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List of Lists: Where Are the 2021 Writers Now?

List of Lists: Where Are the 2021 Writers Now?

By About Coverfly, Success Stories

Coverfly and its partners have the privilege of working directly with thousands of writers; reading tens of thousands of samples, and servicing hundreds of industry professionals scouting new talent and material. In many cases– if not most– we are the first touchpoint for a writer launching a successful career. That’s why we launched the inaugural Coverfly List of Lists and Tracking Board Next List at the end of 2021.

The first is designed to celebrate the bests of the year-end lists, the latter to highlight the top emerging voices, and to put them and their team front and center rather than just their samples.

When we compiled the list we thought, if nothing else, it will be interesting to look back a year later and see what the featured writers accomplished. We knew there would be some cool highlights, but we were blown away by what the 2021 selections accomplished in 2022.

Let's go over a few of them from the 2021 Coverfly List of Lists and the Tracking Board Next List.

Next List Successes

Here is an eye-popping breakdown. From the inaugural Next List, in the past year, of the 30 featured writers we had:

  • Co-EP of HBO Max series LEGENDARY
  • Staff writer on Sony/Peacock series TWISTED METAL
  • Writer on the Emmy award-winning series ARCANE
  • Optioned their feature to LuckyChap, Amy Lo, and Indian Paintbrush producing.  Christina Choe directing
  • Staffed on STRAIGHT MAN at AMC
  • Story Editor on Season 2 of AMC series DARK WINDS
  • Staff writer on DINNER WITH THE PARENTS for CBS Studios and Amazon
  • Story Editor on latest season of STRANGER THINGS
  • Staff writer on Netflix series THE CRAVING, EP’d by Darren Aronofsky
  • Director of an episode for Issa Rae’s RAP SH!T on HBO Max
  • Winner of Special Jury Award for Directing and Community Filmmaking at SXSW
  • Staff writer on latest season of BRIDGERTON
  • Staff writer on Mahershala Ali series THE PLOT on Onyx
  • Staff writer on BEEF on Netflix
  • Staff writer on THE CLEANING LADY on Fox
  • Staff writer on Tessa Thompson podcast THE LEFT/RIGHT GAME
  • Feature film produced by Voltage Pictures
  • Staff writer on Freeform’s SINGLE DRUNK FEMALE
  • Winner of Disney Fellowship

All of this SINCE the release of the list.


Best Unrepped Writers Who Have Since Signed

Not to be outdone, we had similarly encouraging results from our inaugural Best Unrepped Writers List as 7 of the featured writers have since signed with representation at major management companies and agencies.

  • Jay Franklin: Staffed on Netflix S2 of Sandman signed with Circle of Confusion
  • David L. Williams: Signed with manager at Gramercy Park + agents at Verve, optioned feature Clementine
  • Russel Goldman: Signed with agents at Verve
  • Baakal Geleta: Signed with managers at Entertainment 360
  • MacKenzie Fallon: Signed with a manager at Authentic, developing a feature film with production company End Cue
  • Caroline Renard: Signed with managers at Artists First

2021 Most Viewed Project Wins

One of the most popular resources on the Coverfly Industry portal is the search functionality that provides hyper-specific results down to the format, genre, subgenre, writer background, representation status, ethnicity, or unique life experience. Take a look at this breakdown of successes from Coverfly's Most Viewed Projects List of 2021.

  • Neer Shelter | CALL OUT: Signed two shopping agreements with Citizen Skull
  • Jennifer Grand | THE THIRD STAGE: Signed an option agreement with John Funk Productions
  • Asabi Lee & Paul Hart-Wilden | HAUNTING AT 1600: Attracted attention from several producers; writers got hired to write Gabourey Sidibe's PALE HORSE with Chris Courtney Martin after being featured and repped through Coverfly
  • Thomas Douglas Mann | GET HAPPY: Signed a shopping agreement with Citizen Skull Productions
  • Tricia Lee: GOOD CHANCE: Signed with a literary manager at Neon Kite; project currently has EPs attached

As Coverfly has continued to grow and evolve, we are excited and honored by the opportunity to support thousands of writers in varying stages of their careers.  In 2022 alone we were able to help writers land a paid writing gig at Paramount, staff on a Hulu series, and release their film on Netflix.

