Select Page
Spring 2018 Screenwriting Contest Launch!

Spring 2018 Screenwriting Contest Launch!


This time we’ve opened the doors for many new categories including VIDEO GAMES, STAGEPLAYS (ETC), and if you beat the rush now it’s an introductory price of just $19 to enter!

Grand Prizes: Up to $1 million in option monies from the producers & studios we work with.

If an established studio/production company makes an offer on your project, we will fly you to Los Angeles and cover your flight & hotel costs for three days.

Through our exclusive arrangement with TALENTSCOUT INTERNATIONAL MANAGEMENT (TSIM) we can guarantee the contest winner representation.

Furthermore, the top ten projects will be considered for representation. Through its wide reaching agency contacts, TSIM can also help find you a literary agent. TSIM is a boutique management company which concentrates on representing international clients – whose work sells in the US and EU.

Over the last 18 years HUNDREDS of writers have found representation and writing assignments through us, gotten THOUSANDS of pitch meetings, had their projects optioned, sold and produced just because they excelled in the WriteMovies Contest. Let us open doors for you.

We succeed, when you succeed!

Here’s the full list of categories:

  • Screenplays
  • Shorts
  • Stageplays (theatre)
  • Teleplays (long and short form pilots)
  • Spec scripts
  • Books, including comic books and graphic novels
  • Video game scripts

Check out the PRIZES, RESULTS DATES, and JUDGES INFO below.


Entry fees, deadline dates for each medium:

Entry Windows Feature & stageplay  prices Book & Video Game Prices Teleplay Prices
Early Bird Entry

(March 23rd – April 5th)

$19 $29 $19
Standard Entry

(April 6th – April 26th)

$29 $39 $25
Late Entry

(April 27th – May 17th)

$39 $49 $35
Extended Late Entry

(May 18th – June 7th)

$49 $59 $45



Prizes and awards up for grabs in each category… Click on the prizes to learn more about them!

PRIZES Overall Winner Best Studio Script Best Indie Script Best Short Script Best Long Form Pilot Best Short Form Pilot Best Book Best Stageplay Best Video Game Script
$2000 Cash Prize YES
Year of script and pitching development worth $3200 YES YES YES
Elite Consulting YES
Development Notes YES YES YES YES YES YES
Studio Coverage YES YES
Judging Feedback YES YES
Confidential Studio Manual YES YES YES YES YES YES YES YES YES
Inktip prizes guaranteed to winner

1st, 2nd, and 3rd Placed Winners


Guaranteed Pitching to Industry

1st, 2nd, and 3rd Placed Winners


Virtual Film School exclusive previews YES YES YES YES YES YES YES YES YES

For more info on how we pitch our winners click here and about our relationship with Talent Scout International Management here. Find out who our judges are below the submission form.

Get a taste of some of these prizes EARLY – our Script Development Notes services start from just $119!

Results Dates

Overall Winner Best Studio Script Best Indie Script Best Short Script Best Long Form Pilot Best Short Form Pilot Best Book Best Stageplay Best Video Game Script
10th August 3rd August 3rd August 3rd August 27th July 27th July 20th July 13th July 6th July



Enter here!

Enter your screenplay or stageplay here…

Entry terms and prizes:

Why not enter for free by buying one of our other services:

Terms and conditions:

By clicking "Submit", I agree:

1. To the accuracy of the information provided.

2. That the material submitted is my sole and original work and that I own all rights to it.

3. To my holding WriteMovies and all those involved in it, harmless from and defends them against all claims demands, losses, costs, damages, judgments, liabilities and expenses (including attorney's fees) arising out of or in connection with any and all claims of third parties, whether or not groundless, based on any stories submitted to the competition or on any screenplay developed out of such stories.

