Resources
Featuring Emmy-nominated writer and showrunner Kirk Ward (THE CONTINENTAL) as our Grand Prize Mentor! Winners have been staffed on ALL RISE, GOOD TROUBLE, and more.

Contest opens on Jun 30, 2024

Accepting TV Scripts

Our TV Competition has a history of getting writers signed, staffed, and sold. It's one of our most successful competitions, period. Winners and finalists have signed with 3Arts, Management 360, CAA, Verve, Zero Gravity, and more.

All finalists will be invited to an exclusive Finalist+ workshop on how you can best position yourself and your writing to the industry.

So whether you’re writing a multi-cam sitcom, a high concept saga, or a character-driven drama, our jury wants to read your script.

VIP Grand Prize Mentor

We welcome Emmy-nominated writer and showrunner Kirk Ward (THE CONTINENTAL, WAYNE) as our VIP Grand Prize Mentor. Kirk will participate in a virtual Q&A session with all finalists of the program.

Jury

KYLE CASTELLANET

Director of Development, Echo Lake Entertainment
After receiving his BFA in Film Production from Chapman University, Kyle started his career at Paradigm Talent Agency. Kyle joined Echo Lake in 2016 and has worked in both the talent and production departments. As the Director of Development and Production, Kyle manages the company's development and production efforts in both film and television. He also works directly with clients including Forbes Magazine and Spycraft Entertainment to help develop and produce projects. In 2022, Kyle was honored on Coverfly’s Industry Next List for his work to support emerging filmmakers.

DAN KAVANAGH

Manager of TV Development, Vertigo Entertainment
Dan Kavanagh joined Vertigo Entertainment in 2019. Since then, he’s worked to identify projects that have sold to Charter, Sony and Village Roadshow among others, while contributing to the development of shows at every major streamer, including Warhammer at Amazon. Previously, he served as Development & Production Coordinator at AMC Networks’ Shudder and Sundance Now, where he helped launch their reboot of Stephen King and George Romero’s Creepshow, which is now in its fourth season.

LAMEESE HASSEN

Junior Manager, Marathon Management
Born and raised in the southwest suburbs of Chicago, Lameese came out to Los Angeles five years ago to pursue the entertainment industry. She began as an assistant to Jai Khanna, a former manager at Brillstein Entertainment Partners, under their finance-production company, Oakhurst Entertainment. Lameese is currently a Junior Manager and Executive Assistant to Robert Lazar at Marathon Management.

MJ GROGAN

Director of Development, ACE Content
MJ is the Director of Development at Ace Content. ACE Content develops and produces premium original content for studios, distributors, media networks and brands including feature film, episodic television, such as THE WAY I SEE IT.

SEAN DUBRAVAC

Talent and Literary Manager, Entertainment Lab
Sean Dubravac is a Talent and Literary Manager and the Co-founder of Entertainment Lab. Entertainment Lab is a bicoastal Talent & Literary Management company, with locations in Beverly Hills, CA and Manhattan, NY. The company guides and develops careers of established actors, writers and directors in film, TV, theater, commercial, print and voice over work. The roster has included Academy Award, Emmy Award, WGA Award, SAG Awards, BAFTA, GLAAD, AFI, Sundance, SXSW, Kids’ Choice Award and other festival and award contenders, nominees and winners. Additionally, the company’s literary department collaborates with studios, networks, streamers and independent production companies on the packaging and development of film and TV projects.

Prizes

Grand Prize

The overall grand prize winner will be welcomed to the Writer Development Program and receive personal introductions and phone calls with one or more top Hollywood literary manager(s), producers, or industry professionals who are looking for talented emerging TV writers.

ScreenCraft's relationships include companies like Netflix, HBO Max, AMC, and over 150 other Hollywood managers, agents, producers, and development executives.

ScreenCraft has a proven track record for getting writers signed with managers, agents, and staffed in writing rooms.
Personal Introduction to industry professionals
Accepted into the Writer Development Program
$1,000 Cash
An exclusive invitation to a Finalist+ workshop to position yourself and your writing to the industry

Runner-Up Prizes

category WINNERs (2)

Half-Hour & Hour-Long

$500 cash award

Accepted into the Writer Development Program

An exclusive invitation to a Finalist+ workshop to position yourself and your writing to the industry

FINALISTS

An exclusive invitation to a Finalist+ workshop to position yourself and your writing to the industry

Exclusive virtual Q&A session with VIP Grand Prize Mentor Kirk Ward

Contest opens on Jun 30, 2024

Previous Success Stories

See More Successes

Jon Alston

Signed with a literary manager at Anonymous Content

"Jon has developed exciting projects based on award winning and acclaimed IP. Driven by Jon's connection to the settings where his stories are based and the characters that they champion, Jon material has broad commercial appeal and socially poignant commentary at its core."

