Deadline May 1st - The 2019 Script Pipeline Screenwriting and TV Writing Competitions

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

*new for this season: all entrants may schedule a no-cost 15-minute call with our Senior Coordinator, who can answer any questions on the industry or the Script Pipeline process.

The 2019 Script Pipeline Screenwriting and TV Writing Competitions head into their 17th and 12th seasons, continuing the search for up-and-coming talent and connecting them with top producers, agencies, and managers.

An intensive facilitation process, which consists of long-term writer development and circulation of material, helps Script Pipeline selections gain elite representation and crucial introductions to Hollywood. $7 million in screenplays and pilots have been sold by competition finalists and "Recommend" writers, with several scripts produced since 1999.

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

- $50,000 to winners; $5,000 to runners-up

- Introductions to managers, producers, agents, directors, and others searching for screenplays

- Long-term script circulation to industry and continual guidance connecting with companies

- Development assistance from Script Pipeline's senior execs

- Additional script reviews and consideration of other material for industry exposure

- Exclusive invitations to annual writer and industry events hosted by Pipeline Media Group






March 2019 Script Sales 

Paramount Pictures and Temple Hill Productions won out in a bidding war for Kay Oyegun’s comedy spec Assisted Living. The story follows a thief who hides out from her old crew in a retirement home. Entertainment One and The Picture Co. picked up the sci-fi/thriller Out There. Ian Levy’s spec follows a family fighting to survive after a mysterious event changes the world. David Bruckner is attached to direct. Finally, Zach Baylin’s King Richard, a spec based on Richard Williams’ efforts to bring his daughters Venus and Serena to tennis superstardom, found a home with Star Thrower Entertainment and Overbrook Entertainment. Will Smith is attached to star and produce.

Other script sales:

- Sony picked up Derek Kolstad and Gerard McMurray’s pitch Booker, described as a John Wick-esque thriller with an African American lead.

- Ian Nelms and Eshom Nelms are set to adapt Carol Burnett’s memoir Carrie And Mefor Focus Features. The book chronicles Burnett’s relationship with her daughter, actress Carrie Hamilton, who overcame addiction before passing away from cancer.

- Zoe Lister-Jones will script and direct The Craft’s remake for Blumhouse and Columbia.

- Macon Blair will write and direct The Toxic Avengerremake Legendary Pictures and Troma Entertainment.

- DC and Warner Bros. have tapped Grant Morrison and Ezra Miller to script The Flash. Miller will likely reprise his role.

- Richard LaGravanese will adapt All That Heaven Allows: A Biography of Rock Hudsonby Mark Griffin for Universal. Greg Berlanti will produce and direct.

Read More Script Sales


Spider-Man: Into the Spider-Verse - Screenplay

It’s always nice when the Oscars get it right. It doesn’t happen every time, but Spider-Man: Into the Spider-Verse’s Best Animated Feature win was incredibly well-deserved—it was one of last year’s best movies, animated or live-action. Directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman and written by Phil Lord and Rothman, and based on Marvel's Spider-Versecomics, the story follows Miles Morales as he explores his nascent spidey-powers after (spoiler) Peter Parker’s death and helps other Spider-People from elsewhere in the multiverse return to their respective universes.

One issue superhero movies can run into is stakes. Unless, for example, Chris Evans wants to retire from the role, you’re not gonna see Captain America die (apologies for the potential Avengers: Endgamespoiler). So it’s necessary for writers and directors to include compelling relationships for the hero to raise the stakes. In Into the Spider-Verse, Miles’ relationships with his father and uncle provide emotional and thematic weight, which makes the audience care about what’s happening, especially when both characters become involved in the main plot. That’s the key with superhero movies: An invincible superhero is boring, and more often than not, their victory is almost always guaranteed; that’s just how Hollywood works. But it’s the relationships the characters have that bring weight to the stories and give the narrative characters more vulnerable to mortality.

Perhaps Into the Spider-Verse’s greatest asset is its unpredictability. By adding three Peter Parkers, Peni Parker, Gwen Stacy, and Peter Porker and killing one of the Peters off early on, Lord and Rothman create a narrative where it feels as though anything can happen. The strongest Spider-People relationships are between Miles and the second Peter Parker (Peter B. Parker) and between Miles and Gwen, and they’re the ones that the climactic fight scene centers on. The film also distinguishes the various Spider-People with matching introductions: Each time a new one appears, the film cuts to a comic book montage with the hero briefly narrating their origin story. It’s a stylistic flourish that pays off each time.

More about the style: The film is just beautiful to look at. It’s a comic book come to life. Text and dialogue bubble appear every now and then to highlight a joke or emotion, and the artists animated the movie at 12 frames per second to create a choppier, less fluid aesthetic to the movie’s benefit. (For reference, most animated films are now animated at 24 fps, creating the smooth CGI images we’re all used to.) It feels like you’re flipping through the pages of a Marvel comic, sort of like an animated companion piece to Ang Lee’s underrated Hulk.

If for whatever reason you still haven’t seen Into the Spider-Verse, why not watch it now? It’s pretty perfect!

Read Spider-Man: Into the Spider-Verse Script


Connecting Directors to Producers - Submit a Short 

Winner Receives:
$10,000 | industry exposure | financing consideration

The 2nd Annual Film Pipeline Competitions seek remarkable writers and directors with diverse, engaging work--the type defined by forward-thinking perspectives and unconventional yet universally appealing stories.

For produced shorts, Film Pipeline's platform is significantly different from the typical festival: selected entrants are given introductions to managers and agents for potential representation and extended promotion of their short or series pilot.

For unproduced scripts, Film Pipeline creates an opportunity to get your material made and collaborates with selected entrants from development to production.

After two decades of discovering new projects through screenwriting, TV writing, and pitch competitions, Pipeline Media Group (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.

Submit a Short Script | Submit a Short Film


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 the suite of Script Pipeline 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


Upcoming Competition Deadlines & Dates

2019 Screenwriting Competition - Deadline: May 1st

2019 TV Writing Competition - Deadline: May 1st

2019 First Look Project (screenplays and pilots) - June 1st

2019 Great Movie Idea Contest - Early Deadline: June 15th

2019 Great TV Show Idea Contest - Early Deadline: June 15th

Other Pipeline Competitions:


Book Pipeline - Fiction, Non-fiction

Film Pipeline - Short Films and Scripts

Script Pipeline is a division of Pipeline Media Group, LLC