WeScreenplay’s TV Pilot Lab delivers a one-of-a-kind virtual writing lab hosted by top managers, agents, writers, and more. Winners take part in an interactive 4-day virtual lab with hands-on workshops, industry meetings, and mentorship opportunities.

 

Four to seven winners will be selected to participate in this career-changing lab. Our writing labs feature access to working members of Hollywood. All our mentors will be involved in the lab through group coaching or one-on-one sessions.

 

Free Feedback: All entrants will receive a page of written feedback on their script from their first round’s judge.

 

Past TV Pilot Lab winners and finalists have signed with representation at companies like Zero Gravity, Heroes and Villains, Echo Lake Entertainment, and have landed script deals with companies like Party Over Here, CBS Studios and more.

 

We want to find the best undiscovered TV writers out there, submit today!

Remind Me

Currently closed, but opening again next season.

The WeScreenplay Difference

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Free written feedback. Included with your submission, you’ll receive actionable feedback from a professional reader to help elevate your work.

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Interactive Labs. Our virtual labs put you and your work front and center, so you can receive the hands-on opportunity to learn and connect with working industry professionals.

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A team that cares. The writer development team supports lab winners with ongoing mentorship and guidance - all based on your specific goals.

Previous Season Announcements

Quarterfinalist

Nov 15, 2023

Semifinalist

Dec 13, 2023

Finalist

Jan 17, 2024

Winner

Feb 15, 2024

Industry Guests

Industry guests will join the TV Pilot Lab and will participate in either group sessions or one-on-one meetings with our winners.

Juror Image 1 Juror Image 2

Derek Martin

VP, TV Development Bad Robot

Derek joined Bad Robot in 2017 as an assistant in the Television department and has steadily climbed the ranks since, most recently being named VP of Television. During his tenure, he’s worked on shows like Castle Rock, Lovecraft Country, Lisey’s Story and Little Voice. Next up will be Presumed Innocent for Apple TV+, with David E. Kelley writing and Jake Gyllenhaal starring. Before Bad Robot, he worked in the TV Lit Department at CAA, and at ICM Partners and Marvel Television in Business Affairs. He earned his JD from George Mason School of Law.

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Elise Brown

Staff Writer, Candy, Yellowjackets, former WS Winner

Elise Brown is a television writer based in Los Angeles. Most recently she’s written for Yellowjackets on Showtime and Candy on Hulu, as well as done development with Fifth Season, Joy Coalition and Automatik Entertainment. She typically writes stories that foreground black women and explore hierarchies of power and how they’re reinforced by the realities of race, gender and class.

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Lyra Tan

TV Lit Coordinator, Gersh

Lyra Tan is currently the TV Literary Coordinator at the Gersh Agency and based in Los Angeles. Before joining Gersh in 2021, Lyra interned at Topic Studios and FilmNation Entertainment in New York City. Lyra’s dream is to have the opportunity to champion diverse writers from all walks of life and discover stories for the screen that are both diverse and universal. While diversity is incredibly important, universality is even more so (and everything needs a little sprinkle of magic). She’s the proud daughter of immigrants from the Philippines and has lived in Hong Kong, New York, and California.

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Nick Harris

Literary Manager, Avalon Management

Nick Harris started his career as a doorman at a comedy club in Portland. Rose to a management position and eventually the GM. During this time, along with all the other responsibilities of running a supremely successful and lauded institution, he helped operate and produce the most popular local shows in Portland along with assisting comics to advance and develop. After a decade of cherishing and nurturing his relationships in comedy, running a business, along with his stand-up expertise, Nick transitioned to talent management Avalon.

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Jack Taylor Cox

Creative Executive, Merman

Jack is a Creative Executive and Producer with over ten years of experience across scripted TV, feature film, documentary, and broadcast journalism. Having worked in the US, UK, and Australia, Jack currently serves as Creative Executive at Merman, the US/UK production company behind recent shows such as Bad Sisters for AppleTV+, Shining Vale for Starz, and HouseBroken for Fox. With a background in international programming at AMC Networks and a start in news production in London, Jack brings a wealth of diverse industry knowledge and a keen eye for captivating storytelling to every project.