Sam Norman

Mentorship with lit agency

"Winning the ScreenCraft TV Pilot Fellowship has opened doors I didn’t know existed. I’ve had meetings with several agents and I’m overjoyed to be developing the script with Daniel Perry from Buchwald. The industry expertise, the creative impulses, the personal contacts – all outstanding. When I finished it [first screenplay], I had no idea what the best next step would be – so I decided to enter it in a couple of competitions. I was instantly drawn to ScreenCraft because of the promise of feedback, the range of opportunities on offer, the many success stories… and it’s been one of the best decisions I’ve ever made! "

Brandon Martin

Signed with literary managers

"I think many people in this town require a co-sign from a respected entity before they’ll take a look at one of your scripts. Coverfly/Screencraft was that entity for me. When I sent out query letters mentioning my ranking in the Screencraft Pilot Competition, potential managers were more likely to respond than they had been in the past."

Dorie Chevlen

Signed with a literary manager

"Build yourself a supportive community. Writing is mostly a slog: it’s lonely, and frustrating, and the majority of the time you will fail at it. That’s just the nature of writing, and yes we do it because we love it, but it’s still quite difficult. Trying to enter the world of screenwriting as a journalist, I have had a lot of catching up to do and ScreenCraft has tremendously helped with that. From advice on what a query letter should look like to what I should include in my bio, I have found it hugely helpful to have the ScreenCraft team hold my hand through this early stage in my career. They facilitated introductions with development executives, agents, and managers that I would never have been able to secure on my own."

Sean Steinberg

Sean signed with Doorie Lee at 42mp

"I submitted to ScreenCraft because of [its] notoriety, as well the prospect of being read by a prestigious jury. After being selected as a TV Pilot Finalist, ScreenCraft took a keen interest in strategizing my career path. This ultimately led to signing with 42mp."

Kristy Ellington

Developing a pitch with an executive who is working with HBO

"You don’t need permission to follow your instincts. And if other writers out there are reading this now, YOU DON’T NEED PERMISSION. I did a lot of research on contests in the early days, thinking it would be a good way to assess my skill level and Screencraft had a lot going for it. The way Screencraft breaks out genre to compare apples to apples, the quality of judges, the access winners get to industry professionals, and the quality of notes. While contests may not be for everyone, they’ve been a key factor in understanding which of my skills needed sharpening. "

Alex Boyd

Hired to write an episode of THE FLASH

"Don't worry about your dream being risky or impractical. People really do make it in this industry. When I moved to LA to start my writing career, I knew zero people in the industry. So when I took the traditional mailroom route, I felt like I was the only person around without any connections. Even when I wrote something I was proud of, I often felt like it was wasting away on my hard drive with nobody to read. I had been submitting to competitions for years now with some success, but I was particularly excited to enter ScreenCraft because of the genre-specific categories (horror, family, etc.) Plus, their partnership with Coverfly was exciting."

Rob Salerno

Signed with a literary manager at Code Entertainment.

"Every time you get a “no,” it stings a little. My first year in LA, I submitted to a bunch of jobs, fellowships, contests, and film festivals, only to get nothing but rejections. There were times when I felt insane for giving up a good job back home and moving here, where I knew nobody. I didn’t have a steady job for the first two years I lived here and was just scraping by on savings and odd gigs. It was tough. But in the process, I learned a lot about what the industry is looking for.  I now keep an Excel spreadsheet of contests, jobs, festivals, and opportunities that I apply to. I mark rejections in red, wins and finalist placements in blue. In 2020, I applied to about 200 different opportunities in total. And while I ended up with a lot of redlines on my spreadsheet, I’m getting more and more blues and that keeps me going.  The competition has been very helpful because my finalist placement gave me the confidence to reach out to managers, and to friends who could recommend me to managers, to help take the next step in my career. I was able to have a few meetings, and signed with a management company. "

Jianna Saada

Signed with Manager (Management 360) & Agent (UTA)

"Thank you! I'm sure you don’t hear words of appreciation enough so I do really appreciate ScreenCraft [for] helping me with this. Thank you for configuring my outreach efforts and guiding me in my rep research."

As Featured In

ADD-ON PRIZE OPPORTUNITY

This optional add-on prize category will grant one eligible writer the opportunity to work with Development Partner Megan Yeargin.
Megan Yeargin is an experienced creative producer, who most recently led development for showrunner Brad Falchuk's overall deal at Netflix, encompassing a wide range of genres and formats in film, scripted TV and, unscripted TV. Most recently she co-produced the upcoming Netflix series, THE BROTHERS SUN, starring Oscar-winning actress Michelle Yeoh. 