4.That I recognize that WriteMovies and those involved in the competition to which this submitted entry pertains, may have access to, and/or, may have created, or have commissioned, through some other independent source, or may have otherwise acquired, literary materials and concepts, similar to the material submitted hereunder, in theme, idea, plot, format, or in any other respect. I agree that I will not under such circumstances, be entitled to any compensation, nor consideration of any kind, through the use by WriteMovies of any material so acquired. The ownership of any literary work submitted shall remain vested in the author, until otherwise assigned by contract.

5.That should I be one of the winners, I grant WriteMovies the exclusive right to submit my material to as many studios, production companies and agencies as seen fit, for a period of ninety days from the announcement of the competition winners. I also grant WriteMovies the right to use my name, as well as the title and synopsis of my submitted material, in all publicity and promotional activities related to the competition. I also grant WriteMovies the right to contact me to provide me with contest updates.

6. That the burden of obtaining copyright or otherwise protecting any proprietary interests in the material rests entirely with me.



  • We no longer accept checks due to issues with fraud. Please use the PayPal options when participating. Please ensure you can send AND receive payments via PayPal.
  • There are no physical items deliverable under our services – all reports will be provided by email in standard document formats.
  • Once a project has been processed, there is no refund.
  • Cancellations must be requested within 48 hours before any public announcement of winning entries and/or before receipt of any completed.
  • Entries MUST have a cover sheet/titlepage with contact info in order to be considered.
  • Grand Prize: $2,000 cash prize and guaranteed representation. 1 Full year of script mentoring for the top three winners, including development notes on all re-writes of the top 3 winning scripts. Worth $3,200
  • Up to $1 million in option monies from the A-List producers we work with. If an established studio/production company makes an offer on your script, we will fly you to Los Angeles and cover your flight & hotel costs for three days. We will pitch the top three projects to relevant production companies. You keep ALL the option/sales money (unless you commission an agent, manager or attorney to represent you). The Grand Prize winner is also pitched to several literary agencies and management companies as well as non-US companies to increase the chances of a sale. The names of the top three winners and their projects are mentioned in press releases and on the web.
  • InkTip: Where producers go for scripts and writers.
    Winners will receive an InkTip Script Listing and have their logline featured in InkTip Magazine so they can promote themselves and their scripts to InkTip’s entire network of producers, managers, and agents. InkTip Magazine is sent to over 15,000 producers and representatives.
    Companies who are InkTip members include: ABC, Anonymous Content, APA, CBS Films, HBO Films, ICM, Paradigm, Paramount Pictures, Hallmark Channel, FX, Universal, WME, Echo Lake, Zero Gravity, Bad Robot, 20th Century Fox, and many more.
    Producers have made more than 315 films from scripts and writers found through InkTip sent to over 15,000 producers and representatives.

Our Judges

We have a high calibre team of agents, managers, producers and studio executives who act as our judges. Due to the work commitments of these people it is hard to release a list of names at an early stage because they have a tendency of vanishing on location etc. at short notice. We will however release a list of judges as we get closer to the contest ending.

Alex Ross

Our founder, CEO, BAFTA member and film producer. He is presently producing BAFTA winner and twice Academy nominated, director Habib Zagarpour’s first feature: SQUADRON and will produce Carolyn Krass’ award-winning screenplay: MAGNETIC, with Diane Nabatoff and Jon Amiel directing.

He has had the privilege of working with and discovering several Academy Award nominees, to include: Andrew Niccol (TRUMAN SHOW), Iris Yamashita (LETTERS FROM IWO JIMA), Pat Duncan (MR. HOLLAND’S OPUS), Habib Zargarpour (THE PERFECT STORM) etc. Learn more about Alex here.

Ian Kennedy

Our Director of World Wide Development, and a former BBC writer with nearly 150 broadcast credits. Ian has been a Hollywood Script Analyst for WriteMovies since 2013 and has helped hundreds of writers to improve their scripts and pitches in that time.

Jamie White

Our youngest analyst adds the perspective of the most profitable audience group out there. Jamie has also spent two years working as an analyst and assistant for WriteMovies, and before that earned a degree in Film Studies.