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Amy Zvi

Manager, Canopy Media Partners

A Talent Manager and Emmy-nominated Producer, Amy Zvi currently serves as an Executive Producer on the HBO and Max special Sarah Silverman: Someone You Love. She is also an EP of the upcoming TBS series, Stupid Pet Tricks, starring Sarah Silverman and produced by David Letterman. Previously, she was an Executive Producer for Hulu’s I Love You, America as well as Netflix’s Bumping Mics and Historical Roasts. She has been a part of numerous other projects including Sarah Silverman’s Emmy award-winning HBO comedy special Sarah Silverman: We Are Miracles, Netflix’s Sarah Silverman: A Speck of Dust, and Comedy Central’s Jeff Ross Presents Roast Battle, The Burn, Jeff Ross Roasts Cops, Jeff Ross Roasts the Border: Live from Brownville, Texas, and the critically acclaimed Jeff Ross Roasts Criminals: Live From Brazos County Jail.

Before making the transition to management and producing, Zvi spent 11 years as a Publicist at BNC (now PMK*BNC), where she was a Vice President in their Entertainment Division. At BNC, she led many high-profile talent public relations campaigns and worked on corporate accounts such as T-Mobile, PlayStation, and General Motors.

She currently manages Sarah Silverman, Nikki Reed, Jeff Ross, Sindha Agha, and a handful of other emerging talent.

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Evan Lesser

Director, Acquisitions, Double E Pictures

Double E Pictures is a production company founded by Eric Eisner to develop and produce content for theatrical, television and digital distribution. Their past projects include Hamlet 2, Long Strange Trip, and All I Can Say.

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Susan Hurwitz Arneson

Co-EP The Continental, Magic Order, Preacher and The Tick, Writer on South Park

Susan Hurwitz Arneson is a Television Writer and Producer best known for her work on six seasons of SOUTH PARK. She was with the show through three Emmy wins and one memorable death threat. Currently Susan is Executive Producing and Show Running an unannounced one hour historic drama for Netflix and Gaumont. Before her current show, Susan worked as a Writer and Co-Executive Producer on THE CONTINENTAL, MAGIC ORDER, PREACHER and THE TICK. In the past Susan has written for Seth MacFarlane’s BORDERTOWN, MR. ROBINSON starring Craig Robinson and MALIBU COUNTRY with Reba McEntire and Lily Tomlin. Susan has also developed series for Fox Television Animation, MTV, Comedy Central and is currently adapting Anthony Bourdain’s HUNGRY GHOSTS for Sony Animation. She received her MFA in Screenwriting from UCLA.

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Corinne Hayoun

Partner/Manager, Manange-ment

Corinne Hayoun, a former CAA theater agent, joined the company in 2015 as head of the New York office. Hayoun has clients with film and TV projects set up at Warner Brothers, Netflix, Apple, FX, Amazon, Max, UCP, Fifth Season and others. Her clients have worked on shows such as the Peabody Award-winning David Makes Man, Emmy-winning The Marvelous Mrs Maisel, and other critically acclaimed shows like Pachinko, Little America, American Crime Story, Black Lightning, and When They See Us, as well as the Emmy-nominated Netflix documentary Reversing Roe and Oscar-winning film Moonlight.  Her clients also work across docs, animation, podcasts, books and extensively in theatre on Broadway & around the world.  Hayoun also served as a co-producer on the hit Broadway play An Act of God starring Jim Parsons, and is a board member of the Lilly Awards Foundation, which celebrates and advocates for women in the American theatre.

Level Up Your Script!

All coverage packages include a 72-hour turnaround time at no additional charge.

First Look

$4999

Includes

  • 4 day turnaround
  • 1.5 pages of detailed notes
  • A logline suggestion from your reader
  • Designed to review your first draft
  • Get a sense of what’s working in the early stages of your process
  • Evaluated as a draft: no distracting Pass, Consider, Recommend rating
  • 24-hour Rush coverage available during checkout

Classic

$6999

Includes

  • 72 hour turnaround time
  • 3 pages of detailed notes
  • Character, Plot, Structure, Dialogue, and Concept Analysis
  • A Pass, Consider, or Recommend rating
  • An overall impression that will highlight extra factors like voice
  • Qualitative scores to help compare your progress
  • 24-hour Rush coverage available during checkout

Bespoke

$8999

Includes

  • 72 hour turnaround time
  • Everything from the Classic package plus…
  • A customized marketing blueprint based on your TV pilot or spec script goal. Choose between:
  • GOAL #1: Pilot as a writing sample to find rep or submit to a fellowship
  • GOAL #2: Pilot to sell to a studio, network, or producer
  • GOAL #3: For specs of an existing show**
  • 24-hour Rush coverage available during checkout

Comprehensive

$16999

Includes

  • 72 hour turnaround time
  • Everything from the Bespoke package plus…
  • Inline PDF notes throughout the script
  • Specific suggestions for detailed changes in your script
  • One follow-up question included ($29 value)
  • 24-hour Rush coverage available during checkout

Prizes

Grand Prize

WeScreenplay Virtual TV Writing Lab

Grand Prizes

The top 4-7 winning scripts will be invited to WeScreenplay’s Virtual TV Writing Lab! This is a once-in-a-career opportunity to network, get exposure for your writing, and learn from working TV writers. All keynote mentors and industry guests will be participating in the TV Pilot Lab subject to availability.