This unique add-on benefit is separate from the ScreenCraft TV Pilot Competition prizes and placements. Only projects submitted to the ScreenCraft TV Pilot Competition AND that select this add-on are eligible for consideration. Additionally, all projects that place in the Finalist round of the competition will automatically be considered.

TV Pilot Articles

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65 TV Pilot Scripts That Screenwriters Should Study

65 TV Pilot Scripts That Screenwriters Should Study

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3 Screenwriting Lessons from Rising TV Writer’s Assistants

3 Screenwriting Lessons from Rising TV Writer’s Assistants

February 4 | by Ty Budde

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Contest opens on Jun 30, 2024

Rules
Eligibility
Selection Criteria
Additional Legal
  1. Submissions are accepted via electronic submission only.
  2. Entry fees are as listed on the site and checkout form. No coupon or discount is applicable on a previous entry.
  3. Optional feedback from a professional reader may be requested at the time of entry. Requests for feedback can be done through Coverfly.
  4. Entries may be any length --  the standard 1/2 hour is between 20 - 40 pages, and the standard hour long is between 40 - 70 pages. Any script submission longer than 70 pages will incur a $.50 per page overage fee for each page over 70 if it does not include feedback and $1 per page if the entry does include feedback.
  5. There is no limit to the number of projects you may submit.
  6. Entries must be received on or before the deadline dates by 11:59PM Pacific Time, and submission fee payment must be made in full at time of the submission. All entry fees are non-refundable.
  7. All submitted material must be owned by the writer(s), however the material may be based on other works not owned by the writers.
  8. Material must be submitted by the writer. Material written by writing teams must be submitted by one of the writers, with consent of the other(s).
  9. If a writing team is chosen as a winner, prizes will be given to the person who submits the project. Each team is responsible for dividing or sharing any prizes awarded as they deem fair (whether there is a cash value or not).
  10. Substitutions of either corrected pages or new drafts of the entered material will be allowed for a limited time with a $6 reentry fee through Coverfly. Please proofread your script carefully before submitting.
  11. It is recommended that original material be registered with the WGA or The Library of Congress before submitting to any competition, however we do not require registration.
  12. Contact info may be included on the cover page of the screenplay, however it is not required. ScreenCraft uses Coverfly to manage submissions and automatically removes cover pages before scripts are read by the judges.
  13. ScreenCraft claims no ownership nor option on your work. All ownership and rights to the scripts submitted to this contest remains with the original rights holders. 
  14. The decision of the judges will be final and cannot be contested in any manner. There is no score on a scorecard that guarantees advancement to the next level as advancement will be based on all scores in the competition.
  15. In the event a juror, partner organization, or prize partner is no longer able to serve in their specified capacity, ScreenCraft will make its best effort to secure a replacement. ScreenCraft is not responsible for the failed delivery of any prize package by a juror, sponsor, or partner organization.
  16. ScreenCraft reserves the right to change deadline and announcement dates at any time.
  17. ScreenCraft reserves the right to amend these rules at any time.
  1. All writers at least 18 years of age are eligible. However, a writer who has earned more than $50,000 (or equivalent currency) from professional writing services for film or TV in the preceding 12 months or $500,000 (or equivalent currency) from professional film or TV in the proceeding 10 years is not eligible. (Contest winnings not included.)
  2. All persons from anywhere in the world are eligible; however the material submitted must be in English (occasional dialogue in other languages is acceptable, if subtitle translation is provided).
  3. All material submitted to other competitions or contests are eligible for this contest.
  4. The material may have been written at any time.
  5. Material should be submitted in standard screenplay format, font, spacing and margin.
  6. We have no preferences regarding title page content. Title and name of writer would suffice.
  7. All material must be submitted electronically as a PDF. Broken files or non-PDF files may be accepted, but if the file cannot be read ScreenCraft will not judge the submission.
  8. Prize winners may be required to sign an affidavit of eligibility and proper tax documentation before prizes are released.
  9. By entering the competition, user acknowledges their eligibility for the competition. ScreenCraft may verify all eligibility requirements at the finalist stage of the competition and before distributing any prizes.
  10. Scripts or projects based on underlying material not owned by the writer are accepted as samples, so long as the script itself is indisputably written by the writer and that the script does not contain any plagiarism.

The winners will be chosen based on the following criteria: 

  • Voice
  • Concept
  • Story
  • Structure
  • Characters
  • Dialogues
  • Genre Conventions

In addition to the scoring criteria for the script, ScreenCraft may conduct interviews and send questionnaires to learn more about the entrant, their voice, perspective, and goals to help identify the winning projects. Top scripts are ready by the industry jury who votes for their favorite scripts at their sole discretion.

