 

5. Get a Job as an Assistant 

If you’re in Los Angeles or New York, or even some of the cities where a lot of filming takes place like Vancouver or Atlanta, there are plenty of film companies and production studios looking to hire that amazing assistant. It’s a great way to learn the business and to make contacts. If you’re nice, professional and helpful, someone will certainly be willing to read your script. 

6. Stunt Marketing

What is stunt marketing? It’s promoting your script in a clever way that hasn’t been done before. Billy Domineau wrote a Seinfeld spec called “Twin Towers” about 9/11 that went viral and landed him a job on Family Guy. Henry C. King purchased billboards near Sony in Culver City and in Studio City near Universal Studios directing anyone interested to look up his script on blcklst.com. These methods are unconventional so do your research before spending any money.

Here is the Writers Guild of America’s list of accredited agents. Be sure to let us know if you have any success!

ShaneeEdwards graduated from UCLA Film School with an MFA in Screenwriting and is currently the film critic for SheKnows.com. She recently won the Next MacGyver television writing competition to create a TV show about a female engineer. Her pilot, Ada and the Machine, is currently in development with America Ferrera’s Take Fountain Productions. You can follow her on Twitter: @ShaneeEdwards

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

Dec 16
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 12/16/19

By | Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.

DECEMBER 22 — SCRIPT PIPELINE GREAT IDEA CONTEST — Late Deadline — $40


DECEMBER 31 — THE CAROL MENDELSOHN COLLEGE DRAMA FELLOWSHIP — Early Deadline — $40

DECEMBER 31 — INROADS SCREENWRITING FELLOWSHIP — Early Deadline — $20+

JANUARY 3 — NEW MEDIA FILM FESTIVAL SCREENWRITING CONTEST — Late Deadline — $64

JANUARY 3 — SCREENCRAFT ANIMATION SCREENPLAY COMPETITION — Early Deadline — $49

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

 

Dec 09
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 12/9/19

By | Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.


DECEMBER 14 — SCRIPT SUMMIT — Early Deadline — $20

DECEMBER 15 — WESCREENPLAY FEATURE CONTEST — Final Deadline — $79

DECEMBER 15 — SCRIPT PIPELINE GREAT IDEA CONTEST — Regular Deadline — $35

DECEMBER 16 — STOWE STORY LABS AND WRITERS’ RETREATS, FELLOWSHIPS AND PARTIAL SCHOLARSHIPS — Early Bird Deadline — $38

DECEMBER 18 — SCREENCRAFT FAMILY SCREENPLAY COMPETITION — Final Deadline — $69

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

 

Dec 02
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 12/2/19

By | Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.

DECEMBER 10 — SHOOT YOUR SIZZLE SCREENPLAY COMPETITION — Final Deadline — $65

DECEMBER 10 — LOS ANGELES INTERNATIONAL SCREENPLAY AWARDS — Late Deadline — $39+


DECEMBER 14 — SCRIPT SUMMIT — Early Deadline — $20

DECEMBER 15 — WESCREENPLAY FEATURE CONTEST — Final Deadline — $79

DECEMBER 15 — SCRIPT PIPELINE GREAT IDEA CONTEST — Regular Deadline — $35

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

 

Nov 11
2

You Wrote A Screenplay. Now It’s Time to Turn It Into One Sentence.

By | About Coverfly, Screenwriting 101

You’ve done the impossible: you’ve typed the famous FADE OUT, hit save, and completed your cinematic masterpiece. Congratulations! Now comes the fun part of convincing people to read your screenplay. Getting someone to read your script could become the hardest thing you’ve ever done. No joke. Reading scripts is like a first date – you need to psych yourself up in hopes that this one won’t be as bad as the last. Like a killer dating profile, you need something to draw the reader in and get them excited to read your script. Behold the most powerful tool in your arsenal – the logline!

Less is more when it comes to loglines.