 

Winners will take part in an interactive 4 day virtual lab with hands-on workshops, industry meetings, and will learn from working TV writers. They will take meetings with development executives, TV writers, and learn how to make the most of a client/rep relationship from managers and agents.

 

Additionally, winners will receive guidance for drafting query letters, research methods for finding the right representation, and insight for next steps.

WeScreenplay Lab Testimonials

See what some of our past Lab Mentors and Lab Winners had to say!

Quotation Mark

I loved the mock writers' room. Hearing from a veteran showrunner and getting a firsthand look into the process of creating a season of television was inspiring and invaluable.

Ellen Tremiti

Winner, 2022 TV Pilot Lab

Quotation Mark

Learning from showrunner Naren Shankar, about how a TV show breaks an entire season from the very beginning concepts to final locked-in scripts, pre production to post, was an amazing experience and great prep for anyone hoping to get staffed in a writers room one day!

Hymnson Chan

Winner, 2022 TV Pilot Lab

Quotation Mark

Thank you for such a spectacular week, it has been enlightening and life changing on so many levels. I feel like we had a whirlwind of a grad school education in only four days.

Allyn Rachel

Winner, 2022 TV Pilot Lab

Quotation Mark

The notes session was a great way to revisit my script after a long time with fresh eyes and even more excited feedback. I truly loved reading everyone's scripts and getting to collaborate on this small scale to hopefully help them continue to develop and strengthen their samples, because I know for a fact they did all of that for mine.

Aiko Hilkinger

Winner, 2022 TV Pilot Lab

Quotation Mark

I am loving the workshops and meetings - really I've learned a lot from everyone! Thanks for this intangible experience and for this chance to move forward as writers.

Larissa Gomes

Winner, 2022 TV Pilot Lab

Sample TV Lab Schedule

Schedule

Learn About The Different Session Types

Notes Session

Workshops

Group Mentorship Meetings

1:1 Curated Meetings

Before the lab, we will share all the winning scripts with the group. During a one to two hour session, the group will share script notes verbally. While all the winning scripts are already strong, the purpose of this notes session is to refine your work, to get thoughts on next steps, and to practice giving and receiving notes.

We will have exciting workshops for winners to get hands on experience with industry professionals. In our 2023 TV Pilot Lab, the winning Fellows had the opportunity to participate in various enriching workshops. These included a Writers’ Room Workshop led by Ali Vingiano, Executive Story Editor on THE MORNING SHOW; a group session with staff writers Lucy Luna, ALL RISE and Dallas Rico, REASONABLE DOUBT; a Development Process Workshop with Michael Scott Allen, VP of TV Development at Blackmaled Productions; a Group Session with Derek Martin, VP of TV Development at Bad Robot; a Rep’s Perspective Workshop with Lyra Tan, TV Lit Coordinator at Gersh Agency; a practice pitch session with Nick Harris, Lit Manager at Avalon Management; and a Pitching Masterclass with Jim Arnoff.

The writers will have group meetings with executives, literary managers and other TV writers to learn more about the craft, industry to get a 360 educated learning experience of a professional screenwriting career. Each session will have a mentor share their experience and area of expertise followed by a Q&A with the writers. The writers will meet with execs and managers from Bad Robot, Gersh, and Avalon Management, among others.

Lab recipients will have group and individual meetings with a slate of Keynote and VIP Mentors. This is the perfect opportunity to connect, ask questions, and expand your knowledge of the craft and industry.

Success Stories

Check out more of our Writers’ Successes.

Aiko Hilkinger

Signed with a literary manager

Things take time and you shouldn’t force anything to happen on your time. It’s important to understand that Hollywood moves at its own pace and trying to fight the current will only burn you out faster. While it’s important to write and be as productive with your time as you possibly can, it’s also important to rest and remember that rest is progress too. WeScreenplay has been an integral part in the process of signing with a manager. While they didn’t directly make the introduction, it was through meeting someone at the TV Pilot Lab that I learned about my manager and felt empowered and brave enough to contact her.

