Script Pipeline - Home

Recent Success Stories

Search, written by Sev Ohanian and Aneesh Chaganty, winners of the Script Pipeline First Look Project, was selected for the 2018 Sundance Festival. Sev previously co-produced The Intervention and Fruitvale Station. The film is Aneesh’s feature directorial debut. 

DEADLINE: December 10th - Pitch Your Idea

Winners Receive:
$2,000 | long-term development | industry circulation

The 13th Great Movie Idea Contest and 11th Great TV Show Idea competitions are searching for original, innovative material. Ideally, groundbreaking concepts that are both marketable and fresh--something a global, diverse audience can connect with.

For the winner, Script Pipeline provides additional development assistance to refine the pitch, or help the writer draft a polished screenplay. At that point, we circulate the material top studio producers, including execs from Lakeshore Entertainment (Age of Adaline), Good Fear Film + Management (Rings), Vinson Films (Journey to the Center of the Earth), Madhouse Entertainment (Prisoners), QC Entertainment (Get Out), and other major companies looking for new concepts. 

Submit a Film Pitch | Submit a TV Series Pitch

2018 Script Pipeline Screenwriting and TV Writing Competitions

Pre-register By: December 31st, 2017

Winners Receive:
$50,000 | long-term industry circulation | script development

Seeking exceptional screenplays and pilots to connect with production companies, agencies, and managers. 

Finalists receive immediate circulation to Script Pipeline partners, in addition to the following:

• $50,000 to winners

• Personal introductions to managers, producers, agents, directors, and others searching for screenplays

• Development assistance with Script Pipeline execs

• Long-term circulation for all finalists (and select semifinalists), tailored to each individual project

Submit a Screenplay | Submit a Pilot

Diversity Fellowship Entry


WritersForWriters— founded by Dave Kline CO-EP of the TV series SNATCH and the co-founder of Script Pipeline, will be accepting entries for its 2018 WGA fellowship and mentoring program until Dec. 17th.

To submit for a fellowship- click

Writers can enter in any of three fellowship categories- Indie, Female, and Diversity. Non-female and non-diversity writers are only eligible for these respective categories if the subject matter is specifically female-themed and/or diversity themed. Not sure if your project qualifies— please email us at

For all fellowships, writers can submit up to three pieces of material— including screenplays, TV pilots, short stories, novels, plays, short film screenplays. We are not accepting outlines or treatments.

To submit for a fellowship- click


We are also continuing our free 10 minute career/advice phone calls with mentors Dave Kline and Chris Sey. To schedule a call w/ Dave or Chris— contact us at

The mission statement of WritersForWriters has always been for our WGA consultants and mentors to pay it forward to aspiring writers hoping to soon become WGA writers themselves.

We look forward to reading!


Dave, Chris, Fior, and the team at Writers-For-Writers

Learn more about Writers-For-Writers

Follow Writers for Writers on Twitter (@writforwriters) and Facebook for updates and news about the industry’s push towards diversity.

Script Pipeline Interview - Ashley Locher

End of Life deals with some heavy topics, but what struck us is that you very wisely--and very carefully--avoided drawing too fine a point on the message behind the story. Was it difficult to keep things grounded while avoiding the risk of melodrama and “taking sides,” so to speak, on the issue of medically assisted suicide?

I believe the only way to construct a substantial argument is by exploring the counterarguments. Consequently, I was insistent upon creating characters to represent both sides of the debate. Because of this, End of Life never sought to take sides--it sought to pit the inherent value of human life against the right of a terminally ill patient to die. Hopefully, this does as you said and avoids “drawing too fine a point on the message,” therefore expanding the target demographic and engaging more people in the conversation.

Switching gears a bit, comedy was key in keeping End of Life grounded. That sounds counterintuitive, but had I leaned merely on dramatic tension to drive the story, the script would have been nothing more than a low-budget mumblecore. Besides, I don’t know many people excited to grab a bucket of popcorn and cozy up to watch a dying woman try to expedite the process unless you throw in a little comedy. Moreover, death remains a taboo subject. How better to approach a taboo subject than with humor?

One of the big draws in the script is the straightforward and charismatic lead. For us, it was refreshing to see things from a different perspective—through the eyes of someone older as opposed to, say, a teenager dealing with death. Both are heartbreaking, both get the point across on controlling one’s own mortality. But what influenced your decision to feature an elderly woman as the protagonist? Or does POV matter in this case? What would change, if anything, in the story’s roots had the protagonist been a different character entirely?

Well, the obvious reason I chose an elderly woman as the protagonist is because there are too few roles in Hollywood for women over 40. But, as mentioned above, I recognize death remains a taboo subject. And it becomes even more taboo when discussed in reference to someone without age spots. Since I already planned to address a controversial issue, I felt it best to approach the story from a more digestible angle.

So yes, I think the POV would absolutely change since an elderly woman with a terminal illness has very different considerations than a teenager with a terminal illness. Plus, I also wanted to explore the way death affects a strained mother/daughter relationship, which looks very different when written from the mother’s perspective (like I did) than the daughter’s perspective. One imitates the natural progression of life while the other is reminiscent of tragedy.

Oh, and also: a crass old woman is so much funnier than a crass teenager. 

