Calling All Writers! Weekly Screenwriting Contest Roundup — 7/15/19

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. – Some with deadlines this week! Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.


JULY 15 — WESCREENPLAY SHORTS CONTEST — Final Deadline — $49


JULY 15 — LAUNCH PAD FEATURE COMPETITION— Regular Deadline — $75


JULY 15 WESCREENPLAY TV CONTEST —Regular Deadline — $59


JULY 22 — SLAMDANCE SCREENPLAY COMPETITION — Late Deadline — $75


JULY 31 — SHORE SCRIPTS TV PILOT CONTEST — Regular Deadline — $45+


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Announcing Free Live Table Reads

By | Announcements | 9 Comments

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

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

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

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

The inaugural Coverfly Live Table Read (June 2019)

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

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

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

We hope this free program will enrich the work and careers of 24 writers on Coverfly each year.

Happy writing!

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

Calling All Writers! Weekly Screenwriting Contest Roundup — 7/8/19

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. – Some with deadlines this week! Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.


JULY 8 — FINAL DRAFT’S BIG BREAK — Extended Deadline — $65


JULY 8 CINESTORY TV RETREAT & FELLOWSHIP COMPETITION — Regular Deadline — $60


JULY 10 — ROADMAP WRITERS JUMPSTART COMPETITION — Regular Deadline — $54


JULY 12 — WOMEN’S WRITING COMPETITION — Regular Deadline — $35


JULY 15 — WESCREENPLAY SHORTS CONTEST — Final Deadline — $49


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

Calling All Writers! Weekly Screenwriting Contest Roundup — 6/24/19

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.


JUNE 29 YOUR SCRIPT PRODUCED! — Final Deadline — $75


JUNE 30 — SCREENCRAFT HORROR SCREENPLAY COMPETITION — Final Deadline — $69


JUNE 30 — THE DAVID AND LYNN ANGELL COLLEGE COMEDY FELLOWSHIP & THE CAROL MENDELSOHN COLLEGE DRAMA  — Final Deadlines — $50


JULY 7 — SCRIPT PIPELINE GREAT IDEA CONTEST — Extended Deadline — $45


JULY 8 — FINAL DRAFT’S BIG BREAK — Extended Deadline — $65


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Coverfly Matches Emerging Screenwriter with First OWA

By | Interview, Success Stories

We’re excited to get the opportunity to interview Jennifer Cooney – an incredibly talented writer who is making big waves in the industry. Her script Winter Jasmine rose near the top of The Red List and was noticed by a Coverfly Writer Advocate. Since then, she has signed with top management and was hired for an Open Writing Assignment!

Jennifer heads her own production company, HalfJack Generations, has one film in post-production (Rain Beau’s End), one in the process of being optioned (Winter Jasmine), and several projects in various stages of development. She is currently repped by The|Machine in Los Angeles and intends to produce and direct her own scripts while living blissfully with her wife and their two dogs, Marlon Brando and Humphrey Bogart.

Coverfly: So, what was the process of finding a manager like?

Jennifer Cooney: It wasn’t your “typical” process. Thanks to Coverfly and their Writer Advocate program, I was paired with a Writer Advocate (Kyle) who really loved and believed in my work. Kyle not only matched me to a wonderful manager and got me two stellar writing gigs (one I passed on), but he will soon be signed on as a Producer for my spec script, Winter Jasmine. I really owe the propulsion of my career largely to Coverfly and their matchmaking. Kyle and I are destined to make movie magic together.

CF: How has working with a manager changed the way you write or approach the industry? Anything you wish you would’ve known?

JC: My manager, Kevin at The|Machine, understands who I am insomuch as he supports my unwavering commitment to following my heart. He knows that I have stories I want to tell and that I’m going to tell them authentically. He knows that I am not going to alter my creations without a heart-driven reason. This is why I signed with him. He supports my growth and my expansion as a writer, not ballooning trends. So, to answer the question, working with my manager has given me a level up with my confidence, knowing he believes in my vision and my authentic brand of characters and stories. 