Allyn Rachel

Added a TV Scripted agent at CAA to her team

I just loved our group. It was so diverse in terms of everyone’s background and individual genre preference, we all really laughed a lot, there was such genuine investment from everybody involved, and we got to meet with a variety of really fabulous people. Make yourself and your work — the priority. Show up everyday. Set very attainable goals, especially initially as you get a feel for what is reasonable to demand from yourself on a regular basis. Consistency above all else. And buy yourself treats, treats are important.

Kelechi Urama

Script landed a deal with Party Over Here and CBS Studios

After winning, I got connected to the amazing WeScreenplay team who've worked hard to champion my work. I was also contacted by some production companies and even had interest from a manager! I had absolutely no expectations when I entered, but it turned out to be a great opportunity that's created some incredible relationships.

Our Process

Every Entry Includes Judge's Notes

A FREE, 1-page mini-version of our phenomenal coverage from the entry’s first round judge, including their scores!

*Note: You can upgrade your free Judges Notes to WeScreenplay’s famous Classic Notes for an additional fee!

Quarterfinalists - Top 20%

A new reader and another read for every script that makes it to this round.

*Note: You can upgrade to include a fresh round of Judges Notes for a small fee!

Semifinalists - Top 5%

Another new reader and another full read for every script that makes it to this round … and you are welcome to submit an updated version of your script for only $6.

Finalists

Scripts that make it to this round will be read internally by the WeScreenplay team. Scores will not be provided for this round, as judging will be discussed privately.

Winners!

We’ll be reaching out to the winning writers for inclusion in our TV Pilot Lab, which has exciting meetings with mentors and has resulted in numerous signings, collaborations, and staffings.

Rules

General

  • Screenplays entered must:
    • Be screenplays that are a minimum of 18 pages. (scripts under 18 pages will be accepted, read, and considered through the finalist round – but cannot win one of the top 4 prizes).
    • Be submitted in PDF form and must fit all standard screenplay format guidelines. Personal formatting conventions will be accepted but must not intentionally or accidentally alter the page count of the project as determined by the judges.
    • Be owned solely by the writer or writing team listed. It may be an adaptation or reimagining of true events or fictional stories. Projects submitted should not infringe on the rights of any work not available in the public domain. Spec scripts of existing shows are NOT accepted.
    • Be written in English. However, scripts from anywhere in the world will be accepted.
      Be under 70 pages – Anything over 70 pages will be charged an extra $1 per page.
    • NOTE: WeScreenplay automatically removes the cover page before assigning scripts to readers, so writers may include any typical information on their cover page. Scripts are accepted with or without cover pages.
  • Writer must be 18 years of age or older at the time of the winner’s announcement.
  • By entering this screenplay into the competition, you must have full permission from all co-writers and any attachments to the project.
  • WeScreenplay claims no ownership nor option on your work. All ownership and rights to the scripts submitted to this contest remain with the original rights holder(s).
  • Screenplays entered may be in any genre or combination of genres. All will be treated equally and read by an unbiased panel of readers and jury members.
  • The following formats will be accepted: Original TV pilot screenplay
  • Entrant’s total earnings for screenwriting for either film or tv, produced or unproduced, must not exceed $50,000 in the previous 18 months from submission or $250,000 lifetime earnings. This excludes any prize money from competitions or fellowships and only applies to funds or money transferred in exchange for an option or sale of a script, treatment, idea, intellectual property, or other writing for filming. Money earned from acting, directing, producing, or any other film work outside of writing is not included.
  • Screenplays submitted must not have been previously sold or produced unless said sale or production was completed with no financial gain to the writer.
  • Purchasing Additional feedback throughout the competition will in no way impact your standing or odds of advancement.
  • For a submission to be valid it must be accompanied with the appropriate payment based on the submission deadlines.
  • All deadlines are at 11:59pm PST on the date listed. Any deadline alteration or promotion of any kind does not make any entry valid for a refund of any kind.
  • RESUBMISSIONS will be accepted. Alterations can be re-uploaded via our submissions management platform at coverfly.com for $6. New drafts of an entry will be accepted at any time during the contest.
  • There are no refunds for any submitted screenplay. Coupons may not be applied to previously submitted scripts. Coupons deemed for WeScreenplay coverage may not be used for submission to the contest or addition of coverage to any submission unless explicitly stated or exempted on the coupon or by a WeScreenplay representative via e-mail communication only.
  • There is no limit on the number of scripts a writer or writing team may submit.
  • Prizes are awarded per script and teams of writers are expected to divide prizes on their own accord. WeScreenplay will send prizes to the writer who submits the project and will in no way be responsible for how the prizes are distributed among the writing teams.
  • The decision of the judges will be final and cannot be contested in any manner. There is no score on a scorecard that guarantees advancement to the next level as advancement will be based on all scores in the competition.
  • Scorecards can be accessed on the writer’s dashboard. Feedback will be delivered before the next announcement but usually sooner. Feedback for each round of the competition, whether it’s the 1 Page or 3 Page option, will be returned before the next competition announcement.
  • WeScreenplay reserves the right to delay announcements for any reason. While we never anticipate any delays, such delays will not alter the standing of any screenplay entry and will not qualify an entry for a refund under any circumstance.

