2024 Pitch Contest (Summer/Fall)

LATE DEADLINE:
Friday, December 27th

SUBMIT HERE

Winner Receives
$2,500 | script development | circulation to industry

The bi-annual 2024 Script Pipeline Pitch Contest is searching for original feature film and TV series ideas to be developed into screenplays and pilots—relevant, diverse, higher-concept stories that could find a home in the current landscape.

One Grand Prize Winner is chosen to receive $2,500 and additional long-term assistance with our in-house creative execs to help develop the script from the ground up. When the work is ready for circulation, we send to specific producers and reps who might align with the material.

All writers retain the rights to their pitch and script. Any genre or budget range, studio-level or indie, is accepted.

*NOTE: as this competition is focused on developing scripts one-on-one with film and TV writers, only submit pitches. Completed scripts may be entered in other Pipeline competitions, including First Look, Screenwriting, or TV Writing.

Over $8 million in screenplays and pilots have been sold by Script Pipeline writers as well as numerous scripts produced since 1999, a notable list that includes studio films Stuber by Tripper Clancy (Fox) and Snow White and the Huntsman by Evan Daugherty (Universal). Pipeline Screenwriting finalist Bring Me Back by Crosby Selander sold to Legendary in 2020 for seven figures—one of the all-time biggest spec sales by an unproduced writer. Helen Gaughran's winning horror script Visitation was produced, starring Olivia Cooke (House of the Dragon) and Isla Johnston (The Queen’s Gambit), releasing soon. Several Pipeline writers have made The Black List in recent years, such as Court 17 by Elad Ziv, Cauliflower by Daniel Jackson, and Pure by Catherine Schetina, with the latter two securing the #1 spot. And over the past 25 years, writers have signed with multiple top managers and agents, landing with reps at Bellevue, UTA, Kaplan/Perrone, XYZ Management, IAG, Alibi Management, and more following Script Pipeline development and introductions. View notable success stories.

UPCOMING DEADLINES

Late: December 27th, 2024 - $40
Final (Coverfly only): January 10th, 2025 - $45

Entries also accepted on ...

    


Grand Prize Winner (1) - $2,500: January 31st, 2025

The winner also receives:

  • Extensive development and assistance in completing a screenplay or pilot
  • Long-term script circulation to industry and continual guidance connecting with companies
  • Review of additional pitches and completed film or TV material for industry consideration
  • Invitations to private events and Symposium panels hosted by Pipeline

Script Pipeline's criteria is based primarily on the overall originality and relevancy of the concept, preferably hitting a "Goldilocks zone" between commercial/mainstream and something wholly new and different.

We're open to all types of pitches across any genre. Keep in mind, movie and TV entries compete against one another, so if you aren't sure what medium your idea fits best, that's okay.

In the past, selected ideas have ranged from lower-budget indies, to big-budget studio films, to animation, biopics, true stories, weird experimental stuff, and high-concept, mainstream genre material. Anything that feels fresh and universally appealing is fair game.

We highly recommend writers submit more detailed summaries spotlighting the elements that make your project distinct: why this concept, why these themes, and in many cases regarding stories in the public domain or "lower concept" pitches, why you, the writer, are most apt to write that story and what singular vision you can offer.

Oftentimes the concept comes across best in the form of a pitch deck, but that's not a requirement.

Some guidelines:

  • Must submit a full story synopsis and logline, at minimum. This can range from a page in length to a full treatment or pitch deck. We don't necessarily judge on format, we judge on the idea itself. The best format is usually comprised of a logline, a page-long summary, and any other comments on the originality of the premise or personal connection to the subject matter, if applicable.
  • Do not send full-length screenplays—pitches ONLY.
  • Must be for a scripted film or TV series. No reality, documentary, or game show ideas.
  • Previous Screenwriting, TV Writing, First Look Project, and Pitch Contest winners and finalists (since 2022) are ineligible.

View complete rules and guidelines here

Script Pipeline has cultivated relationships with over 250 production companies, managers, agents, directors, independent producers, networks, and other executives over the past 25 years, leading to multiple writers signed, scripts making the Black List, specs sold, and films produced.

A sampling of the industry reviewing Pipeline material:

*FOR INDUSTRY: request to read Script Pipeline winners and finalists through our Scout platform.

