This contest is closed for submissions! Stay up to date the next time this competition opens here.
Final – Jan 15th, 2021 – $89.99
Quarterfinalists – Feb 15th, 2021 – Top 20%
Semifinalists – March 15th, 2021 – Top 10%
Finalists – April 15th, 2021 – Top 5%
Winners – May 15th, 2021 – Top 3
Professional, written feedback for every entrant. An industry jury. Cash prizes and exposure for the winners. This is THE feature contest!
You love movies. We love movies. They are magical and compelling, they teach us about worlds and characters we can only dream of. We love that they make us laugh and cry and jump in fear.
We want to read your feature film scripts that are just waiting to be turned into the next big movie.
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, every single entrant is going to get written feedback from a professional reader! So what’re you waiting for? Send your script into the WeScreenplay Feature Competition now!
Check out our Jury
Jon Levin, President of TV/Film Production, Literary Manager
Jon Levin is the President of TV/Film production for Fourward where he also manages top literary talent. He had a long run (30+ years) as an agent at CAA, where he represented talent such as Andy Serkis, Neil Gaiman, and Mimi Leder, and packaged such films as SHREK, HOOK, MIDNIGHT RUN, ICE AGE, WHERE THE WILD THINGS ARE, THE LEFTOVERS, THE KARATE KID, LITTLE MISS SUNSHINE, AMERICAN GODS and many others. He has worked with top industry talent such as Brad Pitt, Natalie Portman, Steven Spielberg, and Tom Hanks, and films he has been involved with have acquired over 100 Academy Award nominations and 25 Oscar wins.
Camille Tucker, Screenwriter
Camille’s feature CLARK SISTERS: FIRST LADIES OF GOSPEL from executive producers and Grammy Award winners Queen Latifah, Mary J. Blige and Missy Elliott had 2020 Emmy buzz and is one of Lifetime’s most successful films of the last several years. She has sold seven other screenplays and a TV pilot, and Camille is a professor of Writing TV & Film at Biola University.
Brian Goldberg, Literary Agent
Brian Goldberg works as a literary agent at Worldwide Production Agency – WPA. WPA clients have been involved with projects like IT: CHAPTER TWO, RIOT GIRLS, and AMERICAN HORROR STORY.
Lynn Chen, Writer/Director/Actor
Lynn wrote, directed, and starred in the feature film I WILL MAKE YOU MINE, which had its world premiere in competition at the 2020 SXSW Film Festival. She has a 3-decade career with credits in over 50 television shows (SHAMELESS, SILICON VALLEY), films (SAVING FACE, GO BACK TO CHINA), audio books (CRAZY RICH ASIANS) and video games (CALL OF DUTY: BLACK OPS III & IV). Lynn is also an Ambassador with The National Eating Disorders Association (NEDA) and Miry’s List.
Our winning scripts are read by our industry jury and sent to our industry relationships, spotlighting both you as a writer and your project. Many past WeScreenplay winners have been introduced to their manager or a producer they’re working with through our competitions.
On top of the exposure, the WeScreenplay Features Contest is giving away cash and prizes. The Grand Prize script will receive $1,000 cash prize and the top 3 scripts will receive WeScreenplay’s top-notch coverage.
Staffed on a HBO Show
“First, the feedback has been incredibly insightful and validating. Secondly, I got a meeting with a manager through WeScreenplay who I really dig, and now that manager is considering signing with me. Stay tuned!”
Tips for fellow screenwriters
“Make your writing as polished as possible. I see so many aspiring writers out here, desperate to get read by an exec, yet their work is not even ready to share. You want your script to be so remarkable that when an exec finally reads it they have no choice but to meet this undeniably talented writer.”
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“
Tips for fellow screenwriters
“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.”
Signed with Zero Gravity Management
“I think one of the things standing between many writers and their goals is access. Theres plenty of talented writers who’ve yet to get their shot because they can’t get their work in front of the people making the decisions. But, entering WeScreenplay got me noticed and got me management.“
Tips for fellow screenwriters
“Consume everything; Input is just as important as output. Give written notes on your friends’ scripts; it forces you to examine a script from structure, to character voice, to tone, and strengthens your ability to examine your own work… and it helps your friends.”
Signed with manager, John Bauman
“I’m amazed at how much WeScreenplay champions their writers. After I won the TV competition, they jumped right in to support me with amazing advice, resources, and career chats. They have consistently been there to cheer me on.“
Tips for fellow screenwriters
“Network and form community with other people who are right where you are — writing and striving to get better. The people I met in my writing classes, writer’s groups, and co-working spaces really became my community, and I wouldn’t be where I am in my career without their support, kindness, feedback, and soul-searching coffee chats.”
- Overall Impression – A general feeling of your script, writing, and story
- Plot – Scene structure, conflict, tension, logic, and flow will all be taken into account
- Character – Complexity, uniqueness, and arc are taken into account
- Concept – It should be strong enough to carry the story, but doesn’t need to be marketable
- Structure – The overall story is built in a way that is connective and logical
- Dialogue – The characters speak in a realistic, unique, and interesting ways
All scripts are read by a first round judge and receive at least 1-page of written feedback.
Read by second round judge for all Quarterfinalist scripts.
Read by third round judge for all Semifinalist scripts.
Occurs for all of the Finalist scripts to determine the winners.
Top scripts will be scored and discussed by a jury to select the winners. Note: these are the only scores that are not made available to writers as they are completed in verbal meetings.
- 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.
- 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 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)
- Include a title page with NO name(s) of the writer or writing team.
- Not include the writer’s or writing team’s name or contact information on any page of the script.
- 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. A rule of thumb, if your script is formatted properly and under 120 pages, it will likely not be more than 23,000 words. 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 160 pages should be edited down before being submitted.
- By entering this screenplay into the competition, you must have full permission from all co-writers and any attachments to the project.
- Screenplays entered may be in any genre or combination of genres. All will be treated equally and read by an unbiased panel of judges.
- 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.
- 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 of a refund of any kind.
- RESUBMISSIONS will be accepted.
- 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.
- New drafts of an entry will be accepted at any time during the contest.
- 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 and Coverage will ideally be distributed between 2 and 3 weeks following submission, but this is not guaranteed. We only guarantee that coverage will be provided before the quarterfinalist announcement.
- WeScreenplay reserves the right to delay announcements for any reason. Delay may last up to but never more than 180 days. While we never anticipate any delays, such delays will not alter the standing of any screenplay entry and will qualify no script for a refund under any circumstance.
- By entering the WeScreenplay contest every entrant is agreeing to all WeScreenplay Terms and Conditions listed and available before checkout. If you disagree with any terms you may not submit to the contest.
- By submitting to the contest you are releasing your script 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 cash prize winners of over $599 will be required to file a W-9 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.
- Any winners may have their name, script title, and picture used for any WeScreenplay promotions or promotions of our sponsors or affiliates.
- 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.