The Top 14 Screenwriting Contests To Enter In 2018

To learn how to become a screenwriter, screenwriting contests are a great way to get started.

One of the best ways to get noticed by agents and managers – especially if you don’t have many Hollywood connections – is by winning screenwriting contests and competitions.

Winning screenplay contests is not an automatic ticket to success, but your work is more likely to be read by potential managers, agents, and producers.


Screenwriting Contests Overview

There are at least 74 screenwriting contests (you can find them here and here), but only a small number (in my opinion) are worth entering.

If you want to enter all the screenplay contests, go for it (though this can get expensive), but I recommend that you focus on taking fewer, higher-quality shots by entering the top screenwriting contests to which industry executives pay attention.

The following screenwriting contests are a viable avenue for getting representation and breaking in (especially for those who are outside LA).

The Top Screenwriting Contests

The Academy Nicholl Fellowships in Screenwriting, Austin Screenwriting Competition and PAGE International Screenwriting Awards are the best screenwriting contests because many agents, managers, and executives will read the winning scripts.

There is a proven track record of writers who have sold scripts, gotten representation, and launched their careers based on winning these screenwriting contests.

Academy Nicholl and Austin are the two largest, most well-known, and most prestigious. PAGE is also very well-known, but not as prestigious.

Academy Nicholl Fellowship

Academy Nicholl Fellowship

Deadlines for 2018:

  • Early Entry: March 7 ($45)
  • Regular Entry: April 10 ($60)
  • Late Entry: May 1 ($85)

Odds of winning (based on previous entries): 6915 submissions, 5 winners = 0.00071685

Austin Screenwriting Competition

Austin Screenwriting Competition

Deadlines for 2018:


  • Early Entry: March 30 ($45)
  • Regular Entry: April 20 ($55)
  • Late Entry: May 15 ($70)


  • Early Entry: March 30 ($35)
  • Regular Entry: April 20 ($45)
  • Late Entry: May 15 ($60)

Odds of winning (based on previous entries): 9100 submissions, 10 winners = 0.00109890

PAGE International Screenwriting Awards

PAGE International Screenwriting Awards

Deadlines for 2018:

  • Early Entry: January 15 ($45)
  • Regular Entry: February 15 ($55)
  • Late Entry: March 15 ($65)
  • Last Minute: April 16 ($75)

*Includes TV categories

Odds of winning (based on previous entries): 6500 submissions, 31 winners = roughly 1 in 200 or 0.0047692

Screenwriting Contests Worth Considering

The following contests are worth entering because they have a track record, winners have developed relationships within the industry, and projects have been optioned or sold as a result.

BlueCat Screenplay Competition

BlueCat Screenplay Competition

Deadlines for 2018:

  • Regular Deadline: November 18th, 2018
  • Final Deadline: December 16th, 2018
  • Late Deadline: January 20th, 2019

Fees range $50 – $65 and vary according to genre and entry date.

*Includes short film and TV categories

Finish Line Script Competition

Finish Line Script Competition

Deadlines for 2018:

  • Early Entry: March 13 ($35)
  • Regular Entry: May 30 ($40)
  • Final Deadline: July 1 ($45)

*Includes TV category

Final Draft Big Break Contest

Final Draft Big Break Contest

Deadlines for 2018:

  • Early Entry: March 14 ($40)
  • Regular Entry: June 18 ($50)
  • Extended Entry: July 2 ($65)
  • Last Chance: July 17 ($75)



ScreenCraft’s screenwriting contests are broken down by genre, with multiple dates for each. Fees range from $39 – $59 depending on selected deadline. See below for 2018 dates:

2018 ScreenCraft Screenwriting Fellowship

  • Regular Deadline: January 31
  • Final Deadline: March 1

SciFi Script Contest

  • Opens for entries: January 10
  • Early Deadline: February 9
  • Final Deadline: March 30

Comedy Script Contest

  • Opens for entries: March 15
  • Early Deadline: April 16
  • Final Deadline: June 1

Public Domain Script Contest

  • Open for Applications: April 2
  • Early Deadline: May 2
  • Final Deadline: August 10

Horror Script Contest

  • Opens for entries: April 3
  • Early Deadline: May 3
  • Final Deadline: June 29

Short Screenplay Contest

  • Opens for entries: May 10
  • Early Deadline: June 11
  • Final Deadline: August 15

Drama Script Contest

  • Opens for entries: June 11
  • Early Deadline: July 11
  • Final Deadline: September 15

Pilot Launch TV Script Contest

  • Opens for entries: July 16
  • Early Deadline: August 15
  • Final Deadline: October 3

Action & Thriller Script Contest

  • Opens for entries: July 25
  • Early Deadline: August 24
  • Final Deadline: October 25

Family-friendly Script Contest

  • Opens for entries: October 2
  • Early Deadline: November 2
  • Final Deadline: December 30



Deadlines for 2018:

  • Early Entry: January 5 ($25)
  • First Deadline: February 1 ($30)
  • Regular Entry: March 1 ($35)
  • Late Entry: April 16 ($40)
  • Final Deadline: April 30 ($45)

Scriptapalooza TV Contest

Scriptapalooza TV Contest

Deadlines for 2018:

  • Early Entry: April 2 ($45)
  • Regular Entry: April 30 ($55)

Script Pipeline Screenwriting Contest

Script Pipeline Screenwriting Contest

Deadlines for 2018:


  • Early Entry: March 1 ($55)
  • Regular Entry: May 1 ($65)


  • Early Entry: March 1 ($55)
  • Regular Entry: May 1 ($65)

Slamdance Screenplay Competition

Slamdance Screenplay Competition

Deadlines for 2018:

  • Early Entry: April 9
  • Regular Entry: June 11
  • Late Entry: July 23
  • Withoutabox Extended Deadline: July 27

Fees range $25 – $90 and vary according to genre and entry date.

*Includes short film and TV categories

Sundance Screenwriters Lab

Sundance Screenwriters Lab

Deadlines for 2018/2019:

The application for the 2019 development track will be available beginning April 3, 2018, and applications must be submitted by 6:00 p.m. PT on May 15, 2018.

  • Regular Entry: Open until May 15 ($40)

*The fees have not been confirmed yet. I have listed 2017 fees for your reference.

Please note there are two labs; one for American citizens and one for international applicants. They share the same application dates.

Sundance Episodic Storytelling Lab

Sundance Episodic Storytelling Lab

Deadlines for 2019:

  • Final: February 1 ($40)

TrackingB Feature and TV Script Contest

TrackingB Feature and TV Script Contest

Deadlines for 2018:


  • Early Entry: July 30 ($95)*
  • Late Entry: September 4 ($110)*
  • Really Late Entry: October 9 ($125)*

*Feature Contest has not opened yet and dates are not confirmed. Will be announced between late June 2018/ early July 2018.


  • Early Entry: January 21 ($95)
  • Late Entry: February 25 ($105)
  • Really Late Entry: April 29 ($115)

Tracking Board Launch Pad

Tracking Board Launch Pad

2018 Launch Pad Feature Competition 

  • Early Entry: July 9 ($65)
  • Regular Entry: August 6 ($75)
  • Late Entry: August 28 ($85)
  • Final Entry: September 18 ($95)

2018 Launch Pad Pilots Competition 

  • Early Bird: November 13th – December 3rd ($65)*
  • Regular: December 4th – January 7th ($75)*
  • Late: January 8th – February 4th ($85)*
  • Last Minute: February 5th – February 25th ($95)*

*Launch Pad Pilots Contest has not opened yet and dates are not confirmed.



Deadlines for 2018:

Diverse Voices Spring Deadlines

  • Early Bird Deadline: February 15 ($35)
  • Regular Deadline: March 15 ($45)
  • Final Deadline: April 15 ($55)

Diverse Voices Fall Deadlines

  • Early Bird Deadline: August 15 ($35)
  • Regular Deadline: September 15 ($45)
  • Final Deadline: October 15 ($55)

WeScreenplay Feature Contest Deadlines

  • Early Bird: Sept 28th ($39)
  • Regular: Oct 26th ($49)
  • Late: Nov 16th ($59)
  • Final: Dec 14th ($69)

WeScreenplay Television Contest

  • Early Bird: May 18th ($29)
  • Regular: June 22nd ($39)
  • Late: July 23rd ($49)
  • Final: Aug 10th ($59)

Why Enter Screenwriting Contests?

Screenwriting competitions are FANTASTIC motivators because of their rigid deadlines.

Lots of writers struggle with procrastination (do you?) and committing to even just one screenwriting contest deadline can be a big boost to your productivity.

“Because of the anticipated surge in submissions, we cannot guarantee access to the online application form during the last six hours before the entry deadline. –Submission Rules, Academy Nicholl Fellowship

Many people wait to submit until the final six hours of a screenwriting contest that happens once a year, so you aren’t alone struggling to get projects written and submitted.

Another reason to enter the top screenwriting contests is to stay motivated. Making it to a quarterfinal or semifinal or top 25% (or however they whittle down the standings) can prove to an aspiring writer that they’re doing something right.

How To Enter Screenwriting Contests

Choose a contest and a deadline. Then, submit at least one script to one of the top screenwriting contests I recommend.

If the script gets recognized in any way (i.e., it doesn’t win but it makes the second round, or top 10%, etc), revise it and submit to three different contests.

If the script doesn’t get recognized, then keep it in your library of projects, pick something new from your development slate, and write something else.

Instead of submitting multiple projects to several contests (which can get expensive), you only make multiple submissions when you have objective evidence that your work is good enough to have a chance to win, and you spend more of your valuable time writing new material.

That’s plenty of work, I know.

And it doesn’t take into account the other aspects of how to be a professional writer that have nothing to do with writing that I cover in my course (e.g., networking, pitching, selling).

But over time, if you write and submit at least one script every year to one of the best contests, you will get better and your material will get better. If you submit multiple scripts only when they have received positive feedback, your chances of being successful go up.

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Discussion About The Top 14 Screenwriting Contests To Enter In 2018

  1. Irene

    Thanks for this helpful post!

    Personally, it’s been tempting to submit to a bunch all at once in a spray-and-pray manner, but this has convinced me to actually have a strategy in mind. I’m going to embed this paragraph in my brain:

    “Instead of submitting multiple projects to several contests (which can get expensive), you only make multiple submissions when you have objective evidence that your work is good enough to have a chance to win, and you spend more of your valuable time writing new material.”

