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Los Angeles Times Interviews Script Pipeline’s CEO Chad Clough – 2018

By | Press, Slider

In the January 19th, 2018 edition of the LA Times, Chad Clough, Script Pipeline Executive and CEO of Pipeline Media Group, was quoted on the state of the spec market: “Right now, the industry wants original voices. . . . There’s still a need for an excellent script.”

Writer Chris Erskine, gleaning interviews from Clough, screenwriter Nicholas Kazan (Reversal of Fortune), and producer Elizabeth Cantillon, commented on the decline of the spec script and how a resurgence may be forthcoming:

“Clough, of Script Pipeline, says the spec market could be—like old vinyl or vintage guitars—a thing of the past and the future. He cites an increasing voracious marketplace, as evidenced by Netflix’s pledge to produce 80 new original movies in 2018. So could the corpse soon rise from the dead, for a surprise Hollywood ending, even a fresh life?”

Read the full LA Times article

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Script Pipeline’s Chad Clough Interviewed with “Snow White” Scribe

By | Press, Slider

Script Pipeline CEO and producer Chad Clough alongside writer Evan Daugherty discuss how Script Pipeline helped launch Evan’s career, leading to the sale of Snow White & the Huntsman and Evan co-writing the 2014 hit films Divergent and Teenage Mutant Ninja Turtles.

The two were interviewed by The Script Reporter’s Joshua Stecker.

Watch the full video here.

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Creative Screenwriting Reviews Script Pipeline Competition in 2006

By | Press


by Peter Clines
April, 2006


Now heading into its third year, the Script P.I.M.P. (Pipeline Into Motion Pictures) Screenwriting Competition sprung out of a recurring complaint Chadwick Clough was hearing in his online community. “Our writer clients continued to express their frustration with smaller screenplay competitions and we set out to do it right,” says Clough, who also writes CS’s “Production Co. Spotlight” column. Clough’s experience with script consulting and production companies, along with his management position at Script P.I.M.P., convinced him he could also be a contest director.

“Before launching the Script P.I.M.P. Screenwriting Competition, I entered dozens of ‘screenwriting contests’ as a test of the entire process,” he explains. “We approached A-level production companies and agencies to not only consider the finalists but become involved in the judging process of the competition. Each of the last three years, Script P.I.M.P. has had over twenty A-level companies reviewing submissions. Few other contest provide this much exposure to this many writers.”

Recognized as a cutting-edge competition, Script P.I.M.P. allows for online submissions and guarantees that each script will receive at least two reads from a judging panel of agents, development directors, and managers. All finalists become part of the extensive Script P.I.M.P. online community and get a free, five-year membership to their Writers Database (a massive collection of contact information, production company listings, and general industry facts). A Writers Workshop is also available to help develop scripts even further.

Script P.I.M.P. winners have been doing as well as the contest itself. One of 2003’s winning scripts, Slammin’, by Aaron Metchik and Joseph Garner, was purchased less than six months later by Warner Bros. for six figures. Over the past two years, another half-dozen finalist scripts have been optioned. “If you look at our winners over the past three years, the material has been diverse, eclectic, and, in our eyes, fresh and original. We are not simply looking for the big commercial movie script that we can peddle to the studios,” says Clough. “In a nutshell, good writing is good writing.”

Hollywood Reporter Mentions Script Pipeline in 2003

By | Press


The Hollywood Reporter
October 2003
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*Script Pipeline was formerly Script P.I.M.P.

Hollywood is legendary in its ability to make firings difficult for unproven screenwriters. So perhaps it’s only natural that dozens if not hundreds of internet sites sprang quickly to action to help struggling writers get their scripts read by the right people.

The problem now is in separating the useful online services from the useless ones.

“There’s a lot of scams out there,” said Chris Wehner, author of “Screenwriting on the Internet: Researching, Writing and Selling Your Script on the Web.”

Wehner founded ScreenWritersUtopia.com in 1995 after discovering how hard it was to pitch scripts to Hollywood while living in Grand Junction, Colo.

“I optioned a script to a producer, then he died,” he said. “So I wasn’t having much luck.”

Sympathetic budding screenwriters nationwide flocked to his site, and in 2001, he launched the Global Literary Market, where 400 people pay $15 every six months so that their work might be perused online by 500 registered agents and producers.

Wehner acknowledges he entered a crowded space populated by the likes of Inktip.com, ScriptShark.com, ScriptPimp.com and Hollywood LitSales.com, which he calls four of the better online script services.

What should one look for when choosing a service? “If you can’t get on the phone and talk to some body, that’s a warning sign,” he said. Also, check out their “success stories,” which are usually posted at their sites for all to see, and make sure they haven’t changed ownership too often.

HollsywoodLitSales founder Howard Meibach disagrees with the bit about the telephone. “I’d get calls at 3 in the morning, ‘Hey, I got a great idea for a movie,’ ” he said.

His company lists scripts for flee, and Sony-based production company Escape Artists gets right of first refusal.

“We’re not in the business of selling dreams,” said Rafi Gordon, president of Baseline/Film-tracker, the well-used entertainment industry database and analysis firm that owns ScriptShark.

ScriptShark boasts one of the more expensive services, charging $185 per script plus a 10% finders fee if a script is sold, but its users get lots of extras for their money, including professional, written analysis.

Some of ScriptShark’s cheaper competitors, however, “are taking advantage of screenwriters,” Gordon said.

One way of determining which ones he might be referring to is by crashing the message boards about the subject, like the one at scriptsales.com.

“(A producer) said I got ripped off and is going to do his best to shut them down,” one person wrote about a specific service she used. “The page looks like it was put together by a 9-year-old,” another wrote.

“Writers are incredibly frustrated, so it’s tough to find positive comments on that site,” Script Pimp founder Chadwick Clough said. “Fortunately, though, they seem to like my company.”

His firm offers an option similar to that of ScriptShark, but for $10 less and without the 10% fee. The company also has built a writers database of 1,170 agencies, management, and production companies and any other entity that writers might like to pitch their work to, complete with tips on how best to submit a script and what genres and budgets companies are interested in.

Clough founded ScriptPimp after working at three production companies where, he said, “I found the query submission process to be archaic.”

ScriptPimp doesn’t post scripts at its own site; for that, it has enlist ed the help of Inktip.

Headquartered in Glendale, staffed by four employees and founded in 2000, Inktip has been profitable for one year, founder and CEO Jerrol LeBaron said.

There are 4,000 scripts at Inktip, about 500 of which were written by already-produced writers, and the scripts may be searched for by using dozens of descriptive elements. Need a coming-of-age thriller about terrorism written by a guild member? The Inktip search engine will locate a half-dozen such scripts.

LeBaron’s extensive list of successes consists of 200 scripts sold or optioned in three years. Users pay $40 for six months at Inktip and are allowed to see who it is that is reading their scripts online, though only if they promise not to contact them.

“Writers deserve a paper trail as to what’s happening with their work,” LeBaron said.

“I was shocked at how fast it all came together,” said Nathan Nipper, an Inktip customer who post ed his script for “This Time Around” in October 2002, sold it for $22,000, then watched the finished product on ABC Family in June.

Marvin Acuna of Acuna Entertainment signed five writers from Inktip, including Daniel Faraldo, who authored the Blair Underwood vehicle “How Did It Feel?”, now in post-production. “Inktip works because it allows me to consider writers I wouldn’t have in the past,” Acuna said.