WHAT ARE DEADLINE DATES AND ENTRY FEES?

Late: December 27th - $40
Final: January 10th - $45

WHAT IF I WANT TO SEND A PITCH FOR A FINISHED SCRIPT?

If you'd like to submit a pitch based on one of your existing scripts, that's fine! And if you're selected as winner or runner-up, we would use that draft as a starting point (if it needs further polishing) for development. But only send the pitch itself as your entry.

Completed scripts may be submitted to Screenwriting, TV Writing, or the First Look Project.

HOW DOES THIS WORK? 

The Pitch Competition is development-centric. Meaning: Script Pipeline develops the script one-on-one with our winner and runner-up before considering for industry. This could take a few weeks, or a few months, or a year. Really depends on the writer and the script. But once the material is up-to-speed, we strategize with the writer and send to select production companies and managers (or other execs) for review.

If the script doesn't land somewhere right away, we keep on hand for industry over the long-term.

Additionally—and perhaps most importantly—our team may review and help develop other pitches and scripts for future circulation. That approach is our hallmark across all Pipeline divisions and has been massively successful over the years, having connected writers with top management and production companies based off their other projects.

In short, we're very collaborative with our writers, and support their careers as much as we're able ...

IS MY IDEA PROTECTED? WILL I RETAIN THE RIGHTS TO THE IDEA?

All rights remain with the writer, regardless of the final contest results.

No one outside of Script Pipeline's team of judges will review your entry without the writer's permission. For the winner, we don't send out their completed script until we have their consent and mutually deem the project "circulation ready."

ARE NOTES INCLUDED?

Written feedback is not included on entries, but entrants may add general one-page notes as an optional service during registration for a reduced rate ($65 instead of our Workshop rate of $75). Feedback is kept separate from judging—meaning you'll have a different executive reviewing your contest entry, and the notes have no bearing on the judging process.

View sample here

HOW SHOULD I FORMAT MY ENTRY?

A logline and full synopsis is required, detailing the story's beginning, middle, and end. This can be brief, anywhere from 1-3 pages is typical. Pitch decks (any length) are also more than welcome. If you're unclear on the details of what goes into a pitch deck, you're in luck—we have a Pipeline Artists Symposium event available for streaming here.

CAN INTERNATIONAL WRITERS ENTER?

Yes. As with all Pipeline competitions, anyone worldwide can enter.

IF I WIN, DO I NEED THE COMPLETED SCREENPLAY OR PILOT?

Not at all ...

If you do, great (head start on development!), but it won't affect the outcome of the contest. We're just looking for original concepts, primed for the current marketplace. Our development team will assist in refining the pitch and getting you started on the script itself. While that might indicate the competition is open only to screenwriters, it's not: we'll help you develop a first-ever draft of a screenplay or pilot, as we've done with authors, playwrights, and other storytellers in the past.

IF I'M A PUBLISHED AUTHOR, CAN I SUBMIT A PITCH FOR MY BOOK?

You can. But we'd recommend instead submitting to the Book Pipeline Adaptation competition, which is open exclusively to published novels, nonfiction, and short stories.

Contact our contest coordinator with any other questions.

Screenwriting Winner Getaway in Production, Jason Biggs Directing

(via Deadline)

2017 Screenwriting Competition winner Getaway went into production summer of 2024.

Jason Biggs (American Pie, Orange is the New Black) makes his directorial debut with the crime/comedy. Stars Anna Conkle (Pen15), Arturo Castro (Broad City), Meaghan Rath (Hawaii Five-o), and Justin H. Lin (The Umbrella Academy). Motion Picture Corporation of America (MPCA) producing.

Written by Jamie Napoli and Joshua Paul Johnson, the script was a huge favorite of Pipeline execs, who called it “Coen Bros-esque” and “one of our best winners all-time, in any genre.”

Years later, Script Pipeline execs helped Jamie and Josh develop the horror screenplay Paradise. After circulation by Pipeline in 2023, they ended up landing with the management team at Bellevue.

“Script Pipeline has done more for our careers than anyone else in the industry," said Josh and Jamie.

"They've been incredible partners for the long haul—championing, not just our winning screenplay, but our subsequent projects as well. They've dramatically improved our work with their notes and guidance and connected us with our dream management team. Having them in our corner has been a true game-changer.”