As the industry evolves and presents new opportunities with new challenges for writers, Coverfly remains committed and excited to help whomever, however we can.

We will see you all in 2023!

The 2022 List of Lists is out now!

Let Writer/Producer Richard Kahan Explain the Importance of Script Notes

Let Writer/Producer Richard Kahan Explain the Importance of Script Notes

By About Coverfly, Interview

Screenwriters, like all artists, are always looking for ways to improve their work. One of the best ways to do this is by getting script notes from someone who not only knows a good screenplay when they see one but who also knows the film industry.

Producer, writer, and actor Richard Kahan (Beacon 23, Outlander) is one of the high-level industry professionals that offers coverage through Coverfly Industry-Direct Notes. Coverfly recently got the chance to speak with him about the benefits of getting feedback on your script from a fellow screenwriter, as well as the importance of being a part of a writing community.

Check out the interview below and continue on to read our favorite takeaways.

Don't Be Afraid of Receiving Script Notes

First and foremost, be open to feedback. It can be difficult to hear negative things about your work, but it's important to remember that the goal is to make your screenplay the best it can be.

Kahan says:

I think it's very natural to have that immediate reaction of like, "Oh, no, no! Don't change." If you don't care about what you're writing, you wouldn't have that reaction. So, I think that speaks to passion. And that's totally normal — I get that; everyone I know gets that. That being said, you know, your mind works differently than mine. Your life experience is different than mine. That's the beauty. In a TV writers room, when it's working well, it should be — everyone has different ages, different ethnicities, different backgrounds, different life experiences. You bring that to the page.

No screenplay is perfect and having other people read it, especially a professional, will open your eyes to its real potential. It's better to have a flawed screenplay that you're willing to revise than a "perfect" one that no one will ever read.

Should You Get Script Notes from a Fellow Screenwriter?

When writers consider receiving script notes, they naturally think of script consultants and professional script readers to send their work to. But, should they send their scripts to fellow screenwriters? Yes. Why? Because they not only understand story structure, character development, and other story elements but also the arduous experience of sitting down and actually crafting a story from a blank page. Kahan explains:

Working with other writers and getting notes from other writers, I think you're gonna get specificity. And that makes the job easier. Again, not to say the managers and execs can't give great notes, but I think when you are used to sitting down at the typewriter and bleeding, as the saying goes, you know — you're in it, you know what that's like — you're gonna give actionable notes.

The Value of Being in a Writing Community

There are many reasons to be a part of a writing community. For one, it can provide you with support and motivation when you need it most. Additionally, being part of a community can provide you with valuable feedback on your work so you can improve your craft and become a better writer. Kahan shares his experience of working with his own community of writers:

It's hugely have that core group...especially when you're working in features, because you don't have that in a writers room. So to have that, from just a technical note standpoint, is huge. It's also's that support system. It's that group that can give you notes that you trust that you know have a different lived experience than you. 

Read More: Tips on Receiving Notes from Producer & Entertainment Exec Jonny Paterson



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).


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.


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. 

5 Takeaways From Coverfly’s Industry Insights

By About Coverfly

One of the most consistent questions and hotly contested topics that emerges in the screenwriter-verse is how to break into the industry.

As frustrating as it is, there are two ways to answer that.

There is no one way.

There are many, many ways.

During the recent Coverfly’s Industry Insights Clubhouse event hosted by writer-producer Joel Eisenberg, staff writers Kyra Jones (Hulu’s Woke) and Lauren Conn (Peacock’s Langdon) were joined by Coverfly’s Tom Dever to discuss how Coverfly acts as a free tool for writers to help them reach the next stage of their career.

In the simplest terms, Tom stated, “Coverfly is a talent discovery platform that acts as a Fitbit for your screenwriting career.”

By tracking writer data ranging from life experience to genre tags to accolades and competition placements, Coverfly has created a database where industry professionals can discover writers and projects that fit precise specifications and preferences. This allows managers and agents to find exactly what they’re looking for.