    • Stephanie Palmer

      Excellent, Irene.

      • Michael

        I flock to west coast festivals, anything with the words Hollywood, Beverly Hills, Los Angeles, etc. I have won for best script at the California Film Awards, Beverly Hills Screenplay Contest among others such as Beverly Hills Film Festival and the Los Angeles Movie Awards. Having nice west coast festival recognition makes a nice difference.

        As well, some festivals with nice prestigious names offer a fortune of placements. For instance, one in particular hands out 4 or 5 wins but then lists over 100 Official Selections. That increases one’s odds considerably! And a laurel from this festival, boasting a prestigious name, carries a touch of weight.

        So, for me, I look for a prestigious name and then I look to see how many placements they allow. Festivals that take 6000 to 8000 entries and only award 2 or three awards are not for beginners. I have won one or two of these but its no easy feat and I have lost far more than won. However, a prestigious or well respected festival that allows for 5 placements and then 10 to 20 (or more) official selections allows for a real chance to start your collection of laurels, boosts confidence and, in turn, quality of product.

        Also, it pays nice dividends when you opt for professional feedback. This allows for obvious input as to what works and what doesn’t and, more importantly, a nice blurb when you come across the need (or want) to query. For instance, I query one of my scripts with the following…

        “This is a powerful, well-written feature script that introduces a fascinating protagonist with depth, complexities and an inner turmoil that is interesting to discover, as it is sometimes hard to bear. A fantastic screenplay that showcases the skillful ability of a writer who understands a protagonist’s inner pain and journey, and creates a quiet suspense that will hook an audience! Michael is definitely a writer on the rise and a true talent” (WildSound Film Festival, Nov. 2013).

        Now, that sort of thing gets the attention of agents or managers that you might be querying. It separates you from the herd. ANd its a really, really big herd. So, get to the festivals, research, find the ones for you and, when applicable (or affordable) get that feedback. That alone will likely open a door and bring that unexpected phone call.

      • Stephanie Palmer

        I really appreciate you sharing your experience, Michael. Congrats on your wins!

    • Akilah

      Same here. Thanks so much, Stephanie.

  2. Cisco

    Nice list Stephanie. Do you happen to know what contest accepts animation screenplays? I am wondering this because animation, I have heard, is very hard to get produce.
    Thanks for your reply.

    • Stephanie Palmer

      I don’t know off-hand which competitions accept animation scripts. I would check with each as they may change their rules from year to year.

      • The Paper Chaser

        I actually had a bit of success with an animation script. It got me in the quarterfinals of the Nicholl. Agents and producers flooded my inbox, not even knowing what genre or title it was. The subject line said: “Nicholl Quarterfinalist.” But no sale. If I’d known back then that animation features were the hardest to sell (unless you work in-house for Pixar), I would’ve chosen a different script to enter!

    • Lee Tidball

      Cisco, a couple good places to go with animation scripts (especially those that are for kids, families, etc.–not adult animation) would be the PAGE Awards (enter in the Family category) and Screencraft’s Family Film genre contest. I’ve been doing contests for nearly 15 years and never found a specific animation contest, but a contest that includes a family category will almost always encourage animation scripts.

      • Stephanie Palmer

        Great comment. Thanks, Lee.

  3. Phil

    Great list. I have submitted to a number these contests. If I have a new screenplay I prefer the contests that provide feedback. Win or lose the comments can, and often are, very helpful. Once I have something that I think is truly worthy, then I’ve submitted to Austin and Nicholls. These two are very influential competitions but do not provide any feedback.

    • Stephanie Palmer

      Sounds like a good plan, Phil.

    • Tracy

      Hey Phil,
      Austin actually does provide feedback to everyone that enters now. I submitted two scripts last year and if you make it to the second round you get about a page of notes. My script that declined got about a paragraph but both were really helpful!

      • Stephanie Palmer

        Thanks so much, Tracy!

    • Carole K. Harrington

      Austin Film Festival DOES provide feedback if you enter.

    • Paul Rose Jr

      Phil, The Austin Film Festival and Writers Contest not only provides feedback, but it gives it to everyone FOR FREE as part of their entry fee. And they offer additional feedback from qualified writers outside of the script competitions throughout the year at a very reasonable cost.

  4. Craig James

    Hey Stephanie,

    I appreciate that you posted this list but with respect it’s a little unfair to a lot of competitions that are doing some great things for writers. Sure, entering the competitions on your list has value, if you’re actually ready to submit to big contests! The fact is that most writers are not, and as a consultant I know you know this. The cold hard truth is that at least 90% of the scripts that come through any contest, or any consultant’s office for that matter, are just not ready, no matter what level writer you are. Writers should not be submitting to the bigger contests and getting shot down time and time again because it’s ultimately a waste of their own money, and worse, quite discouraging. And they WILL get shot down because contests like Austin or Nicholl receive 6000-7000 entries per year and the competition is fierce.

    So what’s the better approach? Smaller, reputable contests, the ones you unfortunately neglected from your list but are absolutely worth a writers time. You can almost think of it like a stand up comedian rehearsing their new material at a small club before hitting The Laugh Factory or getting an HBO special. You want to work out the kinks before going on HBO because you want to make sure the material is worthy of the stage in which you’re presenting it. And again, most writers, even experienced ones are not ready, particularly if it’s a new draft with little development time. This includes using a competition as a deadline for this work. Pushing to get it done for a big contest is not always the most organic approach to telling a heartfelt and truthful story. Sure it pushes writers to work faster but it doesn’t guarantee great results. And if you’re going to compete against 7000 entries, you want to enter your best. In the meantime, if you’re not 100% why not try smaller competitions?

    You may not know this but Vince Gilligan got his break because of a small contest. There are plenty great screenplay competitions that allow writers a stepping stone to build confidence, receive great feedback and make incredible connections. Your list sadly discourages that in some way because it implies that if it’s not your top 10 then it’s not worth a writer’s time. But that is a mistake.

    If writing was easy, then all the greats, Oscar winners included, would hit it out of the park year after year, but they don’t. Writing is not easy. So submitting to the perceived “top” screenplay competitions is a waste of money and in no way an incentive to improve your work. Working with consultants, taking classes, receiving feedback, etc is the best way to refine a screenplay, not setting a deadline to enter a competition that receives 7000 entries. A new script has little if any chance of winning.

    I hope you’ll consider what I’m saying and amend your article. The goal should be to inspire writers to go slow and not risk blowing all their money on the “top” contests. There are many paths to success and incremental steps make more sense.

    My best,

    Craig James

    International Screenwriters’ Association
    Los Angeles, CA

    • Stephanie Palmer

      Thanks so much for your comment, Craig. As a confidence booster and motivational deadline, I’m with you. As a marketing strategy though, I haven’t seen it be very effective. I have met lots of writers who have a long list of small contest wins on their resume and they are struggling to attract the attention of agents, managers, and producers.

      • ace

        I actually made a living for several years winning screenwriting contests. This was my strategy: I entered the small ones that offered a decent cash prize ($500 was my cutoff, unless the contest was free to enter) coupled with a low number of entries. I also entered a select few of the “big” ones to get a sense of how my scripts fared against stronger competition. (To be fair, my first script made the semis at Nicholl and Austin and won Bluecat, so I started off with beginner’s luck in my favor.) I won cash in the tiny contests on a regular basis, but I *never* used those “victories” as credits — I simply reinvested the cash in other contests. No one cares that you won first place in the East Cupcake screenwriting contest. I only mentioned the better contests when querying. Most years I won over 15k from contests, and used it to pay my rent. Granted, I had a slummy apartment in Koreatown (when Koreatown wasn’t cool) and was living on Ramen noodles. BUT, what tiny contests did buy me was free time. Time to keep writing. A few years later I won a Nicholl Fellowship and sold a script, and I don’t think I could have managed it if I’d been working a full time day job.

        TL;dr: Enter the little ones for the relatively easy odds to win cash; enter the big ones for a chance to actually break in. Never enter a small contest that only offers “exposure,” because you won’t get any. 🙂

      • Stephanie Palmer

        Love this strategy and advice!

      • Wendy

        Curious about research strategy to find small contests with cash prizes…
        Great strategy. My concern is that the time to research and enter these small contests….Did it negatively impact your writing at all?
        If my question isn’t clear I will try harder to explain….

      • Bedeyuri Fernandes

        Hi Craig James

        Thank you for your comment, I really appreciate your advice but I don’t really agree 100%. Although I understand that in life what you’re trying to say is that normally we/people should always or almost start their journey from the bottom, which can be fair, however, honestly I believe there is a moment when, if we can start from the top, we might fall, yes, and fall, and fall again but then gets up. Remember, I said fall,fall and fall, three times. You’ll just keep on the floor forever, if you’ve never really been on your feet.
        So you might not believe me Craig but once you send your script to festival it’s important to get their feedback. It’s crucial! No matter if it’s Nicholl or Austin, you/we should always use their feedback/advice to enhance our material. It can be a/the secrete. If/when we follow the instruction properly perhaps next time when/if you/we try again, we may make it to the semi-final or final?! In any case, If you/we don’t make it to the final this time again but still got feedback, well, time to polish it out again and again. This time, instead of keep sendind it to festivals why not trying to make the film ourselves?
        I personally don’t believe that in 8000 scripts sent to these contests only one or two deserve the chance to be made into big film. I’ve seen a lot of HOLLYWOOD films that I don’t like and I believe you too, and I guess this film was made just because somebody chosed it. Somebody liked it. Full stop. I’m totally sure that not all of these films are better than my script. Possibly the same like you, readers/screenwriters. I like people who take risk. Life by itself is the answer already for your/our questions.

        GOD bless you all

      • Victoria Carrington

        I’m afraid we here at Industrial Scripts are with Stephanie all the way on this one.

        All the managers and agents we know really, really, really don’t care about the absolute lion’s share of contests, and even some on Stephanie’s 13-strong list. They don’t have the time, don’t have the bandwidth, don’t have the inclination.

        Personal recommendations from a connection they trust is still the simplest, most powerful way to get their attention.

        You have to remember none of these people are short of material to read. They’re swamped from every direction, so why would they seek out or dig in to the winners of a minor contest? They’ve barely got enough time to read one of their client’s latest drafts, or even the winners of a major contest.

        It’s worth entering 3-4 of the big guns if – and this is a big if – your script has already got a Consider or Recommend verdict from a major script consultancy who don’t know you from Adam.