Our Partners



Writing for Video Games: Teaser

Writing for Video Games: Teaser

Our new contest is almost here! And before we announce it we want to draw your attention to our NEW special prize… with the first of our new series of articles about WRITING FOR VIDEO GAMES by Jamie White.

I love gaming. It’s one of the few ways that I can truly turn off from the outside world, and relax… well, mostly (Fifa and Overwatch have given me my fair amount of stress!) Even watching films I can’t fully switch off. Maybe I’ll notice some blatant exposition for no other reason than to be exposition, or I might simply note to myself “shot, reverse-shot, shot”.

Gaming Is different, though. I become fully invested in the protagonist and their story because, as silly as it sounds, I AM the protagonist. It’s my story. I am experiencing these things because I am controlling this character freely and the character’s progression depends entirely on my own.

I’m sure I’m not the only one who has this same experience… and it’s great that we are now accepting video game submissions! So, I decided to look at a few games and note down how you can take similar aspects into writing your own video game script…


Online multiplayer games are incredibly popular and are possibly the most profitable type of games as it offers a unique element of competitiveness to them. You can actually test your true capabilities as a player. Now, this “loot box” fiasco has taken some glory of these types of games (sarcastic clap for EA) but these are still viable games.

For me, the one gaming franchise that comes to mind when you talk about online modes being more important that the story is Call of Duty. While the golden age of CoD has faded, with some ridiculous and over-zealous stories, they continue to be popular. Why? Online modes. Whether it’s a straight-up team deathmatch or the infamous “CoD zombies”, Call of Duty games continue to sell for their online games modes.

But they still contain story campaigns, and rightly so. They may not be the main draw of the games now, but they’re still vital elements to their marketability. The way these games utilize their stories could also be the easiest way for new video game writers to get involved with the medium.

Note: I haven’t played a Call of Duty game past Black Ops, so I’ll be mostly referring to Modern Warfare 1 & 2, World at War, and Black Ops itself.

Now The way the stories work in these types of games is fairly simple. There’s one narrative (maybe two) that goes from A to B – much like a regular, linear screenplay. The difference is the scenes of this type of video game script would be HUGE. You should treat your scenes like levels in a video game (sounds obvious, but it really is the best way I can put it). The levels won’t last 10 seconds like some screenplay scenes, but closer to 10 minutes, and probably even longer. Check out this video of the first level to Call of Duty: World at War.

That opening is close to two minutes long – that sets up the premise of the entire game. There’s another “cutscene” that acts as an intro to the level itself – another 30-40 seconds there. That means the level itself is around 10-12 minutes long. Consider that a scene for your video game script and compare it as a regular feature script scene – that’s a huge difference. Saying that, that’s the only real difference. Take note of how certain NPCs (non-playable characters) only appear or act when the player is close by – see how that would be scripted? It’s very cinematic. Very filmic.

If you’re new to video game writing, you should definitely take this sort of approach.

Next, I’ll look at a couple of games where the narrative is imperative but gameplay takes a backseat, and how that could be much more complicated than this method.

Winter 2018 Screenwriting Contest Winners Revealed!

Winter 2018 Screenwriting Contest Winners Revealed!

The results are in… Winter 2018 Screenwriting Contest winners are revealed below!

Another contest complete, another group of winners revealed. We’ve seen the growth and improvement in many writers who have submitted – something that is reflected by the results! Thank you to all of you who entered for making our jobs of judging the scripts enjoyable.

We strongly encourage you to take advantage of our script consultancies to find out why your script placed where it did. Our top 3 now get those for free for the next year!

Here’s what our Top 3 win…

  • Cash prize of $2000 for our Grand Prize Winner
  • The 3 winners will receive one year free of script development and mentoring.
  • We’ll also pitch and promote the scripts to the top of the film industry. Remind yourself what makes for winning writing HERE.
  • Plus, exclusive prizes from InkTip – an InkTip Script Listing and the winning scripts’ loglines will be featured in InkTip’s Magazine, read by thousands of writers and producers.