Add-On Selection:

  1. Only writers who submit to the competition and include this add-on at the time of entry or who make it to the Top 10 of the competition, are eligible to be considered for this prize opportunity.
  2. The winner of this prize will be selected at the discretion of the specified industry professional(s). The selected winner of this prize will engage with the specified industry professional(s) in an educational development capacity.
  3. Being selected as the winner of this prize does not constitute or guarantee representation by the industry professional or involvement of any kind by the company they work for.
  4. The approach and manner in which the industry professional(s) and winner interact is at their discretion. ScreenCraft will have no involvement in the process beyond facilitating an introduction.

Criteria for Winners and Finalists:

  1. The winners and top finalists may be contacted by interested industry representatives, such as managers, agents or producers. 
  2. Entrants may be required to submit further information to assist in the judges’ verification of eligibility. 
  3. Any entrant may be deemed ineligible as a Finalist or Winner at the sole discretion of ScreenCraft. 
  4. All recognition, placements, and winners are chosen at the sole discretion of ScreenCraft.
  5. Finalists may be required to sign and return within seven (7) business days of receipt a notarized Affidavit of Eligibility and a Release and Indemnification and proof of valid passport and any other documents that ScreenCraft or any other partner may require before receiving prize payment. Failure to respond to the initial notification within ten (10) days or return of notification may result in disqualification. 
  6. We reserve the right to amend these rules at any time.
  1. COPYRIGHT AND OWNERSHIP: ScreenCraft or any other partner, employee or agent associated with this contest claims no ownership nor first right of option to any original screenplay submitted to this contest. All ownership and rights to the scripts submitted to this contest remains with the original rights holders until and unless other agreements are made.
  2. PUBLICITY: Except where prohibited by law, participation in the contest constitutes each entrant’s consent to ScreenCraft and its agents’ and contest sponsor’s use of entrants’ names, likenesses, photographs, and/or personal information for promotional purposes in any media, worldwide, without further payment or consideration. All uses of entrants' information are in accordance with our Privacy Policy.
  3. REFUND POLICY: All entries are non-refundable.
  4. SITE TERMS OF SERVICE. All ScreenCraft Terms of Service apply in addition to these rules and eligibility criteria.
  5. DATA MANAGEMENT AND PRIVACY. Entries for this competition are managed on the submission platform Coverfly, and ScreenCraft (a d/b/a of Red Ampersand, Inc) uses other data management tools, including but not limited to, Google Services and Amazon Web Services, to securely manage your data. ScreenCraft is not accountable for any data hacks (internal or external) or user errors that may release scripts or writer data unintentionally.
  6. ENTRY CONDITIONS AND RELEASE: BY ENTERING THE CONTEST YOU ACKNOWLEDGE THAT YOU HAVE READ AND AGREE TO THESE CONDITIONS. You agree to release, indemnify and hold harmless ScreenCraft, ScreenCraft.org, its subsidiary, parent and affiliated companies, Prize contributors, judges, screenplay readers, Sponsors, and any other organizations responsible for administering, advertising or promoting the Contest, and every one of their respective members, directors, employees, agents and representatives (collectively, the “Released Parties”) past and present from and against any and all claims, expenses, and liability, including but not limited to damages and negligence to property and persons, including but not limited to invasion of privacy, defamation, slander, libel, violation of right of publicity, copyright, infringement of trademark or other intellectual property rights relating to a participant’s Entry, participation in the Contest and/or acceptance or use or misuse of Prize; provided however, that such release will not apply to any commercial exploitation of the script by a Released Party in violation of your rights under applicable copyright law; and (c) indemnify, defend and hold harmless the ScreenCraft.org and its Sponsor, agents and employees from and against any and all claims, expenses, and liabilities (including reasonable attorneys fees) relating to an entrant’s participation in the Contest and/or entrant’s use or misuse of Prize. Employees of ScreenCraft and their immediate families are ineligible to participate in this contest. Any such submission will be immediately disqualified. ENTRY TO THIS CONTEST IS VOID WHERE PROHIBITED or restricted by any Federal, State or Local law. Voided entries will be refunded. Recipients’ eligibility will be verified before the grant is awarded and the winner may be required to sign an affidavit of eligibility. By entering the contest, you authorize us to use any trusted third-party online and cloud-based services and databases for hosting, managing and/or transmitting your submission file(s). The governing law is California.

THRILLS AND SCARES

The Haunting of Hill House
It
The Shining
Lovecraft Country
Scream
Get Out
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Open Competitions

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Submit your best writing to a ScreenCraft competition today for an opportunity to get noticed, get access to our in-house executives’ Black Book of connections in Hollywood, and get signed and staffed.
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WRITER RECOMMENDED FEEDBACK

Joanne Bellew

I have just received very constructive and helpful feedback from ScreenCraft. A reader who had actually read the script properly. Very grateful! Thank you ScreenCraft.
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Contest opens on Jun 30, 2024