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Matt Joseph Misetich

2020 Screenwriting Contest Results

By Screenwriting Contest Finalists

Winner Announced: July 26th, 2020 Finalists: Agriturismo by Nick Rufca Black Friday by Jonathan Dillon & Stephen Colletti Bring Me Back by Crosby Selander Jumpman: The Legend of Shigeru Miyamoto by Nick Hurwitch Killing Che by Alexander Vargas Light Up the Stage by Keaton Wooden & Grayson Coleman-Selby The Second Best Astronaut in the Universe by Woody Bess The Wedding by Mashael Alqahtani They Live on Skid Row by RJ Daniel Hanna Violet, Violet by Rachel Leyco Semifinalists: Agriturismo by Nick Rufca Black Friday by Jonathan Dillon & Stephen Colletti Bring Me Back by Crosby Selander Destiny’s Child by Taylor Chukwu Fox Hollow by Ariel Sobel Gift the Host by Morris Long Jumpman: The Legend of Shigeru Miyamoto by Nick Hurwitch Killing Che by Alexander Vargas Light Up the Stage by Keaton Wooden & Grayson Coleman-Selby Lost Mountain by Nathan Wilcoxen Maiden Warrior by Aarthi Ramanathan Murder Ballad by Adam…

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2020 TV Writing Contest Results

By TV Writing Contest Finalists

Winner Announced: July 26th, 2020 Finalists: American Gospel by Malinna Liang Confidence Woman by Amelie Yeager Conscription by Caroline Glenn Family Medicine by Missy Hernandez Gil and Me by Kelsey Krasnigor Killing It by Chance Muehleck Squad by Tevin Knight Thank God For Girls by Summer Plair The Tinwife by Travis Neufeld X by Estevan Semifinalists: American Gospel by Malinna Liang Barbizon Girls by Deborah Swisher Barry – “Good Talk” by Dan Benamor Code Switchin’ by Kimaya Floyd Confidence Woman by Amelie Yeager Conscription by Caroline Glenn Dark Irish by Erin Kathleen Family Medicine by Missy Hernandez Gil and Me by Kelsey Krasnigor Insecure – “Lowkey Healing” by Nathalie Dortonne Killing It by Chance Muehleck Middlewives by Courtney Burness Power Suit by Nick Roth Squad by Tevin Knight Swearing by Mary Bronaugh Tenth by Kenyetta Raelyn Thank God For Girls by Summer Plair The Mender by RB Ripley The Queen…

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Nicholas Roth

By Exclusive Interviews

Winner of the Script Pipeline First Look Project with his pilot Power Suit, Nick Roth had a varied career in the industry before becoming a full-time screenwriter. Following his contest win, Pipeline executives connected him with management at Zero Gravity, who saw the clear potential in his high-concept TV project set in the world of 1980s Hollywood. Before we get into the pilot, you told us a story of writing a screenplay with your father (a veteran TV director) in China over the course of several months. . . . How formative was that for you, creatively and professionally speaking? So I decided to pursue screenwriting full-time a little over seven years ago, and since then, I sort of have had the beginnings of two completely separate writing careers. In one, I spent about six years as a writers’ PA, assistant editor, researcher, middle school substitute Latin teacher, etc., and…

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Felicia Ho

By Exclusive Interviews

Felicia Ho’s TV pilot Arranged won the Script Pipeline First Look Project, due in large part to a refined sensibility toward character and an underlying premise that’s both original and timely. Prior to her Pipeline win, she was selected for Ron Howard and Brian Grazer’s Imagine Impact writing accelerator. She’s repped by Kaplan Perrone. Every facet of Arranged caught our attention, but the potential of this series to comment on and criticize cultural norms was the big hook for us. Felt different but universal. Why did you choose to pursue this idea and, specifically, this type of lead character? What are some of the long-term topics you’d want this show to address? Thank you for acknowledging that! I was first inspired to write this story after I attended my cousin’s wedding. She and I are really similar in age and background so it was a huge shock to me when I went after having…

