You love movies. We love movies. They are magical and compelling, they teach us about worlds and characters we can only dream of. That’s why the WeScreenplay Feature Competition exists — to have the worlds and characters you dream of elevated to the industry folks who can take that script and get it greenlit.
And just look at our industry jury — these are the folks who can take a script and turn it into a film. They’ve done it before and they’re always looking for great writers to do it again.
PLUS, starting this competition, WeScreenplay will be inviting winners to our very first Feature Screenwriting Lab! Writers will tackle meetings with industry executives, participate in hands-on workshops, and learn from working feature writers.
With EVERY SINGLE entrant getting written feedback from our professional readers, it’s a no brainer. So what are you waiting for? Send your script into the WeScreenplay Feature Competition now!
Stephanie Smalling is a Motion Picture Literary Agent at leading entertainment and sports agency Creative Artists Agency (CAA). CAA creates limitless opportunities for the storytellers, trendsetters, icons, and thought leaders who shape popular culture, representing clients Zendaya, Simu Liu, Margot Robbie, Taika Waititi and more. Smalling is based in the Los Angeles office and represents many of the world’s leading directors and writers, including Phillip Youmans, Natasha Rothwell, and Julie Dash, among others. Her clients are known for LOVE, VICTOR, SYLVIE'S LOVE, DAWN OF THE PLANET OF THE APES, and more. Smalling began her career at the Home Shopping Network. She joined CAA in 2017. Smalling graduated from Florida State University with a degree in Media/Communication Studies. She also holds a Master’s degree in Television, Radio & Film from Syracuse University.
Iram Parveen Bilal
Screenwriter & Director
Raised in Nigeria and Pakistan, Iram is a serial fish out of water and has a keen eye into characters coping with challenging circumstances. Her feature I'LL MEET YOU THERE was in competition at SXSW 2020 and was acquired by Abigail Disney's Level Forward. Bilal's feature WAKHRI (ONE OF A KIND) was invited to the 2019 Cannes Cinefondation L'Atelier Official Selection and is slated to go into production in 2022. Her pilot DETAINED was highlighted as one of the best unproduced pilots of TV by WeForShe and was optioned by Wayfarer Studios. Most recently, she was hired to write a pilot and break series for two seasons of a hip hop dance drama by the Emmy Award winning producers of Netflix's DELHI CRIME. Bilal has been featured on NPR, BBC, the New York Times, Bloomberg, Filmmaker Magazine and more. Bilal initiated the Pakistani Oscar committee and is the founder of Pakistan's first professional screenwriting lab (QALAMBAAZ).
Kacy Bartleigh works for Luma, a special effects and feature production company based in both Hollywood and Australia with credits that include GODZILLA V. KONG, CANDYMAN, SPIDER-MAN: NO WAY HOME, THOR: LOVE AND THUNDER, and more. Luma Pictures is a globally renowned & independent creative studio bringing magic to acclaimed movies & more for nearly 20 years and Luma Features is independently developing, producing, and fully financing original films with a highly imaginative and emotionally rich creative mandate.
Head of Development & Production at Likely Story
Stefanie Azpiazu is head of Development & Production at Likely Story, the production company behind the recent movie adaptation of Lin-Manuel Miranda's IN THE HEIGHTS. Stephanie has produced Charlie Kaufman’s I’M THINKING OF ENDING THINGS, Tamara Jenkins PRIVATE LIFE, Nicole Holofcener’s ENOUGH SAID, amongst many other films. Prior to Likely Story, she worked in acquisitions at USA Films and October Films.
The top scripts are read by our incredible industry jury and 3 winners will be invited to participate in WeScreenplay’s exclusive Feature Lab. This is a once-in-a-career opportunity to network, get exposure for your writing, and learn from successful feature writers whose work is shaking up the industry!
Winners will take meetings with development executives, attend a notes session, and learn how to make the most of a client/rep relationship from managers and agents. It’s an exciting, hands-on schedule of events that will help you further your career — all from the comfort of your own home
Additionally, the winners get access to ongoing mentorship from WeScreenplay including an initial phone call, guidance for drafting query letters, research methods for finding the right representation, prep before big meetings, and strategic planning for next steps in their careers — all based on the writer’s specific goals.