With that in mind, how can writers best utilize the Coverfly platform to their advantage? Listen to the discussion below and continue on for our takeaways!

Coverfly’s Pitch Week

The reason why Coverfly’s Pitch Week is so unique is that it is designed and tailored personally for each writer who participates.

In many regards, Coverfly acts as sort of a pre-manager, who are there to answer questions and help writers navigate the next steps of their career by offering writer-oriented mentorship.

For Pitch Week and beyond, Tom explained that Coverfly’s team personally invests themselves in writers’ careers with an eye on specificity in order to "broker, pair, and understand who on the industry side of the platform they [the writer] would be a good fit for.”

Kyra got staffed through a connection made during Pitch Week, then had to backtrack to decide which managers or agents she’d work best with. Coverfly started reaching out to professionals who were looking for what Kyra specifically had to offer.

Then, the offers started to pile on. Nineteen to be exact. Great problem to have, but it was overwhelming. Through multiple conversations with the Coverfly team, Kyra was able to discuss the biggest decision of her life with advocates who cared.

"[Competitions] aren’t the end result, they’re the beginning.”

Focus on a Clear Long Term Goal

Lauren recommends being specific about your goals. She worked for years at a management and producing company, which gave her the firsthand experience of knowing what kind of career she wanted for herself. So, when her writing created opportunities, she was ready to state exactly what she wanted.

Know where you want the ultimate destination for your screenwriting career to be so that you can map out your route and streamline your efforts. But make sure that the steps you set before you are ones you can control.

Kyra brought up a great point, saying, "Try to focus on the things that are in your control. You can’t manifest it yourself, but what you can do is set goals that help you get to where that is.”

Tom added to keep following your "North Star guiding light, and take it one step at a time. Focus on where you are, what do you have that you can control, what kind of relationships do you have that you can take advantage of. So much of what we say is being focused on what your goals are.”

Leverage All Your Resources

Kyra said she had to “change the narrative after graduating from a mostly white theater world in college.”

Nobody could write her story but her, so she struck out on her own. She wrote pilots, web series, features — anything to keep moving forward. She built relationships along the way but was still having a hard time getting agents and managers to pay attention.

"Your brand is the intersection of your experience and your interests."

That’s why writers have to utilize every tool at their disposal. Nurture every relationship you forge, measure every interaction you make, explore every path that you can. A person you meet tomorrow could have an opportunity that’s perfect for you years down the road. You never know.

Once Kyra had a nice run of competition wins and her placements tracked on her Coverfly profile, she was able to reach back out to those contacts and continue the dialogue. At that point, everyone started paying attention.

Tom went on to say, “Competitions are a tool to verify yourself and your work in order to make introductions. They aren’t the end result, they’re the beginning.”

Capitalize on Your Personal Brand

Joel brought up the importance of a writer’s presence on social media platforms and knowing how to sell yourself.

“It’s branding in the purest sense," Tom said. “Present yourself as a commodity, I know it’s personal and a passion, but when you’re approaching anyone saying you have a service to offer — it becomes a business. Clearly present your unique point of view. Your brand is the intersection of your experience and your interests.”

This goes beyond the written page. Joel stressed, “You need to make an impression. Whether it’s the force of your personality or your attitude.”

When presenting yourself to the world, make sure to bring your own personality and unique perspective to the forefront.

One way to do that is to make sure that your Coverfly Profile is 100% up-to-date, and add as much information as you can. That way, when industry professionals are looking for exactly what you have to offer, you'll increase your chances of showing up on their radar.

“Keep writing because if that’s what you want to do, then it’s what you should do.”

Find Your Tribe

If there is one plus side to our current socially distanced times, it’s that the industry has never been more accessible — despite how far one may live from Los Angeles. Networking has never been easier. Although nothing will beat meeting face to face, more people are open to networking outside of their zip code.

Joel asked a great question about what happens after you win a contest, “What’s next -- the transition between winning accolades and the next process of your career?”

Kyra explained, “You can’t just win and sit around thinking the managers will come to you. They won’t.”