A logline should be short, sweet, and to the point. You probably already know what a logline is and have tried your hand at crafting one for each of your projects, but we want your logline to be the best it can be. So let’s skip the basics and get down to the nitty-gritty. A good logline can sell your project, but a poorly written one might be an indication that your script is poorly written, too. If you’re preparing your project profile for Coverfly’s Free Pitch Week or Live Reads, then this blog post is an excellent place to start.

One, maybe two sentences.

Oftentimes loglines should be only one sentence, but don’t be afraid to stretch it out to two. Sometimes it’s hard to jam everything in and, to help build out the hook, you’ll need space to move. Getting into three to four sentences, however, can be too much information.

It’s this meets that.

If you’re finding yourself able to express the story, but not capture the tone, then consider adding comparables. More often than not, when someone says it’s “this meets that,” we can start to get a visual image. If we hear, “It’s Hot Tub Time Machine meets Little House on the Prairie,” we start to see a fish-out-of-water story about someone who accidentally goes back in time to prairie life in the 1800s. The two concepts in tandem can change the outlook on a script.

The three logline essentials.

There are three core elements you’ll want to incorporate within your logline: character, plot, and tone. In addition, you’ll want to use an active voice and aim to avoid character names (unless they’re well-known figures). It helps to give enough information to whet the appetite, but not enough to give away too much. While these are guidelines, rules can bend and break. Don’t get wrapped up in all the details; we’re selling a story here. Remember, the goal is to entice them to read this script, so hook them with the main elements. Otherwise, you can just write a summary and watch eyes glaze over.

Find the hook.

The easiest, utmost basic template you can follow is this: A character is THIS, but when THAT happens, he NOW must do this.

Essentially, it’s just the first act, break into act two, and a teaser as to what the second and third act will be. The “but” is critical because that is where the hook lives. You can usually turn to the act two break to find your hook. The hard part here is each story is unique, so you need to figure out what distinguishes your story from all others. Making clear what’s relatable and original about your story will further hook your reader.

Use loglines from existing movies in the same genre to guide you.

Here are three loglines from notable movies: 

1. A long time ago, in a galaxy far, far away, a young farmer dreams to escape his mundane life. When he begins tinkering with a few broken-down robots, he discovers a fateful message that sends him on the adventure of a lifetime.

Obviously, this is from Star Wars, and it gets to the core of the story.

2.  When a 23-year-old slacker musician falls head-over-heels in love with a beautiful young woman, he’s shocked to discover he must battle her seven evil ex-boyfriends to be with her.

From Scott Pilgrim vs. the World, we learn it’s an action-filled romance distinguished by the battle between a slouch and his love-interest’s seven evil ex-boyfriends. 

3. Desperately wanting to be accepted by the cool kids, two nerdy teenagers agree to supply beer for a party. But when they learn that their friend’s fake ID is a bust, they must go to the ends of the earth to get the booze or confirm they are the losers everyone thinks they are.

This logline from Superbad makes the story very relatable because everyone has a memory of wanting to fit in. 

While these are not the official studio loglines, they include the primary story beats and just enough context to pique interest.

Streamline your loglines. 

Once you start to get the essentials of the narrative, start to figure out how to make it exciting.

Try different variations of your logline, ranging from completely different sentences to just a few words changed throughout; it all comes down to a single word sometimes.

For instance: A theme park suffers a major power outage that allows its cloned dinosaur exhibits to run amok, forcing paleontologist Dr. Alan Grant to risk his own life to protect two young children.

Jurassic Park’s logline gives you everything you’re getting in the story and every word is essential to convey this. What if it was adjusted?

During a preview tour of cloned dinosaurs, a theme park suffers a major power outage that allows its exhibits to run amok.

It still works because… well dinosaurs. But it doesn’t have the emotional impact of the first one. In thinking of previous rules about character, plot, and tone, this specific one lacks our protagonist, Dr. Alan Grant. It shows sometimes rules can be broken and that dinosaurs can outsell people.

Another strong example: Three groomsmen lose their about-to-be-wed buddy during a night of drunken escapades in Las Vegas, forcing them retrace their steps to find him.