What do I wish I would have known? That screenwriting doesn’t have to be hard. That it should be fun. That there are a ton of “pros” out there telling writers how to write and where to put what and on which page. I don’t regret the path I took to get where I am, but I can say with confidence that storytelling is highly intuitive, so anything that demands exact elements on exact pages is using fear to sell how-to books. Tune into your highest creative self and learn to listen to your inner nudges. The stories are all in the ether, you just need to learn to align with them so you can receive them. Make friends with your muses. 

CF: Congrats on landing your first OWA! What does landing an OWA job look like?

JC: My Coverfly Writer Advocate paired me up with a Producer I really clicked with. He read my spec script as a sample of my writing and loved it. We worked together a bit on a concept he was molding. I gave him notes and we further solidified our compatibility as creatives. A few months later he had a one-sheet for a feature he wants to produce and direct and I really loved the idea. I pitched him on what I’d do with the story and the characters and he loved my take. I told him to marinate for a week and make sure I was the writer for him. A week later we were working together. I’m very fortunate in that he was willing to mold our contract based on my method of story and character development and with my organic production of drafts. I’m in the middle of development now and can’t wait to see this thing onscreen.

CF: What is the OWA experience like so far?

JC: It’s amazing because I’m working with a Producer that I immediately clicked with. The first conversation we had, I knew in my gut that we’d be working together. We not only complement each other creatively, but we also respect one another beyond our creative commitments. Having worked with producers in the past that were neither of these things, I know creative and personal respect between writer and producer are of paramount importance to me. There’s some advice to new writers: When it feels upstream, drop the oars. Your boat will turn around and you’ll flow right towards your best case scenario (and away from what’s not serving your highest good). Have faith in the Universe taking care of you and it always will.

CF: How did you get started in screenwriting and what got you interested in the first place?

JC: Five years ago, I was working a full-time desk job and living for the weekends when I would inevitably sleep late and dread the impending Mondays. It became abundantly clear to me that I was living an inauthentic life, creatively speaking, and was extremely unfulfilled with the “fruits” of my time on earth. I had pressed my then girlfriend, now wife, to paint full time and to only do pieces that were original… no more for-hire commissions, two years prior. One night she looked at me. We were on the couch after dinner. I could barely hold up my towering glass of wine due to both physical and spiritual exhaustion. And she said, “What do you think about?” She explained that she was always thinking about paintings and colors and drawings—creations—and wondered what I thought about. My answer startled me. “Nothing, I guess.” She couldn’t fathom my answer. And as a creative spirit, or rather so I fancied myself, that answer turned my stomach. She pressed on, asking what I wanted to do. Growing up being groomed to take over a successful family business, I hadn’t thought of doing much else since graduating college. But I humored her and let the answer come to me. “I’ve always wanted to write a movie.” Five years and countless hours of study, practice, and self-discovery later, I have one feature film in post-production (Rain Beau’s End), one in the process of being optioned (Winter Jasmine), and have been hired to write another. And I’ve also adapted a stage play to a short script, which I’ll be directing later this year. Life is good.

CF: What kinds of stories or characters do you like to write?

JC: Literally all kinds. I will never be constricted to a particular genre. With one caveat, I really love writing lesbian characters and storylines. Lesbians always make their way into my stories. When I was in college, I owned every lesbian feature film ever made on DVD… and they barely took up a foot of space on my shelf. I know now that the craving of seeing oneself represented onscreen goes much deeper than meets the eye. It’s about experiencing a greater scope of life through a perspective similar to your own via characters you can identify with. And that craving truly fueled and still fuels my creative vision. I’m thrilled to see lesbian characters popping up everywhere and being played by big-name talent. I’m excited to have my stories and characters amongst them one day soon.

CF: What’s one screenplay that every screenwriter should read and why?