        If you don’t have said script in your back pocket then, whilst entering contests in the spray and pray, hit and hope manner another user described above may make you feel like you’re making “progress” or give you a minor shot of adrenaline, the reality is the money would be far better spent on either a writing holiday where you lock yourself in a room and WRITE, detailed notes to help your script get better, or a trip to a major festival like Cannes, AFM, Sundance etc where all the major players are.

        You can’t spray and pray in an arena this competitive, people…it’s Fool’s Gold…and all you’re doing is lining the pockets of the murkier end of the consultancy/contest world.

        V x

    • Richard C Holman

      Wow Craige that marks since.!!!

    • Annette Stewart-Colon

      Mr. James, I really appreciate your input on the Top 13 Screenplay contests. It gives me encouragement based on the fact that I have entered the Academy Award Screenwriting Contest numerous times, only to be disappointed. I have placed as a Semi-Finalist in three screenwriting contest and giving me kudos for my Supernatural screenplay “The Dawn Of The Morning Star”. I will entered the smaller screenplay contests for now on. Thank you so much.

      Annette Stewart-Colon

    • Shareef Alsayed

      Dear Mr. James,

      Thank you for your helpful feedback on this helpful work. As you are the founder of The ISA, I would love to get your opinion on the chances of a foreign writer making it to LA. Also, if there are any such chances. How should one go about it?

      Looking forward to your response.



  5. david kessler

    I actually loved that you did the math (and odds) of winning.

    • Scott Wilson

      Nice to see the total submissions and the number of winners, but the stated “odds of winning” are not really the odds of winning. Because winning is based on quality and is not simply a random draw, the odds for those who won were much greater than the stated decimal.

      • Stephanie Palmer

        Good point, Scott. Thanks!

  6. Geoffrey Haney

    Great resource Stephanie! Thank you so much for sharing.


    I recently won gold with Page awards (action), 1st place (action) in Fresh Voices, Top 3 in Final Draft, and placed in a few others. After winning Page I was contacted by managers and then signed with one. My script is getting read and my new script will be making the rounds very soon as well. For what it’s worth, I had ONE script and entered bigger contests for the most part.
    After speaking with managers and friends who are readers, the “general” POV is that only the biggest contests are typically career-changing. Smaller contests simply don’t garner the power and respect. So smaller wins were fun, but it was the Page Awards that was the game changer. Nicholl, Page and perhaps Final Draft Big Break are among the bigger players. Austin is certainly big and Bluecat has moved up. But I was told many times that only Page and Nicholl turn heads in a big way. This was certainly my experience.
    This is NOT to say that small contests can’t help you. Scripts are sold in many MANY ways and no avenue should be discounted. But if you think you’ve got the goods then I strongly suggest going for the bigger guns.
    Best of Luck,
    Capt. R

    • Stephanie Palmer

      Thanks so much for sharing your firsthand experience, Bob.

    • Lee Tidball

      Bob, thanks for sharing your “manager’s POV” of the PAGE contest. I’m glad that it is one that is now attracting the same kind of attention that the Nicholl has for years. Both are among the most professionally-run competitions in the biz, and even though my one Bronze medal (TV Drama) and 3 Top Ten Finalist placements (Family) haven’t yet resulted in getting a manager like yourself, it’s nice to know they will attract meaningful attention on a resume. Like you, I’d say that if you’ve got a really “ready” script, the PAGE and the Nicholl are the best places to put your bucks. The Nicholl gives you an idea of how you stand among all scripts entered that year (subjectively speaking, of course), while the PAGE (actually 10 genre contests in one) narrows the field (and increases your odds) by letting your script slug it out with others just in your genre. Gives you great insights. And I think because most reps now are looking more for writers who are “branded” in certain genres (as opposed to a ‘generalist’), the PAGE gives them a great look at new writers with specific talents in those genres they specialize in repping or know they can sell best. Thanks again for sharing, and much success…

      • Josh Barkey

        On the other hand, I won gold in the Page last year and got a total of one email from one low-level producer… who wasn’t even really interested in reading my script. So, there’s that.

      • Stephanie Palmer

        Congrats on the win and thanks for sharing the reality, Josh.

  8. Sinakhone Keodara

    Hi Stephanie – I submitted an original drama pilot script to Sundance Episodic Story Lab on Wednesday, and I’m planning on submitting my short script into PAGE Awards, Screen Craft, Slamdance and Austin Film Festival. You’re right. I’m going to be broke after all these competitions. I plan to attend the Austin Film Festival. I can’t thank you enough for all the work you’ve done to help us screenwriters. Your blog is #1 on my list of priorities and I help promote it at every chance I get.

    I will surely thank you if and when I accept my award from one of my screenplays. I love you!!! xoxoxo

  9. Opie Jones

    Yeah, Big Break should be on here. Would also like to see the odds for the other contests, if that info is available. Thank you.

  10. chris

    I know a screenwriter who has written 14 screenplays. He placed in top 25% of Nichols and felt the script he placed with wasn’t even his best script. So who knows how the judges will view your work. Seems very subjective.

    • Jim

      I know of a Nicholl winner who said he was very surprised by the script that won over the two others he entered. The one he won with he felt was flawed and having read it, I agree. Whether it was just the premise or its execution that got them as far as it did, nobody knows but the readers who voted for it which goes to show how much of a subjective crap-shoot it all really is. The biggest challenge is getting by the first reader. If you don’t make a good impression, you’re toast.

    • CAM Jr

      “Seems very subjective????” LOL Are you serious? Whether or not ALL/ANY art is “good” is PURELY SUBJECTIVE! There HAS never and WILL NEVER be ANYTHING created by man that ALL mankind likes. Not ONE thing!

      • GKN

        On a related subject, Stephanie,… although I’ve often privileged contests that give feedback too in the past, something you said in another post has given me great pause. (I’ve heard it elsewhere too) : the fact that notes never die, and circulate among readers and prod cos.

        Surely this doesn’t include notes given at these contests? Because the reading comprehension level of some of them is abysmal! Surely some of these ‘experts’ never got above a C- in it, even in high school. I also had the same experience as one of your clients at BL, but without the happy ending, and for the same reason I’m sure: Who can afford to do more than skim diagonally through a script for $25? Low-paid or even unpaid readers is another problem common to many contests.

        So please tell us if these notes can also become indelibly attached to your name, and/or your script! Crikey!

      • Stephanie Palmer

        No, I haven’t heard of that happening and it is common knowledge that there is wide variance in the quality level of readers so that is taken into consideration as well.

  11. Lisa Johnson Mitchell

    Wow, thank you for this. I am aimlessly entering contests and now I have some guidance. Have you ever heard of Screenplay Festival out of LA? I am a Semi-Finalist in that one.

    • Stephanie Palmer

      I haven’t heard of it, but only from reviewing the lists of all screenwriting contests. Glad this is helpful, Lisa.

  12. Lisa Johnson Mitchell

    I was also in the Beverly Hills Film Festival contest but I think I know the answer about this one.

  13. Joe Caggiano

    This is just what I was looking for. A good list, to be sure. Thanks a lot.
    I imagine I’ll enter nearly all of these, the ones that are still open for submission, because unlike when I was much younger and learning (and struggling), now I can afford the entry fees with no sweat, having a career that actually pays OK.
    I learned how to write screenplays 20 years ago, and wrote a lot, but when I realized it would take a miracle to do anything with them, I gravitated toward other art forms which offered more instant gratification, mainly music.
    But, every now and then I’d get a good idea, put something on paper. Today, I had a good idea. After spending the day ruminating and jotting notes, I’ll hammer out a first draft in a day or two, type a 2nd draft, and that’ll be the one I send out. I don’t think I’ll actually win anything, but if all I have to lose is about a K in entry fees, who cares?
    Thanks again for the list, this is just the resource I needed.
    Joe Caggiano

    • Stephanie Palmer

      Thanks, Joe!

    • William F. Williams

      “The first draft of anything is shit.” – Ernest Hemingway
      The second draft of anything is shit. – William F. Williams

  14. Elvis

    What a great list! Someone who’s competitive will surely appreciate this. Taking a challenge is definitely a great way to improve. Helps you see areas you need to work on. I think this is great. Got any tips for someone who wants to enter one of these competitions?

    • Stephanie Palmer

      I suggest finding some of the winning scripts from prior years to get a sense of the kinds of projects that are appealing to that particular contest’s judges. This varies, of course, but just like choosing a college or a sports team to play on, there are often patterns year-to-year. Read the scripts and see if your work would fit within the same categories or if not, try another contest.

  15. Trent Meunier

    I started my script 3 weeks ago. I would really like to enter it, but I just finished my first drat this week. Should I wait and miss out on all these contests until I get to my final rewrite? I really know nothing about all of this. I’m 32 and decided to go for it with no experience and I love what I got. Comedy. But first draft…. Start entering or make it pretty and enter later?

    • Stephanie Palmer

      Welcome to the world of screenwriting, Trent. I strongly suggest waiting until you have the best version you can write before spending money to enter a contest. Make it pretty, make it sing, make it outstanding, then enter.

      • Tom Mattson

        “Make it pretty, make it sing, make it outstanding, then enter.”

        Hey Stephanie, you’re not a bad writer yourself 🙂

      • Stephanie Palmer

        Thanks, Tom! I appreciate the kind words.

    • Andrea

      I’m sorry but if anyone in Hollywood read this he would laugh out this amateurism. Save your money. A script needs rewrites,rewrites,rewrites. Only a first timer thinks it’s good after 3 weeks of work.
      You can read my book Script selling in goodluckland. I’m struggling in this business for 15 years and I was as naïve as you when I started out. My book can save you time and money and open your eyes early on.

  16. Keenan Bedenfield

    I was thinking about submitting to a contest offered by Virtual Pitch Fest, I wonder are they a trustworthy contest to even enter?

    • Stephanie Palmer

      Yes, Virtual Pitch Fest is well-known. I suggest finding a contest that feels right to you and use the deadline as motivation.

  17. Tammy Gross

    I only enter contests that give feedback – 1) I want to improve, & 2) I want the ENTIRE script to get read. If a contest doesn’t offer feedback, they have no obligation to read your whole script nor to say why they tossed it.

    I have 17 wins or placements for 4 different scripts. I’ve never entered ANY of those mentioned here, but with the feedback from those I’ve entered, I’ve raised the level of my scripts so that I could maybe place well in these bigger contests, but I don’t like the odds.