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J.P. Estes

By Exclusive Interviews

A top 10 finalist in the 2019 Script Pipeline TV Writing Competition with Laurel Canyon, J.P. Estes signed with Zero Gravity Management after an introduction by Pipeline execs. His pilot Package Deal is currently in development. You were originally a journalism major, but switched to film. What indicated that film and TV was your future? When I first arrived at Arizona State, I had no real idea of what I wanted to do. I got a scholarship, so I went to school. That’s it. This lead to bouncing around from major to major for two years trying to find an avenue for my creativity. I eventually landed on sports journalism, hoping to combine two of my passions. But this was in 2010. As local newspapers were shuttering. As journalism tried to grapple with the emergence of digital media. As jobs were drying up left and right. . . . So…

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8th Annual 2019 First Look Project Results

By First Look Project Results

SCREENPLAY Action/Adventure The Motherfuckin Ruckus by Joe Tower & Alex Gradet – Winner Call Out by Nir Shelter – Finalist Comedy Stuck by Ian Southwood – Winner The Buried Truth by Elizabeth Musgrave – Finalist Drama American Vice by Benjamin Feuer – Winner Love Don’t Go by Barry Galperin – Finalist Horror/Thriller Visitation by Helen Gaughran – Winner Agriturismo by Nick Rufca – Finalist Elsa Miller’s Monster Manual by Brian Otting – Finalist Sci-Fi/Fantasy Oz  by Pavan Grover – Winner Eekia by Lea Pascal – Finalist TV PILOT Half-Hour Power Suit by Nick Roth – Winner Good Boy by William Yu – Finalist Miss Dismissed by Neil Garguilo – Finalist Hour Arranged by Felicia Ho – Winner Arcanum by Jennifer Krueger & James Mulholland – Finalist Group by Lea Pascal – Finalist The Mender by RB Ripley – Finalist

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Laura Bensick

By Exclusive Interviews

Runner-up in the 2016 Script Pipeline TV Writing Competition, Laura Bensick’s career has been steadily on the rise. In September 2019, she sold her show Everyday Insanity to Fox with Sterling K. Brown (This is Us) and Ken Olin producing. Earlier the same year, her play Life in Paradox debuted in Los Angeles. She placed in Script Pipeline with her pilot The Mother and later signed with UTA. You showed up on our radar with The Mother, which is still one of the most remarkable drama pilots we’ve reviewed, and placed as runner-up in a tight race that season for the top spot. When writers are consistently drilled with this notion that they should only be focused on “writing genre,” how do you disregard that for a moment and write what feels true to your self and your sensibilities? What inspired the concept behind The Mother, which is, let’s be honest,…

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Helen Gaughran

By Exclusive Interviews

The winner of the 2019 Script Pipeline Screenwriting Competition with Visitation, Helen Gaughran expertly crafted a tonally perfect genre mix of character-driven drama and grounded horror. Though still relatively new to screenwriting, she’s made a bold leap into establishing herself amongst the next wave of film industry talent. You’re heard this plenty of times by now from us, but let’s say it once more for the road: Visitation is perhaps one of the best feature screenplays we’ve reviewed in over a decade. For too many reasons to list here. You pulled some pieces from history to construct the script, right? What was your original intent with the idea, and how did it change, if at all, from initial concept to final draft? Given your connection to Ireland, was the story itself, or its themes, personal? First, Matt, I want to thank for relentlessly puffing up my self-regard. It’s taken a beating…

