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Recent Success Stories

- Dennis Widmyer and Kevin Kolsch, finalists of the 2011 Script Pipeline Screenwriting Competition, signed with WME in November 2014.

The writer/director duo gained a considerable amount of attention after their breakout hit film Starry Eyes premiered at SXSW, receiving favorable reviews from Entertainment WeeklyRogerEbert.comVariety, and critics nationwide. The film stars Alex Essoe as an actress whose quest for fame in Hollywood leads down a deadly path. 

View More Script Pipeline Success Stories

2014 Movie and TV Idea Contest Final Deadline – December 15th

Winners receive extensive, one-on-one development assistance to refine their pitch prior to industry exposure. Accepted entries include loglines, synopses, video pitches, and full treatments or outlines.

Great Movie Idea Contest - Late (Final) Deadline 12/15

The 7th Great Movie Idea Contest connects the winner with top studio producers, including reps from Lakeshore Entertainment (Million Dollar Baby), Vinson Films (Journey to the Center of the Earth), Benderspink (We’re the Millers), and other major motion picture companies looking for new concepts to develop. Any genre or subject matter accepted–just think big.

Enter the Movie Idea Competition

5th Great TV Show Idea Contest - Late (Final) Deadline 12/15

The 5th Great TV Show Idea Contest introduces the winner to television executives searching for series concepts. Any genre or TV format, live-action or animation, cable or network. The more original and marketable the idea, the better.

Enter the TV Idea Competition

2014 Student Screenwriting Contest Deadline – December 15th

The 3rd Annual Student Screenwriting Competition is open to qualified entrants who are a 2014 graduate or are currently enrolled in a university, junior college, or certified film school. Students may submit a feature-length script in ANY genre or budget range. Non-film majors and graduate students are welcome to enter as well.

Enter the Student Screenwriting Competition

Which Screenwriting Contests Should I Enter?

by Dave Kline (Script Pipeline Co-Founder)

When I set out on my epic quest to contact every single writer who entered our competitions in the past year, I was often asked the question, “Which contests should I be entering?”

My short response was always, “Any contests where A-list agents and managers are actively reviewing and signing the finalists.”

A writer can enter a contest for various reasons. To get screenplay feedback. To see “where your script stands” amongst the competition. To win prizes. To win prize money. But the best reason to enter a contest . . . .

Read the Article

Interview: Debbie Lollie

Debbie Lollie, winner of the 2013 First Look Project with her romantic comedy The Ex-Man, discusses the romcom genre, optioning a script, and breaking in as a screenwriter.

"Most importantly, if writing movies is truly a talent, passion, and gives meaning to your life, do your best to stay strong and not let anyone take that dream away from you."

Read the full interview with Debbie

Scary Stories

November 2014 Script Sales

A (presumably metric) ton of scripts were picked up from the 2014 Brit List, including Tamzin Rafn’s comedy Alice in La La Land, Matt Greenhalgh’s thriller Silencers, Paul Valnay’s sci-fi Sick Robot, and Lydia Adetunji’s psychological horror A Little Music. Back in the States, Industry Entertainment optioned Adam Taylor Barker’s Dig, a revenge thriller set in the Appalachian Mountains. McG will produce the spec script The Babysitter, a coming-of-age horror from Brian Duffield. . . .

View November Script Sales

The Vault - Produced Scripts

Gone Girl - Screenplay

One of the most debatable points in screenwriting: “The book was better. . . .”

Of course the book was better. The book is always (well, sometimes) better. Because it’s a book. There are few rules in novel writing as far as plot and structure. No length or budget restrictions. Characters are explored and detailed to exhaustion, and the audience–the reader–becomes more emotionally invested. It’s one thing to sit in front of a screen, it’s another to bear the imaginative burden of conjuring up images by yourself. The typical result is a deeper, satisfying experience. But it’s nearly impossible for films to stay entirely true to their literary counterparts . . . .

Read the Gone Girl Screenplay