  18. Alex


    I’m curious if I should be submitting in progress work or final drafts? I have a 5th draft that’s come a long way but is definitely not finished. I know the concept of Sundance is that you’d workshop it there… but are the others assuming this is the best the script can be?


    • Stephanie Palmer

      I would only submit scripts that are your very best work. Though you do workshop projects at Sundance, the competition is fierce to be accepted and the goal is to improve your project/process/connections more than before you participated in the workshop.

  19. David Levy

    Great information! What would you say are the Top 5 Teleplay contests? I take it Austin and Scriptapalooza are on the list, what would round it out? As a 40 year old visually impaired screenwriter looking to break in from the East Coast, I need all the help and advantages I can get!! (Might be moving to CA in the future though)

    • Stephanie Palmer

      I haven’t done as detailed research yet on the TV side, but I suggest checking out Trackingb, Script Pipeline, Launchpad, Big Break Screenwriting, and Screen Craft Pilot Contest.

    • Jennifer Berg

      I’m the Administrative Director of the PAGE Awards, and I just wanted to chime in here to let you know that we present awards in 10 different categories each year, including prizes for TV Drama Pilots and TV Comedy Pilots. Many of our past winners in the TV categories are now building phenomenal careers in the industry, writing and producing show like JUSTIFIED, THE WALKING DEAD, BATES MOTEL, SLEEPY HOLLOW, TELENOVELA, iZOMBIE, THE REAL O’NEALS and many more. In fact, our Grand Prize winner in 2013 was a TV Pilot written by Brooke Roberts. Brooke was signed by WME and Circle of Confusion and landed a staff position on THE FLASH, and she is now a producer on the show.

      There’s a growing demand for great new TV projects these days, and many of our judges are looking for talented new writers in that space, so if you’re looking for a place to submit your TV Pilot, we’d love the opportunity to read your script!

  20. Jackie Gamber

    What wonderful timing. I was just combing through a screenplay, tightening it up and burnishing it, and thinking “time for contests”. Thank you so much for this info.

  21. Rob Laffin

    Great post, Stephanie, and great advice. I had gone through and picked out the best contests (based on what I’d read on various screenwriting blogs), but you had a couple additional ones, so I added those to my MovieBytes contest list. I had received a CONSIDER when I submitted my comedy for coverage last fall, so after rewriting it to incorporate the suggestions the reader made, I entered it in 5 or 6 contests at the end of 2014. Only two have announced so far: I made the quarterfinals in both, but not the semis. I was crestfallen, but then I saw your post on this blog saying “if you place but don’t win, you’re doing *something* right, so rewrite it and submit it to three more contests.” I decided to follow your advice, and am so glad I did. I just heard back from one contest – the first step is for their readers to read your script and give you a rating (plus development notes). My revised script got a RECOMMEND! So exciting! I’d still have to be one of the top 4 in overall points to be a finalist in that contest, but whether that happens or not, I know the script is viable now, and boy oh boy does that encouragement help. The reader had a couple of good suggestions for even further improvement, so I have rewritten again, and am now going to re-enter PAGE and SCRIPTAPALOOZA with the revised script. SO GLAD I saw your post and followed your advice, instead of letting the bump in the road get me down. You give great advice!

  22. OP

    Is the Tracking Board Launch Pad contest that’s listed above for features or for pilots? I’m assuming features since when you click on it, it comes up with a pilot competition that has different dates.

    • Stephanie Palmer

      Yes, features, but I also recommend Tracking Board Launch Pad for pilots. At this time, on the website they are redirecting the feature contest links to the pilot competition.

  23. Chanel

    I have entered Page International and Scriptpipeline. I entered Austin and Nicholls last year for the first time. I used a evaluation service with the Black List and it helped a lot. Due to financial constraint, it is not always possible to get evaluations done over and over again. I took a chance and edited what I thought they suggested since it wasn’t page by page. I entered it in Page and plan to enter it in Austin. I entered movie ideas with Scriptpipeline instead. I don’t even need a screenplay completed for that competition. I literally have until July to get something ready if I win the movie idea competition. Also, I would think of you win in smaller competitions one year, try getting a full screenplay analysis and then enter it in two big contests.

  24. John

    “Contests are FANTASTIC motivators because of their rigid deadlines. Lots of writers struggle with procrastination (do you?) and committing to a deadline can be a big boost to your productivity.”

    If you need a contest to motivate you to write, you’re probably in the wrong profession.

  25. C.L. Pike

    Hi Stephanie,
    This was a very helpful article to read. I’m considering entering my scripts into contests, and it can get overwhelming. Your advice in this article is a great help to writers like me who want to establish a game plan.
    Thank you!

  26. Avesta

    Hello dear Stephanie

    I just want to know if it’s possible to send a short screenplay to different contests at the same time ?

    Your answer is appreciated

    • Stephanie Palmer

      Yes, you can send the same script to multiple contests. I would be cautious about sending a short screenplay though. Most contests are for full-length screenplays and yours could be passed on, simply because it didn’t fit the expectations of the contest.

      • Khaled

        Hi Stephanie Palmer my name is khaled i am from Algeria i am almoust dieing so i am trying to write my life story from Algeria to europa until i got a vaccination and my life fro the last tree years was horrible until now i can not stand from bed because off medical mistake and i am wondering who can help me to realise my story as a film thank’s

      • Stephanie Palmer

        I’m so sorry that you experienced that, Khaled.

  27. Opie

    One note: according to Script Pipeline, the late and final deadline is May 15, 2015. (not the 20th)

  28. Idriss Abdi Ahmed

    Hi Stephanie,

    Many thanks for your hard work on the list by the way though I missed deadlines for most. Perhaps you or anyone out there with more knowledge and experience could help me since I’m a rookie to this field of screenwriting and screenplays…

    By the way, I’m an African native and resident-straddled in between three neighboring countries (Ethiopia, Djibouti and Somaliland) and, only as I turned 40 about ten recent months past decided to write some scripts of my own; currently just about half-way through my fourth (one original feature, and the first two episodes of an original teleplay + their full treatment so far all completed, and the upcoming fourth also being a feature…



    Also have I written a series of new ideas all along, and for both feature films (39) and teleplays (9); but only loglines and titles, to choose from and, perhaps even develop in the near future.

    Now that said and as you all know a bit about my background, then coming down to the following questions:

    – What is really an average of scripts requirements that a serious writer is expected to deliver by those agents and/or producers at a given year?
    – Do you honestly believe that a foreign (AFRICAN) writer as me may have a chance to pull through out there? What are the odds? I mean, I know the competition is fierce out there for you Americans from what I read on the net and, might even be super if not mega harder for one of my genre. Could it be, really?
    – Do these contests sites truly acknowledge us foreigners work, or might there be chances that people like me may automatically be disqualified or handicapped due to our distant geographic location? You know, to reduce their own costs and all, vis-à-vis flights and accommodations costs in case any foreigners are potential winners?
    – Last but not least, if any of you have other feedbacks and/or suggestions to relay, please shoot, I would only but love you back for it! Thanks to you all… IDRISS.

    • Stephanie Palmer

      Hi Idriss,

      Even if you missed the deadlines for this year, most contest run on a yearly basis with a similar schedule, so you can plan ahead for next year. It sounds like you are working very hard and are prolific which is great.

      For your questions:
      -Depends, but if you can deliver two feature screenplays per year, that is great.
      -The odds are very slim, even for people who live in Los Angeles. This issue isn’t nationality, but access as so much of the business relies on personal relationships. The more someone can meet and build a network in person, their chances go up and without the personal connections, it can be significantly more challenging.
      -Each contest is different, but many contests evaluate material in a “blind” way, meaning that the readers don’t know the writer’s name or location and are just evaluating the script based on the text of the screenplay.
      -I suggest focusing on building a reputation locally first, before trying to break into the Hollywood market. This could be working on other’s projects, getting your own made (even if the budget is very small), getting press about your projects, and building relationships with filmmakers in your region. Then, after establishing yourself locally and nationally, then you can broaden your reach internationally.

      • GK Noyer

        This is excellent advice, Stephanie. I can’t help noticing a lot of people here, struggling with English, and though I’ve never heard of any writers breaking into Hollywood with that problem, I have heard of many breaking into film at Cannes, for example, or Sundance, and while doing films in their own language. FIlms like “Mustang”, for example, or “A Separation” and loads of others that have even won the Palme d’Or on occasion. Now that’s a calling card!

        EIther that, or you would need to find a truly fluent writing partner, or proofreader. I’m familiar with the problem as I live in France, and sometimes write professionally in French. But I would never turn a text in without having it proofread first by a native speaker. The fact that you can make yourself understood while speaking a foreign language, like I can, is deceptive. Always have a native speaker (and good writer) vet it first. Hope that helps!

      • Stephanie Palmer

        Great advice. Thanks so much, GK!

  29. Abdullah

    Thank you so much Stephanie for this topic. I have planned to make a short film but no one want to help me to make it so I decide to join contest for short film. I really hope this change things for me even though that I join Austin which is hard competition.

  30. Adim Williams

    Hello Stephanie. Thanks for this article. I am a known writer from Nigeria (Nollywood). I have done a number of successful works and I have worn awards locally. But now, I think I’m better suited for the international stage, Hollywood precisely. Your advice please.
    Adim Williams

    • Stephanie Palmer

      I would consider getting script coverage or entering a screenwriting contest with your best script.

    • Olusola israel

      Hello sir. A fellow scriptwriter from Nigeria here. I am also considering these contests. Just had a coverage of my script (not-yet-finished) of recent and it was quite positive.

      Pls contact me sir Adim.

  31. Enzo

    Hi Stephanie, thanks a lot for the post. Just a question: do you know some worthy contests in Europe? Thanks again

  32. Marie Drake

    Hey Stephanie,

    I wanted to thank you for this blog post. It has given me a new hope for the future. As a recent media grad, I was lost at how to get my foot in the door. It seemed that no one wanted to give me a job because I didn’t have enough experience. As a reserved person, I also have difficulty establishing connections and networking. I am horrible with speaking, but brilliant with written word. When I came across this post, I had an epiphany. I need to make the industry see me. I need to make them see what I can do. So, I took your advice. I entered a screenplay into The Academy Nicholl Fellowship contest. I am pretty confident and positive. Thank you, again.