When she won, Kyra reached out to all of her previous contacts that she’s worked with in the past. She went on to say, “Competitions are a good way to demonstrate that you are a strong writer, but they won’t settle all of your problems.”

With virtual events, live networking mixers, online mug wars — your tribe is out there. Be proactive in your interaction. Build and create.

The baseline of success is always going to be excellent writing, no matter the paths you decide to take for your career.

In order to get there, Lauren said, “Keep writing because if that’s what you want to do, then it’s what you should do.”

The Importance of Mentors in Screenwriting

By About Coverfly

"There is no one path."

"It’s all about who you know."

"Move to LA."

These are the responses you typically hear from just about anyone working in the industry about how to break in and, while they can be true, they’re not necessarily things you can replicate. If you’re trying to break into an industry that has been in a strange holding pattern due to shutdowns, how are you supposed to achieve your goals?

This was the dilemma posed to Coverfly Director of Writer Development, Tom Dever, as he sat down with Act Two podcast hosts and screenwriters Tasha Huo and Josh Hallman to discuss a new team-up between Act Two members and Coverfly writers with the Coverfly Career Mentorship.

Coverfly Career Mentorship

In the program, chosen monthly Act Two professional writers will look through profiles on The Red List to select an emerging writer to mentor over six-months on how to advance their career.

In the episode, Huo notes that when she reached out to Act Two members to find out if anyone was interested in being a mentor to up-and-coming writers, many jumped at the chance to fill a role that they didn’t have as they entered the industry alone. She said the primary response she hears from working writers about the most significant asset in establishing their careers is “they don’t embark on their careers alone.” 

Mentors Who Have the Job You Want

Having a mentor who has the job you want is an incredible resource, particularly when the Act Two mentors are eager to show you the ropes. For example, a manager or agent might be able to tell you general notes and pump you up before you meet with a showrunner, but your professional TV writing mentor can tell you the specific things they did to win that staffing position. The tiny details that only the people who were in the room know. They can walk you through how to behave in a writers’ room (whether physically in the room vs. on Zoom), how to negotiate for yourself, or build a tight relationship with your representation.

There are countless paths for all of these situations and it can seem so overwhelming that you don’t feel comfortable even taking a step. But a screenwriter shows you that it can be done and the nuances of the interactions that can make or break a situation.

Why Having a Mentor is Important

While writers early in their careers may be concerned with getting representation, Dever and Huo agree that the first thing you need to do is determine your goal. “I’ve never had a person say, ‘God, I’d just love to have an agent someday!’” Dever says. You need to figure out if you want to be a showrunner, producer, live alone churning out scripts in a cabin… whatever the dream is! Figure out what it is, and then seek out people who support your goals and writing voice and people who are doing what you want to do to learn from them. 

Huo points this out to help writers understand not just the importance of mentors but also that mentors come in various forms, such as simply observing the people she interacts with teaches her new lessons every day, such as communicating with different executives, using the WGA as a resource, etc. Coverfly’s writer profile is an opportunity for writer’s to share your background and goals. As Dever says, “completing your profile helps the Coverfly team point you in the right direction.

Learn How to Brand Yourself

In an industry that is inundated with talent, you need to be your own advocate so that the people who will become your advocates know where to find you. “You don’t just put a Nike on a shelf. There’s a whole branding machine behind it,” Dever says as he encourages writers to view themselves as a commodity as much as their scripts. 

Writers also have the opportunity to sell themselves in this regard this August through Coverfly’s Pitch Week. The program is setup for personalized 1:1 pitches with agents, managers, and producers. Still, it doesn’t just create a “free for all” where you’re wasting your time pitching your feature action script to producers who focus on television romance series (for example). Using your Coverfly profile and public scripts as the basis for your unique perspective, writers pitch to the people and companies interested in stories that match your brand. 


And now, with the Coverfly Career Mentorship, writers have one more path to advance their career.

It’ll introduce you to people you should know.

And you don’t have to be in LA to do it. 

So get out of your own way, and advocate for yourself while you find the mentors who will advocate for you.

