2025 TV Writing Contest

Special Entry Deadline:
This Friday

SUBMIT HERE

Winner Receives:
$20,000 | industry circulation | long-term script development

The 17th Annual Script Pipeline TV Writing Competition is searching for extraordinary television writers with traditional pilots or indie series scripts for exposure to production companies and managers. Together with the Screenwriting Competition, we focus specifically on finding writers representation, supporting diverse voices, championing ambitious storytelling, helping finance independent projects, and pushing original projects into production.

The company’s unique process—consisting of long-term, 1-on-1 development, extensive promotion, mentorship, and circulation of material—gives our selected writers proper guidance to advance their careers.

"My journey toward 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. 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, and a dream come true."
- Andrew Martin Robinson (Dream Sequence), Script Pipeline Finalist

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.

Script Pipeline selects five finalists and, from that group, one winner to receive:

  • $20,000 to winner; $1,000 to each finalist
  • Introductions to managers, producers, agents, directors, and other execs searching for TV material
  • Development assistance and mentoring from Script Pipeline's team
  • Additional script reviews and consideration of other material
  • Long-term script circulation to industry and continual guidance connecting with companies
  • Invitations to private events and Symposium panels hosted by Pipeline

PLUS: after the contest ends, all Quarterfinalists and Semifinalists receive no-cost feedback on their pilot from Script Pipeline's development execs and consideration for industry circulation.

UPCOMING DEADLINES

Special Entry: Friday - $35
Pre-Register: December 27th, 2024 - $45
Early: March 5th, 2025 - $55
Regular: May 1st, 2025 - $65
Late: May 15th, 2025 - $70

Submissions also accepted on:

      

There are four rounds of selections: Quarterfinalists, Semifinalists, Finalists, and from the top 5 Finalists, one Grand Prize Winner.

- Monetary Awards -

Grand Prize Winner - $20,000

Finalists (remaining 4) - $1,000 each

- Announcement Dates -

Quarterfinalists (up to top 50, or ~1% of entries):
July 10th, 2025

Semifinalists (up to top 25):
July 20th, 2025

Finalists (5):
August 1st, 2025

Grand Prize Winner:
August 10th, 2025

General feedback is provided for Quarterfinalists and Semifinalists following the end of the season, plus consideration for industry circulation and longer-term assistance from Pipeline.

The Grand Prize Winner and four remaining Finalists also receive the following:

  • Introductions to managers, producers, agents, directors, and other execs searching for TV material
  • Development assistance and mentoring from Script Pipeline's team
  • Additional script reviews and consideration of other projects
  • Long-term script circulation to industry and continual guidance connecting with companies
  • Invitations to private events and Symposium panels hosted by Pipeline

*finalists are also awarded a copy of Final Draft 13 software, from our partners at Final Draft

 

Judging is based primarily on the overall quality of the script, including storytelling ability and fundamental components (e.g. dialogue, plot, structure, and character). Concept marketability/producibility, originality, and writing style are also weighed to various degrees.

Our best piece of advice is to submit material that highlights your distinct voice—what separates your script from the norm? Although we're strict on judging and only work with a select group of writers annually, all types of genres and styles are fair game. In the past, finalist and winning scripts have ranged from microbudget indies, to true stories, big-budget sci-fi, straight genre pieces, low-concept, high-concept, and everything in-between.

Being selected as a Quarterfinalist or higher means that we feel the script has potential, the writing is above average, and it's a project we're confident in helping further develop and promote to industry.

All contest judges are comprised of our in-house Script Pipeline development execs and senior-level staff. We do NOT use unpaid interns, volunteers, or "seasonal" readers ...

Basic guidelines:

  • The cover page should include the title, but you can remove any contact information (name, email address, etc.). Your entry won't be disqualified if you submit a cover page that includes contact info. Logline and genre on the cover page is preferred, but not required.
  • Co-writers are allowed.
  • PDF only. All software should have a convert to PDF function, including Final Draft, Celtx, and others.
  • Original pilots only, no specs of existing shows. Any genre.
  • Script Pipeline Screenwriting or TV Writing winners, runners-up, and finalists since 2021 are not eligible.
  • No limit on the number of entries. Each entry is a separate fee.
  • All rights to the material remain with the entrant, whether they place as a finalist or not.
  • The script entered must not have been produced in its full form. Produced short films based on the script are okay.
  • Must be at least eighteen (18) years of age at time of entry.

View complete rules and guidelines

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

A small selection of industry reviewing Finalists:

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

WHAT ARE THE DEADLINE DATES?

Special Entry: September 20th, 2024 - $35
Pre-Register: December 27th, 2024 - $45
Early: March 5th, 2025 - $55
Regular: May 1st, 2025 - $65
Late: May 15th, 2025 - $70

HOW LONG SHOULD MY SCRIPT BE?

We strongly advise sticking to the industry standards as that tends to work the best for pilots (these vary by format, but roughly 25-40 pages for half-hours, 50-65 for hourlongs, and 40-55 pages for multicams). That being said, the minimum length accepted is 20 pages, and the maximum is 75.

ARE NOTES INCLUDED?

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

View sample here

IF I MAKE UPDATES TO MY SCRIPT AFTER ENTERING, DO I HAVE TO RE-REGISTER AND PAY A NEW ENTRY FEE?

At no extra fee, writers may submit a new draft at any time up until the late deadline of May 31st, 2025.

Yes, this is uncommon for a contest. Yes, we're (probably) the only contest that does this. Yes, we think it should be standard.

Updated drafts may be emailed to us direct.

SHOULD I PUT CONTACT INFO ON THE COVER PAGE?

It's not required. Logline and genre on the title page is preferred, but also not required.

ARE SPECS OF EXISTING SERIES ALLOWED?

We do not accept specs of existing shows, since our main goal is helping writers find reps, and reps don't typically read TV specs for consideration. Thus, all submissions must be an original pilot script.

IF I PLACE, DO I RETAIN THE RIGHTS TO MY SCRIPT?

Yes. All rights to the material remain with the writer, regardless of whether or not they win or place.

CAN INTERNATIONAL WRITERS ENTER?

Yes. All Pipeline competitions are open to writers worldwide. Proud to say, every year we discover great new scripts from writers in Australia, Canada, the UK, Ireland, South America ... all over.

CAN I SUBMIT TO OTHER CONTESTS OR COMPANIES AFTER ENTERING?

Yes. There are no restrictions on submitting to other writing competitions or fellowships, or sending your script elsewhere while entered in the contest. If your script is optioned while in competition, you'd still be eligible as long as you submitted prior to the option or shopping agreement date. If the script is sold during competition, we can pull the entry.

ARE WRITING TEAMS ACCEPTED?

Yes. Only one writer needs to register. If the script is selected as a Quarterfinalist, all co-writer names will be added to the announcement at that time.

WILL YOU ACCEPT TV SERIES PITCHES?

Only completed scripts are accepted. This includes hourlong, half-hour, and other types of digital series scripts.

Pitches may be submitted to our bi-annual Pitch Competition.

Short-form scripts or sketches can be submitted to Film Pipeline.

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