  33. Filip J.

    is Big Break contest good ?

    • Stephanie Palmer

      I don’t have personal experience, but Big Break is well-known and if it appeals to you, go for it.

  34. Tony

    I’ve done well in some of the big ones, and it has helped with querying agents et al. for sure. One thing I would suggest too: enter contests held via festivals. I entered Big Bear on a whim, made the finals, and decided to fly out for it. Met some cool people and an agent with whom I’ve had a relationship since. It’s these face-to-face chances that make the difference.

  35. Temur

    I entered Page Awards and Nicholl this year, in comparison with other contests chances here to get through are much fewer, especially when it is just my first script. I wonder whether there are any cases when newbies made it to final of any serious competition?

    • Stephanie Palmer

      Hi Temur,

      I don’t know the answer specifically, but anecdotally, the people who win typically have written many scripts to develop their craft over time.

    • Vonn

      In 2010 I entered my first script into a well-known contest in Hollywood. It made the Finals. I polished, then entered it again in the same contest in 2011; only made the QFs. Polished, entered again in 2012; only made the QFs. Polished, made the Finals once again in 2013. So I figured that was enough entering.

      Be sure to read a screenwriting contests Rules & Regulations, Guidelines, or whatever they choose to call it, as some have it written in (not verbatim) that they can steal or borrow from an idea

    • Vonn

      Temur – A follow up on previous comment:
      Most contests, no matter how their statement reads regarding plagiarism, etc, is more than likely just protecting themselves should a studio or whomever come out with a story similar to yours. I just don’t like it when some use the words: borrow and steal.

      The judges who read scripts work for studios, film prod cos, etc. You may be aware that it’s the risk you take when submitting a script. What else can one do? Either accept it or never tell anyone your story. If anyone reading this has a solution, please post it.

  36. Andrii

    What you think about New York screenplay contest?

    • Stephanie Palmer

      I don’t have any personal experience. Any other readers have experience they can share?

  37. Stacy Ochoa-Luna

    I’ve entered my screenplays into four big competitions this year and have already spent a good amount of money to enter plus I paid for added feedback. Page International sent me something called eMeetings, that is suppose to connect you with agents and managers. I want to know your thoughts on this. Do you think it’s a waste of money or is it beneficial in increasing my chances of getting my screenwriting career started? Any information is greatly appreciated!

    • Stephanie Palmer

      In general, paid online meetings and pitch sessions can be great practice, but rarely are held with people who have the power to purchase projects. The best way to get considered is to have in-person meetings as almost all projects are purchased this way. But if this isn’t a possibility and the money isn’t an issue, feel free to get additional practice pitching.

      • Stacy Ochoa-Luna

        Thank you so much for the quick response! I may just do it for the practice since I live in the Midwest and it’s hard to meet people in-person. I appreciate the info!

  38. Ashrith S

    Thanks for all the information. It really helps a lot to me.
    I am from India, 18 years old. a student yet.
    I write novels commonly, some times short stories.
    I have a big dream to be a Film director in Hollywood movies. As a director profession its even to have same skills in screenwriting. Its crazy but I can’t fight what I am passionate about! .
    So in order to do that I thought its better to be in a screenplay contents first so I started writing scripts for films from last 2 years. I have gained a lot of appreciation locally about my script since I choose the non common genre for my age : “Noir – Film noir ” , “Thriller ” and “Psychological Drama – Thriller “. I am a bit bad positioned economically. So its practically impossible to move in to LA to search a job and to be there… Do u think I chosen the right way to my career, by making firm – slow reputation growth by writing Screenplay and sending them to competition on the way to be a director?
    any answer is welcomed. 🙂

    • Stephanie Palmer

      Hi Ashrith,

      These are complex questions. If your goal is to be a director, I would focus on directing as much as you can where you are. This could be for free, volunteering for a film festival, participating with a school program or government funded arts program, making short films and getting to connect with other filmmakers in your community. Writing screenplays and winning a screenwriting contest will help build your reputation as a screenwriter, but not a director. Best of luck to you!

  39. Lee

    Another up and coming contest is the Shore Scripts Screenwriting Competition.

    UK based but open to international submissions. Great prizes, but more importantly, can give a writer great exposure with over 100 Production Companies on board to read the winning scripts. Check for details.

    EARLY DEADLINE: 1st MARCH – 31st MAY 2015 – £25 ($37 approx)
    REGULAR DEADLINE: 1st JUNE – 31st JULY 2015 – £30 ($45 approx)
    LATE DEADLINE: 1st AUGUST – 31st AUGUST 2015 – £35 ($52 approx)

    • Huw Henderson

      Really insulting. They failed to send me the updates/notifications they promised. When I queried this and asked them to send the emails which had never arrived, they started contradicting me. I then asked them to resend the emails, they ignored this, and got ruder. I asked them to either resend the promised notifications or refund the fee, and to identify which employee was sending these emails. They went silent. Zero out of 10 – that’s not the way to treat customers and representing £55 very poorly spent on a strange mix of well known and poor judges.

  40. Don Taylor

    I have done the contest thing several years ago, for my screenplay “Desert Galleon”, and had a lot of interest at that time, but had to put it on the back burner until now, but seem to have had better luck on my own.
    I sent a copy to an acquaintance (Mary Crosby, daughter of someone named Bing. Ha!), and within 2 weeks I received phone calls from both Arnold Schwarzenegger, and Seven Segal. They both loved it and asked me to stay by the phone, that was in 04, and I’m still waiting by the phone. Arnold was busy just having become Governor, and Steven was having his Mafia troubles. I was in contact with Francis Ford Coppola, but he told me to stay away from Steven because of his personal issues. Francis read and liked my screenplay, made a few suggestions, and read it again. He told me it was not what he was looking for at this time, but that I should feel honored, as he does not even read his friends screenplays, and he read mine twice. I do feel honored.
    I have several actor friends, one of which has been working full time in Hollywood since the early 70’s. They ask me once in a while about the screenplay, and where we are. They would love to be part of this movie, but my agent at the time did not get anything going (I don’t really think he tried).
    I was thinking about contacting Mary and asking if she would attach her name to the project, as maybe a Producer, maybe that would open a few doors, but I guess I’m just looking for direction. Would you have any advice before I start entering contest again. I did make the finals and even Honorable mention in a few contests, but it can be a very long process. Maybe Genre specific contests?
    Thank you in advance.

    • Stephanie Palmer

      Hi Don,

      Attaching a producer with credits in the same genre as your project is the best scenario. If you don’t have or aren’t interested in making other connections, then genre-specific contests could be something worth trying.

  41. Stewart

    This is helpful. For anyone interested, I just posted on my blog an article on why I think its worthwhile to submit to Screenwriting Contests — you can check out here:

    I’ve had varying degrees of success, but it has certainly opened some doors for me which would not have been opened otherwise. Good luck to all those that have entered.

  42. Thikra

    I’ve noticed that only a few contests are catered specifically for short scripts…

    Artists Alliance Short Screenplay Contest is only for shorts, and the entry fee is only $25. It seems like it is its first year, but as a short screenwriter- I’m hoping the trend grows!

    For any interested:

  43. Daniel

    Y’all should check out my blog at and drop your comments. It’s pretty new but there are really cool short scripts on it.

  44. Kamelia

    Thank you for this information. I am very concerned about the language in my script. I live in Macedonia and my language in the script is good but sure not as good as somebody with English first language. I am afraid that no matter how much the story is good I can’t compete with others…for me personal contact seems much better option, but is is also more difficult…I really feel stuck

    • Stephanie Palmer

      Yes, Kamelia, you’re right. It’s very hard to write an amazing script, even when English is your first language. If there aren’t writing opportunities in your region, I suggest getting inexpensive professional script coverage before entering contests to make sure your script is ready. Here are some suggestions of companies to consider:


    I would like the top contests to enter list but the button wasn’t working properly…


  46. yoggerman

    I’ve got a couple of good porno scripts. Any contests along that line?
    Title of one of them is: Choice Cut Meat

    • Stephanie Palmer

      There certainly could be a screenwriting competition for adult films, but I don’t know about it.

  47. krishna

    Dear friend, I am from India. I’ve so many ideas but no knowledge of entering any competition. I’ll be grateful if u could just tell me the whole procedure of entering such competitions. Also, plz tell me which genre of story lines are usually appreciated n successful in such competitions. I’ll be waiting for ur answer. Bye.

    • Stephanie Palmer

      Hi Krisha,

      Screenwriting competitions are run by film festivals, writers organizations, and private companies. To enter a competition, check out each contest’s specific website as the rules, types of projects and dates vary widely. Most competitions do allow international entries. In general, drama does well in competitions, but you can get a sense by researching the past winners of a specific contest.

  48. H.

    This is an amazing list/resource, Stephanie. One thing that has been an issue for me, since completing my undergrad in screenwriting in 2004, is that I immediately began getting hired to write low-budget scripts for non-guild signatory agencies… and so many screenplay contests prohibit entry (if you’ve earned $10K or more as a scribe, etc.,). Still, great resource. Ty SO much! #gratitude

    • Stephanie Palmer

      Congrats, H.! It can be frustrating to not be eligible for these contests, but it’s only for the best possible reasons— you are already getting paid as a writer. In my opinion, that’s better validation than a contest win any day.

  49. Tan

    Great info. on your post! What screenwriting contests would you recommend for teenagers? I have a 14 year old daughter who has written a script. Her script is an animated TV pilot. She has a short story published on; and she also has a book published on Amazon.

    • Stephanie Palmer

      Congrats, Tan. What great accomplishments for her age (or any age, frankly!) I don’t recommend any particular screenwriting contests for teenagers only because I don’t know of any that focus on that specific age group. You are welcome to apply to any of them, but she would be judged against all entries, ignoring her age.

      I would look for opportunities that are specific to students or teens where she has better odds of winning and could gain additional recognition. The White House Student Film Festival and Austin Film Festival Young Filmmakers Competition are two that come to mind. Best of luck to you and your daughter!

  50. Tan

    Thanks for this info Stephanie! I will definitely be looking into both links. And btw, her story on teenink is titled, “Brendon’s Lament,” under her pen name, Originator. And her book on Amazon is titled, “The Great Storm,” by Ayanna Phillips. She wrote both at age 13.