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Nathan Patton

By Exclusive Interviews

Winner of both the 2018 Script Pipeline First Look Project (Action-Adventure category) and the 2019 Script Pipeline TV Writing Competition, Nathan Patton was quickly recognized as a writer with enormous potential. His ability to craft character-driven stories is overshadowed only by a perceptive understanding of what constitutes as as a stand-out script. Let’s get this out of the way, because it’s kind of a special record: as of this moment, you’re the first writer in Script Pipeline’s 20-year history to win two separate competitions–the screenplay Waitress #2 (2018 First Look Project – Action/Adventure) and the pilot Redflags (2019 TV Writing). We’ve seen our share of great writers, but Waitress signaled to us that a new, exciting voice has climbed above the masses. Prompting the initial reaction of “oh, right, a marvelously unique script can still exist.” Long odds in an environment where every writer is drilled with “write for the…

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Kevin Jones

By Exclusive Interviews

A 3-time Screenwriting Competition finalist  and eventual competition winner (the 2013 Great TV Show Idea Contest) with his pitch for the adventure/fantasy Horizon, Kevin Jones has been more involved with Script Pipeline than any other writer to date. His work is best labeled as “grounded with a twist of supernatural,” but it was his phenomenal crime/drama screenplay Southbound that first gained traction with Script Pipeline execs in 2009. While continuing to pursue film and TV, Kevin has also branched off into writing fiction. You’ve been in the Script Pipeline fold for. . . many, many years now. We’ve kind of seen the evolution–and the creative and career struggles–firsthand. Lots of close calls, and while we’re glad we helped play a part in some of those, we’re also just as dejected that the big hits haven’t yet panned out. But you’ve kept writing. Non-stop. What gives you the motivation? The main motivators…

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Sean Collins-Smith

By Exclusive Interviews

After widespread praise from major competitions, Sean Collins-Smith built enough momentum to sign with a top tier manager (Jewerl Ross, Silent R Management) and kickstart his career as, primarily, a TV writer. His ability to elevate genres and concepts, digging deep into a wide range of diverse characters, earned him top recognition with Script Pipeline–twice: in our genre-specific First Look Project and in the main TV Writing contest.   I’ve been fortunate enough to get a clearer portrait of you as a writer since your contest placing, and I see so much humility in everything you do. The way you digest feedback, your attitude and focus on your career, accepting both success and rejection in stride. . . . What gives you this clarity of purpose? Does anything ever derail it? Oh man, that’s a lot to think about! First things first–humility. Some people confuse humility with weakness, but I’m a…

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Greta Harrison and Matthew C. Vaughan

By Exclusive Interviews

Two-time Script Pipeline TV Writing finalists with comedy pilots Inner Beast and My Fist Your Face, Greta Harrison and Matthew Vaughan have written for and created several series, both live-action and animated, in addition to co-writing an action/drama feature. Before moving to Los Angeles, you both wrote and produced (and acted in, correct?) a few TV series, as well as a feature, in Australia. Mostly comedy. We’ve had several phenomenally talented Australian writers come through Script Pipeline, all with varying career projections–some who decide to come to LA, others content not to do so. Did you feel like there was a ceiling in Australia as far as what you wanted out of the industry? The direction in which you both saw yourself headed? Matt: That’s right. We’ve been producers, actors, and sandwich-makers. But writing comedy has always been our focus. We figured if we wanted a long-term career writing for TV and film,…

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Justin D. James

By Exclusive Interviews

Winner of the Script Pipeline TV Writing Competition with his drama Powerhouse, Justin D. James has stacked a bevy of lifelong experiences and used them as motivational fuel to move forward as a film and TV writer. His pilot, submitted to one of the most competitive seasons in Script Pipeline history, rose to the top thanks to a prodigious and intimate sense of character development and overall storytelling. After Justin’s win in 2018, he signed with management, landed major writing assignments, and has seen his young career begin to rise. Powerhouse is built around a fairly standard premise that you ran with and made deeply compelling (and quite fun to read). Always curious how a writer gets so motivated to pursue an idea. Why this concept? I’ve always been fascinated with stories that pull back the curtain on careers that appear mundane from the outside but are rife with entertainment on the inside….

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