Release date for Getaway is TBD.

Finalist Sells Spec to Legendary in Seven-Figure Deal

Crosby Selander's Bring Me Back sold to Legendary Entertainment in September 2020 after a bidding war. The deal landed in the seven figures, making it one of the highest spec sales in years—and one of the few specs ever sold for over $1 million from a "new," unproduced writer.

After placing in the top 10 of the 2020 Screenwriting season, Bring Me Back was circulated to several Pipeline industry partners, with Kaplan/Perrone signing Crosby a few weeks later.

Pipeline judges called the script a "wonderfully sprawling genre hybrid. . . expertly drawn by a writer with a profound understanding of the human condition."

Winning Screenplay Visitation Produced

Helen Gaughran's Visitation, winner of the Script Pipeline Screenwriting Competition and First Look Project, went into production in 2023, with Nicolas Pesce directing. The cast includes Olivia Cooke (House of the Dragon, Sound of Metal), Isla Johnston (The Queen’s Gambit), Stephen Rea (Interview with the Vampire), Alfie Allen (Game of Thrones), and Penelope Wilton (Downton Abbey).

Entertainment One, Blinder Films, and Rumble Films producing.

After winning the 2019 Screenwriting season and getting wide circulation to industry execs, Helen signed with UTA. A unanimous choice for both the Screenwriting Competition and genre-specific First Look Project, Script Pipeline execs called Visitation "a haunting depiction of this time and place," "a refreshing, grounded twist on the genre," and "one of the most impactful scripts we've ever read from a new, rising screenwriter."

The horror is Helen's first produced film.

Script Pipeline Contest Selections #1 on The Black List Two Years in a Row

A total of seven Script Pipeline writers have made recent Black Lists.

In 2021: Screenwriting Winner Cauliflower by Daniel Jackson, which secured the #1 spot, First Look Project winner The End by Brian T. Arnold, and It Was You by First Look Project finalist Will Yu.

In 2022: Screenwriting Finalist Pure by Catherine Schetina, which also made the #1 spot, First Look Project winner Court 17 by Elad Ziv, bringing up the #2 spot, Total Landscaping by Screenwriting Finalist Woody Bess, and Fog of War by Screenwriting Winner Peter Haig.

Daniel's intense, unique thriller wowed Script Pipeline judges and it was a unanimous choice as our 2021 Screenwriting Contest winner. Soon after the announcement in August, Pipeline sent the script to select managers and production companies, including Bellevue, where Dan ended up signing with John Zaozirny and Zack Zucker. Same for Brian, who was introduced to Bellevue in March 2021 and optioned his script to Sister (Chernobyl).

After extensive development in early 2022, Elad signed with (surprise) Bellevue and had his script optioned by producer Andy Horowitz (American Hustle, Suicide Squad) and Big Swell.

2021-2022 was the first time Script Pipeline had two contest picks land at #1 in back-to-back years.

Tripper Clancy Sells Multiple Specs to Studios, Joins Netflix Series

Contest winner Tripper Clancy signed with a Script Pipeline partner in 2010 before selling several specs.

A few months after the screenwriting competition ended, 20th Century Fox selected Tripper for their feature comedy writing team to help develop new material. Later, he was hired to write the animated feature Shedd for Paramount, Stranded for Sony, the Amazon film High Five, the comedy Hacker Camp for Hasbro, and an adaptation of The Art of Fielding for Mandalay / IMG. He sold two specs in that span: The Ambassadors and Winter Break.

Tripper's first produced studio feature, Stuber (2019) sold in the mid-six figures. The action-comedy stars Dave Bautista (Guardians of the Galaxy), Kumail Nanjiani (The Big Sick, Silicon Valley), Mira Sorvino, and Betty Gilpin (Glow). Following the release of Stuber, he was brought on to write the Varsity Blues reboot and joined the staff of the Netflix series I am Not Okay With This, starring Sophia Lillis (It).

He's the co-creator, writer, and co-producer of the Quibi series Die Hart, starring Kevin Hart, Nathalie Emmanuel (Game of Thrones), and John Travolta, which debuted in 2020.