  51. Lifeofwriters

    Good job.
    Life of writers provides Best Writing Competitions every week. As we created it online, so interested writers can join us. For more details, please browse our website –

  52. Paul

    Hey, great list. I’ve been following this for some time now. I’m currently writing a feature comedy – what are some great contests for comedy? Preferably a well-known and respected contest not specific to comedy either. Anyone know of any? Thanks!

  53. Ebony Jordan

    I plan on entering one of these contests. I am currently working on a short film but I can pause that and focus on one of my features. Would you say it’s best to submit a full length feature film over a short film?

    Thanks! 🙂

    • Stephanie Palmer

      Yes, feature length for feature contests and short film scripts for short contests.

  54. Audrey Webb

    I love the printable calendar. Will you do another for 2016?

    • Stephanie Palmer

      Thanks, Audrey! Yes, I will. As soon as the main contests have shared their deadlines, I will make one for 2016.

  55. Nathan Gregory

    Another great thing about Austin is that they give you free feedback. I submitted this last year and made it into the top 12% with a sitcom pilot. The two readers each gave me great feedback, that really gave me confidence and a clear idea of what to tighten up in my script. Can’t recommend Austin enough! I also submitted to Page, and just watched as lists went up without my name. Same price, no feedback, a lot less personal in general. Not that it’s not legit, it can just feel like you’re throwing your money down a hole when there’s no response to your work. Thanks for the post. Great list!

  56. Daniel

    Thanks Stephanie! I’ve submitted a short script to Bluecat in 2015 (waiting to hear back) and am going to submit a feature to the Nicholl Fellowship this year. Thanks for all your great resources and advice! Do you ever consult on projects?

    • Stephanie Palmer

      Congrats, Daniel! Fingers crossed for you. I do consult on projects, but I am booked and not accepting new clients. Here are some consultants I recommend.

      • Daniel

        Really appreciated. Looking forward to your new blog and Twitter posts. To have you, your resources and community really helps in this solitary business we are all in! Daniel

  57. Kenrick Bautista

    Hi Stephanie Palmer-
    I have two questions about pitching and screenwriting contests. Now for pitching: is pitching your ideas to networks, producers, agents and companies the same as sending it to them? And for screenwriting contests, is it true that you can actually get agents and managers by showing them your work? And finally, is screenwriting contests for everybody who really want to be in the tv and film industry?

    Kenrick Bautista

    • Stephanie Palmer

      Good questions, Kenrick. When I talk about “pitching,” I mean to verbally share a short summary of your project. Often, producers, agents and managers will pitch an idea to an executive. If the executive is interested in the idea based on the verbal pitch, then they will request the screenplay. Yes, some writers will get signed by an agent or manager based on winning one of the major screenwriting contests. This is not guaranteed and not all writers who win these contests get signed, but some do.

      There are many screenwriting contests and they vary in their focus and reputation. The number one way agent and managers find new clients is by referral. In my opinion, top agents and managers only pay attention to the winners of the major contests, but winning a major contest typically generates interest from potential representatives. Screenwriting contests are good options, particularly for people who don’t live in Los Angeles, to get noticed, but it isn’t required or the only option available.

      • Wannabe

        Re: contests varying by reputation and focus. I’ve read that a failure to list “past winners” is a tip-off. Or no awards specified or, even worse, fees to receive them. Or too aggressively trying to up-sell feedback. Subtler but arguably a turn-off: not acknowledging submissions or failing to send a minimal line or two of feedback to entrants. A significant bummer for hopes of winning: no separate genre prize categories. Also, there’s “submerged genre bias” — a too cozy relationship with production companies looking for a special script genre. Any other things for the wary?

      • Stephanie Palmer

        I think this is a smart list and really appreciate you adding to the discussion.

  58. Jessica

    I was just wondering what constitutes as a feature length screenplay?

    • Stephanie Palmer

      A feature length script refers to a script that would be for a full-length movie as opposed to a short film. Feature length scripts are generally 90 to 120 pages in length which would mean the movie would be an hour and a half to two hours long.

  59. Kristin Johnson

    Great list. Also, I have entered the Nashville Film Festival competition in two categories. Table Read My screenplay gives you good (and take-no-prisoners) feedback. I also like Writers store Industry Insider, even though I have yet to win. Most exotic competition I’ve ever placed in? Bahamas intl Film Fest/ScreenCraft.

    • Stephanie Palmer

      Congrats, Kristin! I really appreciate you sharing your first-hand experience so others can benefit. Terrific!

  60. Cilla Lowen

    Hi Stephanie, the info you regularly send form wonderful stepping stones in my learning curve. Thank you.

    My approach to contests has been to enter those that are more likely to be interested in the subject matter, e.g. Kairos for a script with a spiritual message, Screencraft’s Family-friendly for a script suitable for a 4 quadrant audience.

    I’m still waiting for results.

    Do you think this is an appropriate approach and gives one a better chance?


    • Stephanie Palmer

      Yes, if your goal is to win a contest, it makes sense to select the contest based on the genre of your project and the focus of the particular contest. Nice work, Cilla.

  61. Andrea Jaag

    I made the semifinals in the 2015 Nicholl Fellowship competition which has lead to some inquiries from producers and agents, but I’ve chosen to wait submitting my screenplay until I’ve had a chance to do another rewrite based on some of the notes I received through the competition. I personally had a good experience with the Nicholl Fellowship competition.

    • Stephanie Palmer

      Congrats and very glad to hear it, Andrea. You are smart to make sure your script is the best it can be before submitting it to producers and agents– that is definitely the right choice.

  62. Ben

    Thanks for this post Stephanie! It was exactly what I was looking for. I am wondering if you recommend submitting to more than one of these contests with the same project, or is that even allowed?

    • Stephanie Palmer

      It is allowed and you are welcome to do it. If budget isn’t a concern, submit away…

  63. Jenn

    Hi Stephanie,
    I’m curious why Final Draft’s Big Break Contest didn’t make your list?

    • Stephanie Palmer

      Thanks for the question, Jenn. When I polled agents and producers to find out what contests they paid attention to, Big Break wasn’t mentioned nearly as frequently as the others which is why I didn’t include it in my top ten. It is a well-established contest and it’s my impression that they are working to build awareness. If it appeals to you, go for it.

  64. Stephen


    I find this to be very valuable and credible advice. I haven’t yet finished a script, let alone thought to enter a contest. However, you pose a worthwhile goal so, I;ll take that challenge! BlueCat it is!

  65. Bonnie Russell

    Wow. For the very first time, Stephanie, while I have zip to offer – boy oh boy, am gobbling up the feedback! So thanks again Stephanie. You rock!

  66. Jacob Rubinstein

    I used the bluecat contest. I like that they give feedback on your projects and they also let you resubmit once after the first review. they told me some issues to fix which I did.

  67. Wayne Johnson

    Hi Stephanie.. I think I celebrated two birthdays after finishing reading your blog. .How do you do it (?) Would you use your influence or maybe you know of some..Winner screenplay ( past/present) of the winners, or top placements so that we can read and GET a sense a 6 Sense of WHAT the judges are looking for. Any PAST winners scripts available online to read.. Even Michael’s ‘Rum House” as so mentioned above , would be educational to view.

    Thanks love what you do!

    • Stephanie Palmer

      Good idea, Wayne. You’re right that many of the recent winning scripts can be hard to find online. If you look at past winners of the Nicholl or Austin from a few years ago or more, you’ll see some movies that have been made and it is often easier to find those scripts. Keep digging online. I search “(Title) screenplay PDF” and often find scripts that aren’t widely available. Good news is there are many terrific screenplays available for produced films and that’s the more important standard, in my opinion. More than winning a contest (which would be terrific), I’m sure you’d like to see your script purchased and made. You can find many scripts that I have gathered here.

  68. Tony Moore

    I made the top 10 in Scriptapalooza and never got a bite on the script, so that competition is dead to me. One thing you could mention is that competitions connected to film festivals, especially in and around LA, are great ways to meet people in the industry, even if the festival/competition isn’t as renowned. I met an agent at Big Bear, and it started the ball rolling in a HUGE way for me, and it wouldn’t have happened with any of the competitions that don’t have a physical presence.

    • Stephanie Palmer

      So helpful, Tony. Really appreciate it and you make a great point!

    • ace

      Yeah, I’m also not crazy about Scriptapalooza, having asked a couple of their purported “judges” for the inside scoop. The contest boasts that they “don’t use readers” but, rather, that every script is read by an agent, producer, or manager. That may be Scriptapalooza’s intention, but I find their claim a bit disingenuous. One of my former agents, as well as a producer I spoke to, both said they had agreed to accept a pile of Scriptapalooza’s entries only after being hounded by the contest. “And how were the scripts?” I asked. BOTH of them laughed and said, “I don’t know, I told my assistant to skim them if she had time.” Neither expected any of the scripts to be good nor had any interest in reading them. In fact, their attitude toward the contest was worse than indifferent; it was borderline hostile. It’s one thing to ask agents and producers to read the FINALISTS of a contest, but no one wants an unsorted slush pile foisted upon them. In contrast, I’ve worked as a freelance reader for several contests and felt a personal obligation to read every script in its entirety, even the ones that were clearly hopeless. Partially this was because I was actually getting PAID to read the scripts, and partially because when I was first starting out, before I sold my first script, I was a contest entrant (and multiple winner) myself, so I knew how much of an impact it had on my own career. My 2 cents.

      • Stephanie Palmer

        I really appreciate you sharing your experience. Thanks so much!

      • classickemp

        I wish I would have read these comments before just entering into Scriptapalooza. At least now I won’t expect much even if I fare well.

  69. Dustin

    Do you know which contest would be good for a romance movie? I know it is considered “drama,” but I don’t see many romance movies winning in some contests. I have planned for a few months to enter the PAGE Awards. Would you suggest submitting it as Drama or “family film”?

    • Stephanie Palmer

      Good question, Dustin. It’s hard to make a specific recommendation without reading the script, but I expect romance films to have some sensuality that would take it out of the family film category, so I’d vote drama.

      • Dustin

        Thank you very much!

        I am still planning to enter the PAGE Awards, but as the deadline nears I’m starting to doubt it. The more I look at their past winners, the less I feel a romance movie will go very far. Especially since Drama is their most entered category.

      • Stephanie Palmer

        Smart to look through the past winners to help you decide what screenwriting competitions to enter or to ignore, Dustin.

  70. Chanel

    Why would a competition be open to contestants that have had past work produced? I believe Script Pipelinea allows this.