Emily J is a Writer and Consultant with ten years of experience in entertainment writing and development. She nerds out over screenwriting at she/her

professional screenwriter profile

How to Create a Professional Screenwriter Profile

By About Coverfly

You need a professional screenwriter profile if you want to pitch to top studio executives, agents, and managers. If you’ve written a handful of scripts, purchased coverage, or submitted your scripts to competitions it's time to take your career to the next level with a professional-looking screenwriter profile. Luckily, it's pretty easy to create a clean, professional screenwriter profile that highlights your skills, accolades, and past projects so you can properly share your brand to producers, agents, managers, showrunners, and industry decision-makers.

Here's how to create a great screenwriting profile on Coverfly in seven easy steps.

How to create a professional screenwriting profile

Every professional screenwriter needs to have these 7 elements on their profile page:

  1. Your full name (or the name of your writing partnership)
  2. A (good) high-resolution headshot or profile photo. It's never been easier to take a quality profile picture. Grab a friend (or a tripod), get some good lighting, turn on "portrait mode" and don't stop until you get a great photo.
  3. Short bio. A three sentence bio is the industry standard and includes things like your most recent or most impressive accomplishment, an overview of your portfolio, and how your personal experience informs your writing.
  4. Latest draft, logline, and info for every project in your portfolio. More is always better.
  5. Representation status. Are you looking for representation? Do you already have representation? Please list it here
  6. Credits or previous work experience. If you've been staffed on a show, list it here
  7. Claim any wins, placements, or accolades. Now isn't the time to be humble. If you placed—or won—any competitions list your successes. Awards and finalists lists are a great way to set your profile apart. Note: Coverfly automatically tracks placements for you, but if any Coverfly-qualifying placements are missing, you can request them be linked to your profile here.

Lastly, make sure to update your profile page URL with your name (not a string of random string of numbers). This not only makes your profile look more professional, it also (literally) gets your name out there if someone searches for you!

It really does make a big difference when your profile is 100% up to date. Producers and development executives want to know their working with a pro. And agents, managers, and showrunners will appreciate your attention to detail.

What NOT to include in your screenwriter profile

A good profile is also clean. Keep your profile focused on the the genre or style of screenplay you want to sell or the type of show you want to be staffed on and you'll increase your chances for success. Also, try to avoid these common screenwriter profile mistakes:

  • Grainy or low-quality profile photos
  • Weird jokes (unless you're a comedy writer)
  • Run on sentences and overly long bios
  • Projects without loglines

The importance of a (good) screenwriter profile

Your screenwriting profile on Coverfly is your first—and often last—chance to make an impression with industry decision-makers. It has to shine. A bad or even just incomplete profile can derail your dreams of becoming a working screenwriter in a single glance. Studio executives and producers simply don’t have time to wade through mediocre writer profiles. If your name comes across someone's desk, you have to stand out.

Who Sees Your Profile?

To protect writers' privacy we specifically hide some information from the public and only make necessary information visible to vetted Industry members.

Profile Item Public Industry Members
Name Visible Visible
Profile Photo Visible Visible
City & State Visible Visible
Bio Visible Visible
Goals Visible Visible
Ideal IP Visible Visible
Life Experience Visible Visible
Literary Representation Visible Visible
Social Profile Links Visible Visible
Date of Birth Hidden Visible
Gender Hidden Visible
Ethnicity Hidden Visible
Private Projects Hidden Visible on Title Search

Unable to Read It
Discoverable Projects Project Info Visible

Unable to Read It
Visible & Readable

When your profile is ready to start pitching

Updating your screenwriting profile is an important step in your screenwriting career. Sometimes a great profile page can be all you need to give you the confidence—and industry visibility—to start pitching your projects, requesting coverage and feedback, and entering more contests to keep boosting your online presence.

A great way to test your shiny new profile is by entering our FREE Coverfly Pitch Week competition. This bi-annual, free, merit-based, program offers virtual pitch sessions for emerging writers. And it's quickly become the entertainment industry’s most significant free pitch event for screenwriters.

Sign up or login into Coverfly to get alerts and notifications for the next Coverfly Pitch Week. If you create a great profile you're already on your way to a professional screenwriting career.