Eligibility

  • By entering a WeScreenplay competition every entrant is agreeing to all WeScreenplay Terms of Service listed on the website and additional terms agreed upon at checkout. If you disagree with any terms you may not submit to the contest.
  • By submitting to the contest you are releasing your script (but not it’s underlying rights) to WeScreenplay and holding harmless WeScreenplay or any affiliates from any claims, expenses, and liabilities, including but not limited to invasion of privacy, defamation, copyright, libel, trademark infringement, slander, personal property infringement, etc.
  • Any prize winners will be required to sign an affidavit validating their entry into the contest.
  • Any writer winning a cash prize of over $599 will be required to file the appropriate tax and legal documentation before the cash prize is distributed.
  • All prizes provided by sponsors or mentors are subject to said sponsor or mentor providing the prize. WeScreenplay will do everything in its power to collect the prize packages promised, but is not responsible for a sponsor’s failed delivery.
  • Former Grand Prize, Second Prize, and Third Prize Winners of the contest may enter so long as it is NOT the same script that won in a previous year. Any other placement in former years does not disqualify the script from being entered this year.
  • By entering the competition, entrants are acknowledging their eligibility for the competition. 99.9 % of entrants enter in good faith, and validating everyone at that stage would be inefficient and take away from efforts reading and finding the best scripts. We do check eligibility at the finalist stage before picking winners or distributing any prizes. We also advance a few additional scripts to ensure no one is missed by someone entering who is not eligible. We check all finalists and on a case by case basis in earlier rounds if something seems like it may not be eligible.
  • Void where prohibited.

Additional Legal

  • Except where prohibited by law, participation in the contest constitutes each entrant’s consent to WeScreenplay and its agents’ and contest sponsor’s use of entrants’ names, likenesses, photographs, and/or personal information for promotional purposes in any media, worldwide, without further payment or consideration. All uses of a entrants’ information are in accordance with our Privacy Policy.
  • BY ENTERING THE CONTEST YOU ACKNOWLEDGE THAT YOU HAVE READ AND AGREE TO THESE CONDITIONS. You agree to release and hold harmless WeScreenplay, Red Ampersand, Inc., Industry Arts, LLC., WeScreenplay.com, its subsidiary, parent and affiliated companies, Prize contributors, judges, screenplay readers, Sponsors, and any other organizations responsible for administering, advertising or promoting the Contest, and every one of their respective members, directors, employees, agents and representatives (collectively, the “Released Parties”) past and present from and against any and all claims, expenses, and liability, including but not limited to damages and negligence to property and persons, including but not limited to invasion of privacy, defamation, slander, libel, violation of right of publicity, copyright, infringement of trademark or other intellectual property rights relating to a participant’s Entry, participation in the Contest and/or acceptance or use or misuse of Prize; provided however, that such release will not apply to any commercial exploitation of the script by a Released Party in violation of your rights under applicable copyright law; and (c) indemnify, defend and hold harmless the WeScreenplay.org and its Sponsor, agents and employees from and against any and all claims, expenses, and liabilities (including reasonable attorney’s fees) relating to an entrant’s participation in the Contest and/or entrant’s use or misuse of Prize. Employees of WeScreenplay and their immediate families are ineligible to participate in this contest. Any such submission will be immediately disqualified. ENTRY TO THIS CONTEST IS VOID WHERE PROHIBITED or restricted by any Federal, State or Local law. Voided entries will be refunded. Recipients’ eligibility will be verified before the grant is awarded and the winner may be required to sign an affidavit of eligibility.

Select Notes

How many pages of notes would you like included with your entry?
1 Page
Standard
$79.99
3 Pages
$149.99
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