    • Stephanie Palmer

      Thanks for the comment, Chanel. Keep in mind that screenwriting contests are businesses (not non-profits) and they have a goal to make as much money as possible, like businesses in any industry. Each contest has their own rules, so definitely check them out before submitting.

  71. Heath Jones

    Thank you again Stephanie for this list – i really appreciate not only your work on putting this together but also your advice on which are the best ones to enter. I’ve got a couple of them bookmarked 🙂


  72. Katt Tolley

    Hi Stephanie,
    Thanks for more fantastic advice! I have finished a few screenplays and I have entered BlueCat, Screencraft, Blacklist, and Script Pipeline contests. I have already had some useful feedback from Screencraft and Blacklist.
    I would really like to see a post about which contests favour which genres. Screencraft makes it easy because they have different contests for different genres, but in, for example, BlueCat, what genres tend to be favoured? I enjoy writing family comedies and horror. Could you shed a little light on which contests would be most suitable for me to enter?
    Reading your blog and your extras has really helped me as I’ve developed my screenwriting career!

    • Stephanie Palmer

      Glad to hear about your experience, Katt. It’s a good idea for a future post and I’ll add it to my list. You can look at the winning scripts (or loglines) of the past winners to try and glean a clue about what they favor, but I don’t think there is a set agenda in the same way that there often is at a particular studio or production company. Contests want to pick scripts that will get the writers representation and scripts that will sell (as this helps the contest gain credibility and awareness).

  73. William Morris

    Hi Stephanie, Thanks for this timely reminder. I appreciated the general grading/sorting system you have applied. Overall this post is a useful incentive to get on the keyboard and get something out, no excuses! Best of the New year to all screenwriters everywhere.

  74. Jack Prescot

    I am 15 years old. Are there any competitions for writers under the age of 18?

  75. Lisa

    I entered Tracking Board’s Launch Pad Competition. I didn’t exepct to make the 1st cut and I wasn’t disappointed. But 90% of those who made the 1st cut I found on the imdb! In other words, these people are PROS working already in the industry! Ditto, Script Pipeline, and every other contest I’ve entered.

    Bottom line: Don’t waste your time and don’t waste your money!

    • Stephanie Palmer

      Really grateful that you shared your experience, Lisa.

      • Lisa

        Hey, Stephanie:

        The point I was trying to make is you must read the rules of the contest. Most do not have a non-industry rule or that an entrant could not have sold a script. The Coppola contest I entered has a rule that an entrant could not have made over $5,000. In other words, a non-pro.

        What really angered me about Launch Pad is it sells itself as a contest for those with no industry connections or agent or credits. That 90% of those who made the 1st cut I looked up are in the business is more than fishy. It seems to me these contests are rigged.

      • Stephanie Palmer

        That’s a very important distinction, Lisa. Thanks for sharing.

    • Mike

      Most contests have a rule that an entrant cannot have made a certain amount of money THAT YEAR. Obviously, that doesn’t prevent an Oscar-winning screenwriter who happens to be on a dry spell from entering. If these contests were really about helping a novice break into the industry then they would have a rule prohibiting anyone who has sold a script from entering. However, as Stephanie has already alluded to these contests are businesses, and as such would like as many writers to enter as possible. After all, they have to pay all the winners regardless of how much they take in on entry fees.
      In the end, writing a masterpiece is just the prerequisite. A writer has to be at least as good at networking and marketing as they are at writing. Even then, there is still that final element that must come into play once the writing and marketing have been perfected – luck. Think about this: as of about two or so years ago, only 18 of 146 Nicholl-winning scripts had been bought and produced. That’s a Nicholl-winning production percentage of just 12.33%. Keep in mind that those are the scripts that won arguably the most prestigious screenplay contest on the planet. As I’m sure you’ve heard, it’s better to be lucky than smart (or talented).

  76. Paul Wong

    To be honest for a while I was receiving emails from you and I was just filtering them thinking they were spam. But since I’ve been actively writing the last couple months, I realised those emails led to your blog about screenwriting. Some of the best hands on advice I’ve come across, very informative. I was originally planning on finishing this script by end of Feb, and looks like that will time right with some of these competitions.. guess I should enter them ;-).

  77. Betty

    My experience from asking all I pitch to and my writer friends.
    1. Nichols Fellowship
    2. Sundance Film Lab
    3. NBC Writers on the Verge
    and any network or channel contest
    4. Disney/ABC
    5. HBO now has one
    Check Jen Grisanti’s page for other TV
    6. Austin FF
    7. Happy Writers see Stage 32 over 400 executives follow I won and met lots of execs
    8. Trackingb Launchpad and their other script contest has executives watching
    9. Blacklist all watch this
    10. Final Draft (execs don’t mention but I have to believe they have big prize and guaranteed representation.
    11. LA Film Independent Screenwriting Lab
    Screencraft maybe
    Script Pipeline maybe
    Bluecat maybe
    Coverage In maybe
    Agents ask for scripts on the Tracking Board all the time. Try to get your script in circulation there.

    Best Pitching Places
    1. Happy Writers on
    2. Virtual Pitchfest
    3. Great American Pitchfest
    4. Inktip newsletter and event

    Others listed don’t hear about much

    • Stephanie Palmer

      Terrific comment, Betty. I didn’t include the fellowships and labs in this article, but you make a great point. Fellowships and labs are different from contests, in that they are designed to nurture and mentor writers to help them get professional work and they occur over a period of weeks or months. Some contests have a component of mentoring and meetings, but none are as in-depth as the fellowships or labs. In a list including all the fellowships, labs, and contests, I would put the major labs and fellowships (that you’ve mentioned here) above Nicholl, Austin, and the other contests.

      • GK Noyer

        Thanks, Stephanie. Great post again, and some of the comments are very helpful too!

        I’ve been wondering though, is there any reason Zoetrope’s Contest has not been included or mentioned here? Is there anything to be concerned about, or have they just perhaps never helped anyone’s career that we know of?

        They certainly list some impressive companies they supposedly pass the winning scripts to, but I found nothing
        about past success stories though it’s been around quite awhile now. Unless I missed that section?

  78. Alice

    Hi Stephanie!
    This article is a great resource and an inspiration for me to continue on with my writing. Being a new writer, I was a bit hesitant and I had a lot of questions in my head like, “How many drafts do I need to do before I enter my screenplay in a contest?”…and…”Gosh…so many writers out there…” and “…will my first ten pages hold the reader long enough?” and on and on. As my doubts crept in, I began to lose my confidence. (Not your problem, I know…)

    Then I happened to scroll down the replies and as synchronicity would have it, I happened to land on Craig James’ reply, which for myself, made a lot of sense to me and gave me a boost to keep going in small, incremental steps. Something doable and practical to satisfy my mind without feeling overwhelmed from the competition.

    I guess it just depends on each person – where they are at with themselves and how willing one is to go through the fire. It’s a good experience to learn from. Knowing that the odds are high, I still feel inspired to finish my work and submit it in a contest or whatever best comes forward for me to do as a next step.

    Your blogs serve as a point of grounded reference for me. You’re writing is straight forward with the facts yet is reader-friendly enough to keep me inspired regardless of the odds. The replies from other readers serves as a reminder for me to keep my eyes on my own work.

    With that, I hope one day to share with you that ecstatic excitement of receiving an offer for my screenplay and to thank you for inspiring all of us to continue perfecting our craft.


  79. Pertinax

    This is cool. News that you can use. Ditto to the practical advice too.

  80. Shari

    Thank you for this very helpful guide!!! Not only did you give some valuable info, but your many respondents have added much more. It’s a real gift to scriptwriters to put this all in one place, and prompt so may additional tips and comments.

    • Stephanie Palmer

      I so appreciate all the people who have commented too– there is nothing better than people sharing their first-hand experiences.

  81. Liz

    Hi, Stephanie. Most of these contests are run by US-based companies. Can, let’s say, a UK-oriented script do well in such competitions?

    • Stephanie Palmer

      Yes, I believe so– an outstanding script is so rare and the judges are generally looking for something that stands out from the pack.

  82. Nick Savides

    Hi Stephanie,

    Thanks for this. Shared it with the screenwriting group I help to organize. (We’re the Screenwriters Down South, in Baton Rouge.)

    I’ve been wary of contests in the past because I don’t think winning most of them always correlates with career success, but you make a valid point about motivation. Had the opportunity to visit the Austin Film Festival last year, which I enjoyed quite a bit, so I wrote down the deadline for that one. If nothing else, it might give me an excuse to visit again.


    • Stephanie Palmer

      Thanks, Nick. I agree that winning doesn’t always correlate with career success. I really enjoyed the Austin Film Festival too and highly recommend it for screenwriters.

  83. Ramman Gautam

    I live in England, may i still enter scripts or are foreign entries not allowed?

    Please do advise

    Kindest Regards
    Ramman Gautam

    • Stephanie Palmer

      Yes, international entries are allowed for most of the contests. Check the individual contest rules before submitting. Best of luck!

  84. Brian J. Atkins

    Hi Stephanie,
    really trying to move up to the current century anywho, would like to know what you think about the Industry Insider competition. It’s from the Writer Store and it’s the one where you submit a spec script based of a logline of their choosing. It has to be 15 pgs. I have been in at least three with no success. Do you think it’s a valid competition or reputable thanks again .

    • Stephanie Palmer

      I like the Writer’s Store and I think the Industry Insider competition is a fun idea. If I were running a graduate screenwriting program, I would use this technique to find students or as a part of the curriculum. As an film executive, though, when I was looking for new writers to hire, I much preferred reading original completed screenplays, rather than a script based on someone else’s idea. When looking for an original voice, scripts based on books, articles, TV shows, suggested prompts from a competition or other ancillary materials aren’t as strong a showcase as something that originated completely from one writer. There is always that question of, “How much of this script is good because the original work was good and how much is contributed by the writer who is adapting or interpreting the idea?”

      • GK Noyer

        That calls to mind another question I’ve sometimes seen debated. With all the aversion producers seem to have today for original ideas, some say adapting a story by a famous writer in the public domain is a good route. A little_known story by Jane Austen or Dickens, for example. More reassuring for the producers. While others says that that is the best way to get your work stolen, which sounds credible too.

        What’s your impression, Stephanie, from all you’ve seen and heard? A good idea or a bad one?

      • Stephanie Palmer

        If your goal is to be known for adapting novels, then this strategy makes sense. If you want to be hired for creating original work, then focus on creating original work and keep improving your craft.