JC: When you’re trying to accomplish something on the page, whether it be an action or a sequencing description, find a movie that’s done it or something similar and consult the script. Then you can see how to convey it on paper. As far as necessary reading, I’ve read scripts of films I admired like Eternal Sunshine of the Spotless Mind and Arrival, and enjoyed them. Just follow your bliss. If that doesn’t lead you to read any scripts, who cares?

CF: What’s one piece of advice you wish you would have known when you were starting out?

JC: In no particular order of importance or continuity: You can be, do, or have anything you want. Life is supposed to be easy. Nothing you truly want is upstream. Follow your bliss. You are ever that which you are aware of being. If you haven’t let go of the need for the outcome, you can’t get there from there. Be easy about it all. Be gentle with yourself. The intellect is meant to serve the intuition. You deserve it all. Dream huge. And when people tell you why “life is hard,” send them love, and know that your beliefs determine your reality… their beliefs don’t have to unless you let them. And always, always believe in yourself. You are magic.


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Calling All Writers! Weekly Screenwriting Contest Roundup — 6/17/19

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.


JUNE 17 — FINAL DRAFT’S BIG BREAK — Regular Deadline — $65


JUNE 17 WOMEN’S WRITING COMPETITION — Early Bird Deadline — $25


JUNE 14 — LAUNCH PAD FEATURE COMPETITION — Early Deadline — $65


JUNE 21 — ROADMAP’S DIVERSITY INITIATIVE COMPETITION — Final Deadline — FREE


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

Coverfly Inside Look: Your Script Produced

By | Contests, Inside Look, Interview

The first annual 2019 Your Script Produced! Worldwide Screenwriting Competition launched recently, sponsored by Doval Bacall Films, who will fully fund, develop, package and produce the Grand Prize winning film script for $250,000 USD. There is also over $25,000 available in cash prizes for the winner.

Part of Coverfly’s mission is to curate a selective list of screenwriting competitions, and to promote transparency by interviewing the administrators behind screenwriting competitions.

Doval Bacall grew up in the inner city of Detroit, Michigan. His appetite for learning, and burning desire to succeed motivated him to educate himself and learn the foundation and skills necessary to become a successful businessman. He believes that you can never think of yourself as a master of any trade or skill, as it stands in the way of improving yourself.

After a successful run in real estate acquisitions and developments, and creating what is known today as Bacall Capital, Doval Bacall has shifted his attention to the Film & Entertainment Industry, which has always has been his passion.

We interviewed Doval and asked him some questions about Your Script Produced! Competition — See his answers below:

Coverfly: Thanks for doing an interview with us about your inaugural screenwriting competition. Why did you start the Your Script Produced! Screenwriting Competition? 

Doval Bacall: I have always loved films and the business and wanted to produce films. I’ve studied screenwriting and I’ve read hundreds of screenplays. After spending a year researching how films get made, I decided to simply learn by doing. This is why I’m fully financing a feature film. And to find a screenplay, I decided to create an opportunity for up-and-coming talented writers.

This is why “Your Script Produced!” Worldwide Screenwriting Competition was launched.

CF: Who’s judging this inaugural competition and how will you select the winner? 

DB: We have several Hollywood veterans who joined our team to discover and launch writers worldwide including:

  • Sheila Shah (Known for Saw V, Rambo V… 14+ more credits to her name.)
  • Shannon Makhanian (One of Hollywood’s best casting directors for 20+ years with 200+ feature film credits.)
  • Bruno Chatelin (Former film distributor for Sony & UGC Fox, Founder of Filmfestivals.com, Launched 200+ films.)
  • Tim Abell (Known for: Sniper: Special Ops, We Were Soldiers and 150+ credit to his name.)
  • Al Maddin (Music/Film Producer working with Def Jam, Lionsgate and Paramount. Known for working with Jam Master Jay, Mary J Blige, and 50+ more celebrity artists.)
  • Tim Lounibos (Known for: Bosch, Hawaii Five-O, JAG, The West Wing, and 50+ TV/Film Credits to his name.)
  • Mike Beckingham, brother of Simon Pegg (Known for: Subconscious, AMS Secrets, Black Site, and 12+ credits to his name
  • Rob Van Dam, world-famous Wrestler/Hollywood actor (Known for: Sniper: Special Ops, Time Toys, 3-Headed shark attack, and dozen-plus credits to his name.)
  • Angela Harvey (Known for: Teen Wolf – MTV, Salvation – CBS, Station 19 – ABC, and 12+ Film/TV credits to her name.)
  • Genevieve Wong (Known for: Law & Order, Access Hollywood, E! News, and 30+ TV credits to her name.)