Are you sticking to certain genres or themes? How important do you think it is for writers to develop a niche?

While I believe writers should have the freedom to explore whatever material they connect with, I also believe creatives are frequently drawn time and again to certain genres and themes–often without recognizing it. For example, a new writer might have samples ranging from dark comedy to action/adventure. But if they all deal with dysfunctional families, you have a niche. Being self-aware in this way allows you to quickly assess any given situation and find a way to assert your value. . . .

Read the Full Interview

November 2017 Script Sales

Spec scripts made a strong showing in November. Kicking things off, Lakeshore Entertainment picked up Mark Hogan’s spec The New Mrs. Keller, which has been described as a Hitchcockian techno-thriller. Escape Artists snagged Let Her Speak, a true-story spec based on Texas state Senator Wendy Davis’s 11-hour filibuster to stall anti-abortion legislation. Sandra Bullock is attached to star. New Republic Pictures and Will Packer Productions are teaming up for Green Rush. Written by Matt Tente, the crime spec follows an ex-con who schemes with his daughter to steal millions of dollars worth of medical marijuana taxes from city hall.

Amy Pascal’s Pascal Pictures picked up Envoy, a sci-fi/thriller spec written by Kat Wood. The script follows a military intelligence specialist who attempts to become the first-ever human representation to alien life. Finally, Sentient Entertainment scooped up Tony Mosher’s drama/thriller spec Sirius about two members of a Danish special forces dog sled team who get trapped not only by the frigid weather but also highly trained adversaries. Pierre Morel is set to direct. . . .

Read More Script Sales

Three Billboards Outside Ebbing, Missouri - Screenplay

Tragedy is, unfortunately, universal. What isn’t universal, though, is how we cope with it. Take Mildred Hayes. Seven months ago, her daughter was gruesomely murdered, and her local police department doesn’t so much as have a lead. Fed up with their lack of effort, Mildred rents three billboards on a dirt road asking the chief of police why no arrests have been made and unapologetically drags her entire town into her grieving process.

With Three Billboards Outside Ebbing, Missouri, writer/director Martin McDonagh, continuing in the tradition of his previous films In Bruges and Seven Psycopaths, has created another strong dark comedy with even stronger characters at its heart. Mildred Hayes (Frances McDormand in a committed performance), on paper, could come across as abrasive, but everything she does is a direct result of her daughter’s death and her need for closure and Mildred’s profane, outrageous attitude provides levity and humor to what might otherwise be a somber and dour drama.

That’s not to say the film is thematically shallow—McDonagh is committed to showing that answers aren’t easy to come by, and he treats the would-be antagonists of the story (the cops whom Mildred views as ineffectual and apathetic) with surprising nuance. This isn’t a movie with clear-cut villains and heroes; it’s a story of grief and tragedy in a small town. . . .

Read the Three Billboards Outside Ebbing, Missouri Script

Script Pipeline Workshop Notes - Screenplays and Pilots

Established in 2000, the Script Pipeline Workshop is one of the longest-running notes services in the industry, offering feedback on screenplays, pilots, and pitches for film and television. Hundreds of writers each year, from beginners to professionals, benefit from the expertise of a small, seasoned group of development execs, many of whom are active writers and producers themselves.

Any genre or format accepted. We review everything from partially completed scripts to production-ready final drafts. Writers may also request a critique on supplemental materials (such as a TV show bible, synopsis, or logline), as well as follow up with their reader with additional questions on the feedback.

Together with our competitions, the Workshop is another outlet to funnel upper-echelon projects to an array of industry contacts and shepherd scripts into production.

*contest entrants receive a discounted rate on General Reviews; add-on notes available during registration for any competition

Development Notes | General Review

First Look Project Results - Announcement Moved to December 20th

For entrants of the 2017 First Look Project, note that the new announcement date for the 2017 season is on or around December 20th. Previous date was December 15th.

Given the enormous spike in submissions this year, we've found ourselves pushing far more scripts and short films into the latter rounds judging, so we want to be certain we're making the proper selections for each competition category. It's been a demanding process for our readers and execs thus far, but an encouraging one--lots of worthwhile entries to choose from. And for us, that's a good problem to have.

Eager to narrow it down later this month and get to work helping the winners and finalists circulate their material. 

Next season opens in January. Learn more about the First Look Project.

Film Pipeline Coming January 1st

The third wing of Pipeline Media Group's suite of companies launches on January 1st.

After almost two decades of discovering new projects through screenwriting, TV writing, and pitch competitions, PMG brings a dynamic, hands-on process of industry facilitation to Film Pipeline. This allows both emerging and seasoned filmmakers a shot at financing and producing their work, as well as spotlighting their talents to garner interest from execs capable of advancing careers.

Both seasons will be open from January to late summer 2018.

Plans are also underway to re-launch Music Pipeline for aspiring musicians looking to get placement in films, TV shows, and commercials.

More details coming soon.

Upcoming Competition Deadlines & Dates

2017 Great Movie Idea Contest - Deadline: December 10th

2017 Great TV Show Idea Contest - Deadline: December 10th

2018 Screenwriting Competition - Pre-register Deadline: December 31st

2018 TV Writing Competition - Pre-register Deadline: December 31st