After placing as top Finalists in the 2021 WeScreenplay Feature competition, Alex George Pickering & Matthew Breault signed with a literary manager at ATN Entertainment after WeScreenplay set up a meeting between them.
From the Writer
“After placing among the Top 10 Finalists of the 2021 Feature Competition, [WeScreenplay] connected us with numerous management and production companies. As a result, we had the wonderful privilege of interviewing with several managers…[and] are excited to say that we are now signed with ATN Entertainment!”
Producer attached to her project!
Erica Tachoir won the WeScreenplay Feature contest and was connected to Hollywood producer Melissa Azizi, who was a juror on the contest. They met to discuss the project and after working on it together, Erica has officially attached Melissa as a producer on the project.
From the Writer
“Contests have deadlines. And deadlines help to give you that all-important structure to get your work done. For me, winning WeScreenplay introduced me to a great creative partnership with Melissa Azizi, who has been attached as one of the producers on my script ever since.”
Signed with KPE!
After placing as a Finalist in the Spring 2021 Diverse Voices with her feature script, WeScreenplay pitched Soma to several managers, garnering multiple meetings and offers. As a direct result, she signed with Josh Goldenberg at Kaplan/Perrone Entertainment.
From the Writer
Considering entering a WeScreenplay competition? “Absolutely go for it! You can get invaluable feedback to polish your script and it’s an amazing opportunity to get your work in front of reps. I’d like to say a big, heartfelt thanks to WeScreenplay for helping me connect with representation. Sarah Eagen was the epitome of professionalism and courtesy. I don’t doubt that I would be much further behind in my journey to find representation if it weren’t for her help.“
Signed with Two Reps!
After winning a WeScreenplay competition with his feature script RISING SON, WeScreenplay set Junot up with numerous meetings with literary reps. After fielding multiple offers, he signed with manager Cameron Cubbison at Zero Gravity and agent Halle Mariner at APA!
From the Writer
WeScreenplay gave me inspiration and encouragement. It just takes one person to believe in you to help you get a running start. WeScreenplay filled those shoes, and I’m grateful. The world is hungry for fresh news in the form of story, and you as the artist are their chosen messenger. Your story and voice are worth it. WeScreenplay treated us all with care, support, and insight. My first reader’s notes were the most helpful, actionable notes I’d ever received.
Got a Paid Writing Gig
"WeScreenplay has been instrumental in my career. Its coverage was tough love, but honest and insightful. Their readers not only highlighted my weaknesses but always offered ways how I might improve. It gave me the confidence to get my stuff out there, and to place in a number of screenwriting competitions. After winning its 2018 Feature runner-up award, WeScreenplay’s staff took me under its wing and hooked me up with successful pros."
From the Writer
“It can be a cruel, lonely business, so do it only if you love it. And if you do, then persevere, persevere again and persevere some more. And never forget to network with your peers.”
GET NOTES FIRST!
All coverage packages include a 72-hour turnaround time at no additional charge.
72 hour turnaround time
4 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
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 the full, 4-page Classic Notes for an additional $55!
Quarterfinalists - Top 20%
A new reader and another full read for every script that makes it to this round.
*Note: You can upgrade to include Judges Notes for $55!
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 $5.
Finalists - Top 25 Scripts
All scripts that make it to this round will be read internally by the WeScreenplay team as well as by our industry jury. Scores will not be provided for this round, as judging will be discussed privately.
The top scripts selected by the Judges and WeScreenplay team! We’ll be reaching out to the winners with information about the WeScreenplay Features Lab.
Rules & Details
Screenplays entered must:
Be screenplays that are a minimum of 70 pages. (All scripts under 70 pages will be accepted, read, and considered through the finalist round – but cannot win one of the top 3 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. Anything over 120 pages will cost $1 extra per page.
Be owned solely by the writer or writing team listed. It may be an adaptation or reimagining of true events or fictional stories.
Be written in English. However, scripts from anywhere in the world will be accepted.
Have pages numbered. Scripts of any length will be accepted for an additional fee, but we’d advise that scripts over 150 pages should be edited down before being submitted.
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: Feature 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 fund 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 $5. 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 4 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.
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.
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.
How many pages of notes would you like included with your entry?