The Grand Prize and Category finalists will be selected by our elite jury. I will select the Grand Prize script and produce the film.

CF: Who’s financing the $250,000 budget to produce the winning screenplay? 

DB: I am personally financing the grand prize for a quarter-million dollars. No need to wait for anyone, I want to live up to my promise, and my promise is to discover, develop, fund and produce the grand prize winner and I will guarantee it gets done. There is no catch. This is a dream opportunity for many writers.

CF: Besides seeing their film produced, are there any other things that the winner of this screenplay competition will receive? 

DB: Absolutely! The writer will come on board as a consultant since this is the story they have written, and he/she will experience first hand working with seasoned Hollywood players and learn the process of developing the script (perfecting the story and making it production ready) and throughout pre-production and on set-production. The experience our winners will receive will be priceless. Category finalists will also get a behind-the-scenes look at the development and production process.

CF: Why is there a submission fee? 

DB: Just like any other competition such as Big Break, Austin Film Festival, The Academy Nicholl Fellowships, and many other organizations that charge a fee, we also charge a fee that covers the logistics of operating a large talent-discovery program, including paying script readers, our elite roster of judges, marketing and promoting the competition AND the winners in The Hollywood Reporter, Variety Magazine, Script Magazine, and The Script Lab.

Your Script Produced! Worldwide Screenwriting Competition guarantees to produce the Grand Prize Winner. The category winners will be optioned and we’ll help develop, fund and potentially produce their feature films or TV shows as well.

Our unparalleled cash awards and prizes make our competition worth the entry fee.

CF: Are there any specific types of screenplays that you and your team are looking for in this inaugural competition?

DB: We are looking for what Samuel Goldwyn once had advised, “Give me the same, with a twist.” Well told stories that can entertain the audience and maybe even teach a life lesson or two.


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Calling All Writers! Weekly Screenwriting Contest Roundup — 6/10/19

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.


JUNE 10 — SLAMDANCE SCREENPLAY COMPETITION — Regular Deadline — $60


JUNE 14 — LAUNCH PAD PILOT COMPETITION — Final Deadline — $95


JUNE 15 — WESCREENPLAY SHORTS CONTEST — Regular Deadline — $39


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


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

Calling All Writers! Weekly Contest Roundup — 6/3/19

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.


JUNE 6 — ATLANTA FILM FESTIVAL SCREENPLAY COMPETITION — Hella Early Deadline — $40


JUNE 10 — SLAMDANCE SCREENPLAY COMPETITION — Regular Deadline — $60


JUNE 14 — LAUNCH PAD PILOT COMPETITION — Final Deadline — $95


JUNE 15 — WESCREENPLAY SHORTS CONTEST — Regular Deadline — $39


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


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Calling All Writers! Weekly Contest Roundup — 5/27/19

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.


MAY 27 — CINESTORY TV RETREAT & FELLOWSHIP COMPETITION — Early Deadline — $50


MAY 30 — SCRIPT PIPELINE SCREENWRITING COMPETITION & TV WRITING CONTEST — Extended Deadlines — $75


MAY 31 — SCREENCRAFT PUBLIC DOMAIN SCREENPLAY COMPETITION — Final Deadline — $69


MAY 31 — THE LAUNCH MILLION DOLLAR STUDENT SCREENPLAY CONTEST — Final Deadline — $40


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