Coverfly Career Lab Schedule and Speakers

By About Coverfly, Announcements, Events

On Saturday, June 20th 2020, Coverfly is excited to present our first Coverfly Career Lab, a day-long intensive focusing on key professional skills for emerging screenwriters. Over a full day of panel sessions with A-list industry leaders - studio execs, managers, showrunners, Oscar-nominees and more - you will learn key skills and strategies to advance your career: general meetings, working with representation, standing out from the crowd and getting (and staying) hired.

Live-streamed online, the event is a pay-what-you-can benefit for The Actors Fund and the Motion Picture Television Fund (MPTF), two organizations that serve the entertainment industry community in need.

Coverfly exists to make sure that talented emerging writers have the skills and support they need to get discovered and hired in Hollywood. The Career Lab is our way to share that knowledge outside of the typical centers of the entertainment industry. If you have a few polished scripts, have a good understanding of the industry, and are looking to get signed by an agent or a manager, this virtual lab is for you!

This event is not meant for beginner writers, but is open to anyone, anywhere and is donation-based. Bring your questions and your game-day focus, because this is where you learn strategies and tools to catapult your career to the next level. Below you’ll find more details on the format of the event, and bios for the speakers. We hope you can join us!


11:00am - 11:15am: Preparing for Success, with the Coverfly Development Team

Our team starts-off the day with tips and recommendations on how to make the most of the program.

11:15am - 12:15pm PANEL 1: “Perfecting your Brand” 

How do you best present yourself to the industry? How do you know what they’re looking for? This panel covers best practices on everything from branding to bios and loglines, with special focus on personal experience of what works and what to avoid.

Monica Macer
Monica Macer is a screenwriter, Exec. Producer, and Showrunner of Korean and African American descent. She has written for some of the most acclaimed television series over the last 15 years, including LOST and QUEEN SUGAR. Most recently, Macer served as showrunner and executive producer of Netflix’s Latinx dramedy, GENTEFIED. Additional writing and producing credits ranging from PRISON BREAK (FOX) to TEEN WOLF (MTV), NASHVILLE (ABC) to DECEPTION (NBC), and THE BREAKS (VH1). As showrunner of Queen Sugar’s second season, Macer was tapped as one of Variety’s 10 Writers to Watch. She currently serves on the Motion Picture Television Fund’s (MPTF) NextGen board and is a co-founder of the newly minted organization, Korean American Leaders in Hollywood. Additionally, Macer is a 2020 Coalition of Asian Pacific (CAPE) Writing Fellows Mentor.

Eric Fineman, Senior Vice President, Pascal Pictures
Eric Fineman is a Senior Vice President at Pascal Pictures where he has worked since 2018. Before that, he was a Vice President of Production at Columbia Pictures working on such films as: VENOM, SPIDER-MAN:HOMECOMING, MIRACLES FROM HEAVEN, GOOSEBUMPS, INFERNO, along with many others.

David Rambo, TV Writer and Playwright
David Rambo has written some of the most popular television of the last twenty years, including CSI: CRIME SCENE INVESTIGATION, V, NYC-22, REVOLUTION, the record-smashing premiere season of EMPIRE, the TNT series WILL, CLAWS, and the upcoming Netflix drama TINY PRETTY THINGS. He is the author of the plays THE LADY WITH ALL THE ANSWERS (off-Broadway Cherry Lane Theatre starring Judith Ivey; Lortel nomination), GOD'S MAN IN TEXAS, THE ICE-BREAKER, BABBITT, an all-new book for Lerner and Loewe’s PAINT YOUR WAGON, and THE TUG OF WAR. His work has been widely produced at theatres throughout the country, including The Old Globe, Actors Theatre of Louisville, Geffen Playhouse, Denver Center Theatre, Alliance Theatre and Pasadena Playhouse. In addition, he adapted several classic screenplays for live performance, including ALL ABOUT EVE, CASABLANCA, ADAM'S RIB and SUNSET BOULEVARD, produced at the Hollywood Bowl with John Mauceri conducting Franz Waxman’s Oscar-winning score. He holds an Honorary Doctorate from the University of N. Carolina School of the Arts.