The Hangover is a story that many of us can relate to, whether or not you’ve been to a bachelor(ette) party or Las Vegas which hooks us in. It answers the who, what, where and why of the story while sneaking tone in by using specific words like “buddy.”

Logline structure.

When you start to tear down loglines, keep in mind the type of story you are trying to tell. I can’t stress this enough. Very often, a logline promises a story that the script doesn’t deliver. Imagine thinking you’re getting Jurassic Park, but then read Schindler’s List. While both are great (and Spielberg films coincidentally), you don’t want to disappoint the reader.

Loglines help focus your story.

A logline is a great tool to help develop your script further. If you’re having difficulty getting the story down to a sentence or two, or you’re struggling to find the hook/other elements you need to convey, you may want to evaluate your narrative as a whole as there might be some underlying story problems you weren’t aware of. It’s a great way to start to find the story within the story and zero in on what you want to tell.

Practice makes perfect.

A logline is a tool to learn about your story as much as it is a sales pitch. Make it exciting, eye-catching, and draw in the right audience. Don’t forget what type of story you’re telling and stick to it. Stretch the logline out if you need to and go for two sentences. Use comparables. Lose the micro-details that, while may be essential to the narrative, aren’t necessary to get the read. Stick to the overarching concept that makes your story seem fresh and will be like nothing a producer or director has ever read. 

More helpful tools.

Once you have your killer logline, be sure to include it in your writer profile, here on Coverfly. We’re the industry’s largest database of screenwriting competition entries, searchable by industry pros who are looking for good screenplays. The best part of Coverfly is that you can add your profile and screenplay for FREE. A tip: when creating your profile, include your demographic information, including awards and placements for discoverable projects, links to social media, agent and manager representation and a profile pic. Providing this data helps producers who are looking for writers with specific traits that will make stories feel more authentic and true to a certain voice being expressed.

Ready to pitch your ideas to agents and managers?

The deadline for applying to Coverfly’s next Pitch Week is December 1. After reviewing applications, 20 to 50 writers will be selected and matched for virtual video conference meetings and phone calls with Hollywood literary agents and managers. It’s free to apply and free to participate. Sign up here.

ShaneeEdwards graduated from UCLA Film School with an MFA in Screenwriting and is currently the film critic for SheKnows.com. She recently won the Next MacGyver television writing competition to create a TV show about a female engineer. Her pilot, Ada and the Machine, is currently in development with America Ferrera’s Take Fountain Productions. You can follow her on Twitter: @ShaneeEdwards

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

Nov 11
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 11/11/19

By | Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. – Some with deadlines this week! Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.

NOVEMBER 15 — WESCREENPLAY FEATURE CONTEST — Regular Deadline — $69

NOVEMBER 15 — BOOK PIPELINE FICTION CONTEST — Regular Deadline — $60



NOVEMBER 15 — FILMLABTV — Regular Deadline — $30+

NOVEMBER 15 — KILLER SHORTS — Regular Deadline — $20

NOVEMBER 21 — LAUNCH PAD MANUSCRIPT COMPETITION — Regular Deadline — $75

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

Nov 06
15

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

***

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

***

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.

***

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

***

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

***

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

***

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.

***

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

***

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.

***

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.” 

***

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. 

***

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.

***

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.

***

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. 

***

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.” 

***

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.

***

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.”

***

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.

***

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

 

 

Nov 04
3

Calling All Writers! Weekly Screenwriting Contest Roundup — 11/4/19

By | Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. – Some with deadlines this week! Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.

NOVEMBER 7 — FRESH VOICES — Final Deadline — $60+

NOVEMBER 15 — ATLANTA FILM FESTIVAL SCREENPLAY COMPETITION — Extended Deadline — $50+

NOVEMBER 15 — WESCREENPLAY FEATURE CONTEST — Regular Deadline — $69

NOVEMBER 15 — BOOK PIPELINE FICTION CONTEST — Regular Deadline — $60

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