      • Dem Nisbet

        Hi Stephanie, I came across this excellent site because I was looking for the Industry Insider Screenwriting Contest. I simply cannot find any information about current/recent versions. Is it over? I can’t find anything saying when or why it finished, or whether there is a nearest alternative.

      • Stephanie Palmer

        Hi Dem – Thanks for your comment! I just checked on the Writers Store and it looks like they haven’t done any new contests in 2018. Hopefully our list of 2018’s top contents will help you in finding new places to enter.

  85. Derek

    After submission, am I allowed to go off and start my own independent production of the film whilst the contest runs? I am sure there are probably some specific competitions which do not allow it, but in general, is this something one can do? Or, for the most part, do you have let that script sit unproduced for a year?

    • Stephanie Palmer

      As far as I know, yes you can. Submitting it to a contest does’t mean that you can’t do anything with it while it is being considered. But as always, check with the rules and regulations of each competition.

  86. Keith Davidson

    Hi Stephanie,

    I’ve been quite successful with contests, but other than the Disney Fellowship they haven’t really advanced my career. Do you have some advice on how best to capitalize on contest wins?

    I’m currently hunting for a manager, and would like to use my winning the StoryPros contest a few weeks ago (Grand Prize winner from 977 entries) to persuade managers to read the script. Should I put “StoryPros Contest winner seeking representation” in the subject line of my email queries? Or do you have better suggestions on how to attract a manager? Any advice will be greatly appreciated!


    • Stephanie Palmer

      Congratulations, Keith! Attracting a manager is a subtle, complex thing. My personal opinion is that you should not use cold query letters because they rarely work. The alternative is to access your personal and professional network and use your relationships to get in the room.

  87. Patrick Gamble


    I read your article and one thing I’m not in favor of is entering a script into one contest and only revising that script if it advances.

    Problem is it’s quite common for scripts to win one contest but not fair at all in others. Its not uncommon for a script to make the finals in one contest but not even make the quarters in another. I always fair well with scripts in some contests and not even make the first round in others. Why ? – not sure – I think some contests have different emphasis and different readers and although talent really counts having some bad luck getting a reader who’s inexperienced or not a fan of your genre or style could make or break your chances. So you’re right, you can’t enter every one of your scripts in the same contest – not with the current @##$#$ exchange rate – but you might have to play a waiting game and instead of entering your three or four current scripts into contests over the next three months maybe enter them over the next twelve months at least three times and also try and enter them in contests that favor your genre or page count etc. That way you can at least have three attempts before putting that script to bed.

  88. James

    Hello Stephanie, thanks for the information. Have you head anything about the Jameson First Shot Competition? ? It looks like a great opportunity to put a first project on the resume. Is it common for contest winners to be required to sign over all rights? If I no longer own the rights would I not be able to submit the completed film to festivals or film contests? I have also heard that when someone sends over a release there is the ability to counter with a contract of my own. Is something like that acceptable or taboo?

    • Stephanie Palmer

      Hi James. Yes, I have heard of Jameson First Shot and it is worth considering for those who have a short film script that meets the requirements. No, it is not common to sign over all rights for a screenwriting contest, but this the opportunity to have a short script made and that is different than the contests included on my list above.

      If you no longer own the rights, you would not be able to submit the film to festivals or contests. Expect that they will be able to make all decisions regarding the work and you will not have any power. They will want to make it successful (as this is what makes them look good), but it is unlikely to be how you would make the short film.

      Yes, it is possible to counter with a contract of your own in a negotiation, but for something like this, it’s very unlikely they would be willing to negotiate on their terms. Good for you for reading the small print! With the clear understanding of what you are signing away for the potential opportunity, you can decide if the terms work for you or if you’d rather not work within those parameters.

  89. Keith

    Asides from any tangible prizes, is there any benefit to entering such competitions if you already have an agent and/or manager?

    • Stephanie Palmer

      Good question, Keith. If you win a major contest like the Nicholl or Austin, this can be a boost for your awareness with the press releases and executives do pay attention to the announcements of the winners. Often, agents and managers who represent the winners of the major contests will be able to schedule a bunch of meetings based on the “heat” of winning of a contest so they like it. In your case, I suggest asking your representation if they recommended you submit as you want to make sure you have a coordinated career launch strategy.

  90. Bryan Dick

    Writers might also want to consider submitting for the CineStory Feature Retreat, a nonprofit screenwriting organization.

    If you haven’t heard of us, we are smaller than some of the great organizations listed above but we are a passionate group who believes in what we do: nurturing emerging screenwriters through one-on-one time with industry mentors at the Retreat. Also, one writer is selected to be our Fellow where, along with some prize money, she/he is paired with 2 mentors who help navigate their careers over the next year.

    Two years ago, we discovered the script CAKE, written by our Fellowship winner that year Patrick Tobin, and another past Fellowship winner Daniel Barnz produced and directed the film which starred Jennifer Aniston. We just celebrated our 20th Anniversary and our Board Members include writer/producer Meg LeFauve (and to brag a little, that she’s up for an Academy Award this year for INSIDE OUT), writer Mark Fergus (IRON MAN, THE EXPANSE) and Susan Cartsonis (THE DUFF).

    Not only do you writers develop relationships with their mentors at the Retreat, they also have the chance to make great friendships with other writers from around the globe. Almost every year, we have a writer from the United Kingdom and Australia. In the past, attendees have hailed from Sweden, Japan and South Africa.

    To learn more about us, please visit our website:

  91. Rob Hestand

    Great list – I was a runner-up at Scriptapalooza and they’ve done a great job at getting my script out there and keeping in touch.

    And adding to the comments below, I was also a screenwriter having applied for the CineStory Fellowship, and was lucky enough to be selected to attend their Retreat in Idyllwild a few years back. The experience was unbelievable – it was like going to summer camp exclusive to amazing screenwriters, managers, agents and producers. You quickly develop a strong sense of community and support with the writers and mentors. I’ve been telling everyone about it ever since. I have writer friends and industry contacts that I still keep in touch with to this day – and it’s landed me writing gigs I would have never had access to before. That Retreat undoubtedly changed my entire professional life.

    • Stephanie Palmer

      Awesome, Rob! Congrats to you and I love hearing stories like this. Thanks so much for sharing.

  92. Sara Mira

    Hi! I’m from europe and I want to ask you if I can enter in the Austin Film Festival by submiting a short screenplay.

    • Stephanie Palmer

      I believe so, but you’ll want to read their rules and regulations to confirm before submitting.

  93. zahida

    Hi, Stephanie, does Final draft Big Break screenplay competition take entries outside of the US, Canada or UK. I live in Trinidad in the Caribbeand and wish to enter but i haven’t seen any info online. Please help, Stephanie. Thanks

    • Stephanie Palmer

      Hi Zahida, I believe they do accept International entries, however, you should contact Final Draft Big Break directly to confirm before you submit your script.

  94. J.J. Maxwell

    Hi Stephanie. Being new to this I was interested in reading about these contests and plan to develop my script to enter either 2017 or 2018. I live in the UK so having access to the USA via such contests is a revelation.

    • Stephanie Palmer

      Glad to help, J.J.

  95. Randy O'Brien

    I’ve been at this a long time…four agents, a sf with the Nicholl and while I seem to be a good, maybe great writer, I don’t seem to write commercial scripts or novels. I’ve tried to do genre stuff, but they always ring false. Tried queries and websites…Blacklist and such…and relationships, but still stymied. Any other ideas?

    • Stephanie Palmer

      Hi Randy. Without knowing more specifics, it sounds like the issue is either the commercial viability of your material or the quality of relationships isn’t as strong as needed. Either of these factors can be a dealbreaker that can impede any potential sales. I appreciate your persistence and that is a key part of the puzzle that you have well in hand. Think about which of these two factors you think is more of the issue and start focusing there. Don’t give up yet, I can tell you have committed so much.

  96. Sophia

    Hi Stephanie. I would like to know if people from other countries can apply for this contest. Also I want to know if its for free.

    • Stephanie Palmer

      Yes, international entries are welcome for most contests but screenwriting contests are businesses and they have entry fees.

      • Sophia

        Okay thanks for your reply. Can I have your email pls so I could share something with you that I don’t want to share here?

  97. Joseph

    I see that you haven’t had a comment in a while, are you still active in helping screenwriters find representation?

    • Stephanie Palmer

      Yes, absolutely.

  98. Melouka Khadir

    since1994, 9 mysterious crimes were committed by my husband ….a Friday/13….If you want to know it, reed the 4° sequence

    Genre of film:
    Damien Thorn (the Omen)

    S, the son of S, me and the 5 most influential members of his sect

    Syno and bio:
    Cursed being, Introduced into a poor being, which does nothing but transmit the commands of a generation of beings who did not choose Friday/13 to be born. who do-nothing but achieve the revenge on their ancestor.
    The curse will continue has to fall down on your similar beings
    Until the Antichrist will appear.
    That will not be my son….. That will be too late and I would not have nothing anymore has to tell you

    Script written by a had woman

  99. ABHINAV chaturvedi

    is any problem if I submit script from India on real history account of 150 pages

    • Stephanie Palmer

      I have not read your script to give specific advice, however in most cases, 150 pages is too long.

  100. Helen E. Weeks

    Didn’t know your site existed until stumbled on by accident. Will there be more contests in 2017?

    • Stephanie Palmer

      Yes, I will release the new calendar as soon as I complete it. Thanks!

      • 中国

        Stephanie, I am a Chinese, some high concept movement, the science fiction screenplay, you can look at the first ten pages? Thanks.

        You really good attractive!

      • Stephanie Palmer

        Thanks so much. I only give specific feedback to my clients and I am fully booked at this time. Here are some script coverage services that I recommend and they can give you feedback (for a fee).

      • 中国

        Thank you. I just want to know how far away from the Hollywood professional script, 1 mile, 2 miles, or 10,000 miles? In fact, I have ordered almost 20 feedback, Script Pipeline (7), Page The (3), The Launch Pad (1), Fresh Voices Screenplay (2), Creative World Awards (1), Emerging Screenwriters Screenplay (1 free) Contest of Contest Winners (2 free.) And so on.

        The best quality of feedback should be Script Pipeline, Creative World Awards, Emerging Screenwriters Screenplay, Page. The worst is the The Launch Pad, worthless, just say the information is difficult to track finished.