12:30pm - 1:30pm PANEL 2: “The Writer’s Team”

Description: Who are the team members – Managers and Agents – that are key to a writer’s success? How does a new writer find representation, and what are the hallmarks of an ideal writer-rep relationship? Learn from top representatives as they share what works and what doesn’t, from referrals and first meetings to building a career-long partnership.

Ava Jamshidi, Literary Manager, Industry Entertainment
Bio: Industry Entertainment is the management and production company behind such Hollywood talent as Ted Danson, Chan-wook Park, Kal Penn, Jeff Goldblum, Alexis Bledel and many more.

Matt Dy, Literary Manager, Lit Entertainment Group
Bio: Matt Dy is a Literary Manager at Lit Entertainment Group. Formerly Matt ran the Austin Film Festival’s Screenwriting Competition. Lit Entertainment was founded by manager-producer Adam Kolbrenner who produced the Oscar-nominated film, Prisoners, for Warner Bros/Alcon Entertainment, written by Lit client Aaron Guzikowski. Lit Entertainment’s next film is Fox’s Free Guy, along with Greg Berlanti and Sarah Schechter. The film, starring Ryan Reynolds and directed by Shawn Levy, is an original spec from Lit client Matt Lieberman.

Parker Davis, Literary Agent, Verve
Parker Davis is a motion picture agent at Verve, a premiere talent and literary agency based in Los Angeles, representing clients in film, television and new media. Davis has focused on cultivating voices with unique points of view and nurturing their careers. He was the #1 agent on the Black List and Hit List last year.  His clients include Davis include the writers of UNCLE DREW, Amazon Studios' THE LORD OF THE RINGS series, STAR TREK 4, JURASSIC WORLD 3, A HISTORY OF VIOLENCE, and BOYS DON’T CRY.

2:00pm - 3:00pm PANEL 3: “Good in a Room”

Meetings, pitches and generals are keys to success for all writers, from breaking-in to long-term careers. Learn from writers, Showrunners and Execs about what it’s like to be on both sides of a great meeting, how to prepare, how to present yourself and red flags to avoid.

Sera Gamble, Showrunner, TV Writer
Bio: Sera Gamble is the creator, with Greg Berlanti, of YOU (Netflix), based on Caroline Kepnes’s acclaimed novel. Upon its worldwide debut in December 2018, YOU was seen by an estimated 40 million viewers. Gamble is also the writer and executive producer of THE MAGICIANS (Syfy). The number one scripted show on Syfy, The Magicians ended its five year run in March 2020. Previously, Gamble wrote and produced the cult CW series SUPERNATURAL for its first seven seasons, also running the show in seasons six and seven. Gamble is a first-generation American, for which she credits her work ethic. Gamble’s family are Holocaust survivors; members of her family fled to Russia and Siberia during the Nazi occupation. At age seven she was given her first book of fairy tales, which made her promptly decide she wanted Hans Christian Andersen’s job. Her Hollywood career began when she was a finalist on the second season of “Project Greenlight” in 2003.

Jelani Johnson, Exec Vice-President, Content Strategy and Senior Partner, MACRO
Bio: Jelani Johnson serves as MACRO’s EVP of Content Strategy and Senior Partner of MACRO. Most recently, Johnson spent 4+ years as a Motion Picture Agent at the Creative Artists Agency (CAA). While at CAA his clients included: Melina Matsoukas, A$AP Rocky, Cheo Coker, Jesse Williams, Lenny Kravitz, Storm Reid, Angel Soto, Solvan “Slick” Naim, Gina Rodriguez, Virgil Williams, Mara Brock Akil and André Holland amongst others. Johnson began his career in entertainment as an intern at CAA and transitioned into talent management at the Santa Monica-based management company Generate. He subsequently co-founded The Mission Entertainment, a management and production company focused on multicultural content creators, before returning back to CAA. Johnson received a bachelor’s degree in History and Anthropology from Columbia University.