One of the Biggest Spec Sales in History from Script Pipeline Winner

After introductions by Script Pipeline to management, Evan Daugherty sold Snow White & the Huntsman to Universal for $3.25 million. It marked one of the biggest studio spec sales of all-time and subsequently turned Evan into one of the most in-demand writers in Hollywood. The film grossed $450 million worldwide.

Shortly following the contest win, Evan landed an assignment with Warner Bros. to rewrite the adaptation of He-Man, which led to the sale of Snow White.

Amongst selling a pilot pitch, Evan wrote the Teenage Mutant Ninja Turtles reboot, produced by Michael Bay. Other studio projects: the adaptation of YA novel Divergent for Summit Entertainment, starring Shailene Woodley and Academy Award-winner Kate Winslet, the Tomb Raider reboot starring Alicia Vikander, a reimagining of the cult hit Anaconda, and Rose Red, based on an original script by Justin Merz and a pitch by Evan. In 2023, he was tapped to write The Ultimate Weapon for Allen Media.

His 2008 winning script Shrapnel was also turned into the film Killing Season, starring Robert De Niro and John Travolta. Corsan and Millennium Films helmed the action/thriller and rehashed the original plot during development. It was the first Script Pipeline winner to get produced.

“I cannot overstate the impact that Script Pipeline has had on my writing career. Winning the contest directly led to new representation, which in turn led to working with studios.”

Tripper Clancy (Stuber, Die Hart)Screenwriting Winner

“My journey towards any sort of success began at Script Pipeline. I placed in the finals in a few screenplay contests, but none gave the same time and attention as Script Pipeline. They got me a manager and said that my relationship with them extended beyond that year's contest. They've been true to their word and I could not be more grateful. Now I'm working with Blumhouse Television. It's been surreal, a dream come true, and it began with Script Pipeline.”

Andrew Martin Robinson (Dream Sequence)Screenwriting Finalist

““The Script Pipeline team has been so supportive of me and my writing. They offered advice and guidance, set meetings for me, and introduced me to Bellevue, who I knew very quickly were the management team I had been looking for. I'm so excited to build my career with my managers, and I absolutely wouldn't be in this position without Script Pipeline.””

Brian T. Arnold (In the End)First Look Project Winner

“In 2022, my feature placed as a quarterfinalist. That placement gave me confidence to know I had something that was resonating with folks, but it needed work. Over the next year and a half, I took Pipeline up on their generous offer to continue providing feedback. Finally, the script got to a place where they were as excited about the script as I was, and they wanted to share it with their industry connections. A few weeks later, I was meeting with a prestigious management company, and it was a perfect match. I owe it all to the Pipeline team as my true champions! They saw what I saw, and I'm forever grateful.”

Brandon TysonScreenwriting Quarterfinalist

“Script Pipeline has a long track record of shining a spotlight on phenomenal writers and helping them develop their craft. Whenever they send us a script, it goes to the top of our reading pile and quite often ends up being someone we're excited to sign and work with.”

John ZaozirnyManager/Producer, Bellevue

“Script Pipeline is the only competition that truly does ‘work for you’ after you place. They've always been open to reading and giving 1-on-1feedback on any new material, months and even years after I was a runner-up. They helped shape a horror feature of mine, then put it into the hands of well-known producers and agents. I now have a script in development and my first job writing a feature with an award-winning director! If you, like me, need someone to believe in your work and give you that crucial nudge in the right direction, this is the place.”

Lauren KentPitch Contest Runner-up

“Script Pipeline has done more for our careers than anyone else in the industry. They've been incredible partners for the long haul—championing, not just our winning screenplay, but our subsequent projects as well. They've dramatically improved our work with their notes and guidance and connected us with our dream management team. Having Script Pipeline in our corner has been a true game-changer.”

Jamie Napoli & Joshua Paul JohnsonScreenwriting Winners

“Placing semi finalist in the Script Pipeline features contest put Welcome Home on The Red List, which led to the Coverfly writers development team reaching out to me, which led to me partnering with my new manager Peter Katz at Story Driven.”

Sara StrangeScreenwriting Semifinalist

“I was about to give up on this script [Bring Me Back] and stick it in a drawer ... then I placed as a finalist in Script Pipeline, and that all changed. More happened for my career that month than in all the months preceding it.”

Crosby Selander (Bring Me Back)Screenwriting Finalist

SUBMIT HERE