CONGRATULATIONS to SLAVE SHIP by Tyler True for winning the Winter 2018 Screenwriting Competition!

A great win for Tyler for this excellent script about harrowing history and inspirational change. Tyler now takes home those wonderful prizes listed above. But we must also congratulate…

Second Placed Winner, CHARMER by David Kurtz – David has improved on his Third Placed finish in our Summer contest and was so close to taking home the main prize! Good job, David!

Third Placed Winner, INSURRECTION by Simon Bowler. Another win for Simon following on from his “Best Teleplay” win – another script that has continued to improve over multiple submissions!

And, of course, a special congrats to our Honorable Mentions: NEW REALITY by Carolyn Kras, MAGIC MAN by Norma Hickox, THE CRAWL-UP by Gabriell DeBear Paye, VALENTYNE by Dashiell Finley, THE DAWN OF EVE by James Bingham, A Shadow in Space by Bryan Reilly, and THE FOURTH COURIER by TIMOTHY JAY SMITH.

A very well done to everyone named here and the many other impressive scripts we read this time round. It’s been a tough field to choose from!

We’ll be telling you all about our winners in the coming weeks, and getting their script development phase underway.

Head to our Facebook page and our Twitter feed to congratulate our top three winners and Honorable Mentions yourself!

Why we can’t wait for a BLACK PANTHER sequel…

Why we can’t wait for a BLACK PANTHER sequel…

With the recent announcement of a BLACK PANTHER sequel, we look at why this will be a good thing for superhero films.

They are just not going away. Disney, Marvel, DC, and any other company making superhero films will continue to make them. They just make too much damn money. At least, in the case of BLACK PANTHER and its potential sequels, we might be going in the right direction.

BLACK PANTHER shows us cinema currently evolving. It has a strong black lead (and incredible supporting cast) and it has very sparing references to the wider MCU, almost making it a standalone film. We’ve written why both of these things already, so go check those two articles out! (Links below…)  But in short, BLACK PANTHER allows black audiences, regardless of nationality, gender, religion, etc. to relate to a superhero character, for almost the first time. Sure, Blade and Storm (X-MEN) kinda count, but this is the first time that a superhero film has had a majority black cast, and the reaction to the film has been great. This has been a rare film where both critics and audiences agree on how good this film is. And now the film has even surpassed $500 million at the Box-Office – overseas! (Over $1 billion worldwide, which is just as incredible).

But BLACK PANTHER really sums up the way cinema, and specifically superhero films, is going. Black leads are becoming more prominent and production companies can bank on black actors more and more. But I particularly like BLACK PANTHER because it was essentially a standalone film. You don’t need to have seen IRON MAN, CIVIL WAR (which was Black Panther’s live-action debut), or any other Marvel flick to understand what’s going on with this film – and that’s great. Marvel seems to be adapting and evolving and moving away from every film being inherently connected – and that’s just fine with us!

Read more about BLACK PANTHER’s Box-Office success here:

Read about why scripts with black leads are big right now here and why it might be time for superhero films to stand alone here.

Winter 2018 Contest “Best Teleplay or Pilot” Winner

Winter 2018 Contest “Best Teleplay or Pilot” Winner

Huge congratulations to our Best Teleplay award winner, INSURRECTION by Simon Bowler! That’s two TV awards in two contests for Simon!

Simon now receives free Development Notes to help make his pilot breakthrough. With on-demand bringing the best shows into our homes whenever we want them, the appetite for scripted TV shows is massive and so are the range of new ways to get them made.

Our second placed television entry is SHAKESPEARE OF AVON by James Hanson! For finishing in second place, James will also gain free Development Notes on his pilot. We think there’s some great potential in these two teleplays and we’re looking forward to setting them on the path to success…