Cate Adams, Vice President, Production, Warner Bros. Pictures
Cate Adams is a Vice President in the Warner Bros. Pictures creative group, which is responsible for developing and producing the feature films that WB distributes worldwide. Cate was part of the creative team behind the 2019 films TOMB RAIDER and THE MEG. In her early years as a creative executive, Cate worked on Jeff Nichols’ MIDNIGHT SPECIAL, Shane Black’s THE NICE GUYS, and Guy Ritchie’s KING ARTHUR.  Cate is currently overseeing the development and production of a diverse film slate, including a re-imagining of Roald Dahl’s THE WITCHES, a live-action animation hybrid version of TOM & JERRY, and a SESAME STREET film.  Cate serves as a NextGen Board Member for the Motion Picture Television Fund and sits on the Committee for the Science and Entertainment Exchange.

3:30pm - 4:30pm PANEL 4: “Getting (and Staying) Hired”

You’ve learned about branding, working with your team, taking the critical meetings, now how do you close the deal and get the job? More importantly, how do you keep it? This panel focuses on what working writers do to stay constantly working, from rewrites and collaboration to pitches and industry trends.

Vanessa Taylor, Oscar-nominated Screenwriter
Bio: Vanessa Taylor has worked in both television (most recently GAME OF THRONES) and film. Her feature work includes HOPE SPRINGS, DIVERGENT, THE SHAPE OF WATER, for which she was nominated, along with co-writer and director Guillermo del Toro, for an Oscar, and the upcoming HILLBILLY ELEGY, directed by Ron Howard.

Alexandra Cunningham, Television Showrunner and Executive Producer
Alexandra Cunningham is the creator, showrunner and Exec. Producer of DIRTY JOHN based on the hit LA Times podcast of the same name, which premieres on USA Network June 2, 2020, and stars Amanda Peet and Christian Slater.  Cunningham began her television career on NYPD BLUE. She has since written and produced such shows as ROME, DESPERATE HOUSEWIVES, BATES MOTEL, AQUARIUS, and CHANCE starring Hugh Laurie on Hulu. Cunningham graduated from Johns Hopkins and Columbia, and was a playwriting fellow at the Juilliard School.

Lang Fisher, TV Creator, Writer and Executive Producer
Lang Fisher is a writer, producer, and director based out of Los Angeles, California. She recently co-created and executive produced the acclaimed Netflix series NEVER HAVE I EVER with Mindy Kaling. Prior to this, Lang has been a writer and producer on three seasons of BROOKLYN 99, five seasons of THE MINDY PROJECT, and was a staff writer on the Emmy-nominated final season of 30 ROCK. The 30 ROCK episode that she cowrote, "A Goon's Deed in a Weary World" was named one of Variety’s “25 Best TV Episodes of the Decade." Before venturing into the world of sitcoms, Lang spent six years writing for the satirical news outlet The Onion for which she won a Peabody as a member of the writing staff for The Onion News Network. She is a graduate of Columbia University and lives with her baby and her cat.

4:45pm - 5:00pm Let’s Move Forward, with the Coverfly Development Team

Time to pull it all together and dive into a few mid-and-long term strategies for writers to improve their craft and get noticed. Bring your questions, as we take some time to share lessons from the day, as well as insights we’ve garnered from our wider industry network.

Join Us!

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 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.

New Coverfly Features: Understand Your Projects Better

By About Coverfly, Announcements

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

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

Let's dive into these new updates:

An Improved Project Page

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

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

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

A new score page for each project

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

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

Request top projects from The Red List

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

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

What is the Coverfly Score?

By About Coverfly, Announcements, Screenwriting 101

Helping Writers Get Discovered by Tracking Progress on Submissions and Coverages

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

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

A Special Metric Aggregating Screenplay Evaluations 

Aggregating scores

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

More Evaluation Data is Better (up to a point)

Chart showing confidence in score increasing

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

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

A Project’s Coverfly Score Won’t Ever Decrease 

Chart illustration showing that the Score never decreases

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

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

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

Chart illustration showing the variables that help define score updates

Two things to consider:

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

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

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

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

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

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

The Red List is Coverfly’s Leaderboard of Top Projects 

Illustration of different ways to be on the Red List

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

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

Happy Writing

Tips for Improving your Coverfly Score

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