Jeff Portnoy is a Literary Manager at Bellevue Productions. Previously, he worked at Creative Artists Agency, The Gotham Group, and other talent agencies, where he spent six years as a story analyst, providing notes on scripts for major studios. Jeff’s clients include Josh Golden, whose script Road to Oz was a Black List entry, an Academy Nicholl Fellowship Finalist, and sold to New Line Cinema. Other clients include Mark Mavrothalasitis, with projects at Alcon Entertainment, and the writing duo Samuel Franco & Evan Kilgore, whose script Mayday 109 is set up at Thunder Road Pictures.

Jon Hersh is an independent literary manager working with writer and writer/director clients in film and TV. He created Housefire Management in 2017 to find bold voices with incendiary material. Since then, his clients have developed projects with Universal, Netflix, Amazon, Disney, Lionsgate, Paramount Players, AMC, Nickelodeon, Spyglass, and more. His clients regularly appear on the annual Black List, with one achieving the #1 spot in 2022. Before becoming a manager, Jon was a Development Executive at Broad Green Pictures, developing a slate of projects and delivering detailed notes to writers. His career began as a full-time story analyst at Creative Artists Agency, where he evaluated thousands of screenplays, pilots, and books. Jon is an alumnus of USC's School of Cinematic Arts and resides in West Hollywood with his wife and two sons.

Andrew Bergamo is a development executive and independent producer with over a decade of experience. From his beginnings as a Marvel Studios intern to his current role as Director of Development at The Donners' Company, he has worked on iconic franchises like Guardians of the Galaxy, X-Men, and Lethal Weapon. He champions bold new voices and innovative storytelling, with projects like FX's Legion under his belt.

Jason Lubin is a manager-producer and the principal at First Story Entertainment, which he founded in 2018. The company represents a diverse roster of writers and directors with fresh voices for Film and TV. Clients have worked on shows for Showtime, CW, Apple+, and Netflix, and have sold series to Disney and HBO Max. Jason also develops film and TV projects under the company banner. Previously, he served as Head of Development & Production at Lynda Obst Productions and worked at Lionsgate, where he rose to Story Editor in the Motion Picture Group.

Jennifer Ray is a Producer and co-founder of LYLAS Pictures with filmmaker Lauren Miller Rogen. LYLAS’s credits include Netflix’s Like Father and Focus Features’ For A Good Time, Call…. The company is currently producing the adult animated dramedy Tangles and developing projects such as a feature inspired by Avril Lavigne’s Sk8er Boi. Previously, Jen was a literary manager at Heroes & Villains Entertainment, where she represented an all-female roster. She also worked at Principal Entertainment LA, Benderspink, CAA, and William Morris. Jen is an alumna of Cornell University and USC’s Peter Stark Producing Program.

Trent Anderson is a manager-producer at Anonymous Content, representing diverse writers, directors, and actors. Born and raised in Southern California, Trent fell in love with entertainment early, influenced by his father showing him Eddie Murphy’s RAW. After graduating from Cornell with an Economics degree, he began his career at Joanne Horowitz Management before transitioning to Anonymous Content. His first feature, Wes Schlagenhauf Is Dying, premiered at Tribeca 2022. Trent continues to build his roster while producing projects in the feature and TV spaces.

Brian Spink is a literary manager/producer at REALM, which he founded over five years ago. Formerly with Benderspink, Brian has represented writers and directors across film, TV, comics, and video games. He has produced films like Ratter (Sony) and is developing projects like Abducted (Paramount) and Last Voyage of the Demeter (Millennium). His clients have collaborated with filmmakers such as Sam Raimi, Roland Emmerich, Steven Spielberg, and Michael Bay.

Zack Zucker is a Literary Manager at Bellevue Productions. Before joining Bellevue, he worked at Google, United Talent Agency, and Twentieth Century Fox. Zack holds an MFA from USC's Peter Stark Producing Program and a BA from the University of Michigan. His clients have achieved significant success, including #1 placements on the Black List in 2020 and 2021. On the feature side, films by his clients have premiered at Sundance, SXSW, TIFF, and Tribeca. On TV, his clients have contributed to shows like FBI: International, Frasier, and Flatbush Misdemeanors.

On the feature side, his clients have placed #1 on the 2020 and 2021 Black Lists and had films premiere at Sundance, SXSW, TIFF, and Tribeca. On the TV side, his clients have written on such series as FBI: International, Frasier, and Flatbush Misdemeanors.

Zach Bianco is the Director of Development at Feigco Entertainment, where he has played a significant role in shaping their television projects. He recently served as co-producer on the Starz series Minx. Zach holds an MFA in screenwriting from UCLA and previously worked on RuPaul’s Drag Race in his earlier career.

Gabrielle Utsey attended The University of the Arts in Philadelphia, earning her BFA in Writing for Film and Television. After graduating, she moved to Los Angeles, starting her career in children’s television at The Jim Henson Company. She later worked as Prentice Penny's assistant on The Hustle. Gabrielle expanded her experience in unscripted and branded content before returning to scripted television at HBO Max. As a junior executive, she contributed to series such as The Flight Attendant, Raised by Wolves, Pennyworth, DMZ, and a Dune spinoff series. Currently, as VP of Development at Layne Eskridge’s POV Entertainment, Gabrielle focuses on genre-bending stories featuring marginalized people. She enjoys comic books, graphic novels, action movies, crime thrillers, and horror.

Mireia Vilanova is an animation and live-action producer and executive from Barcelona, now based in Los Angeles. Her work has been showcased at prestigious festivals, including Sundance, Tribeca, and Outfest. At Cartuna, she serves as Producer and Director of Development, overseeing projects for Nickelodeon, MTV, and Comedy Central. Her credits include working on iconic franchises like SpongeBob, Dora the Explorer, and Monster High. In live-action, she has produced features such as By Design (Sundance 2025) and I Live Here Now (Utopia Films). Mireia is a Sundance Producers Lab Fellow and a recipient of the Berlinale VFF Talent Highlight Award. She holds an MFA from USC’s Peter Stark Producing Program and a BA from Pompeu Fabra University in Barcelona.

Lisa Alford is a Development Executive at Johnson Production Group. Before this role, she worked at TriStar Television, specializing in identifying IP that championed diverse, authentic characters. Lisa also worked at Sony Pictures Television as a production coordinator in the Television Movies and Miniseries department and on the WGN series Outsiders. At Johnson Production Group, Lisa shepherds projects from concept through story development, production, and post-production.

Alex Barnes is a Manager and Producer working across Australia, Canada, and the US in both scripted and unscripted content. His credits include productions like HOUSE OF CARDS, MANHUNT: UNABOMBER, the FIFTY SHADES OF GREY trilogy, and Tim Winton's THE TURNING, which premiered at the Berlin Film Festival. Named on Coverfly and The Tracking Board's inaugural Industry NEXT LIST of rising executives in 2022, Alex has sold projects to major platforms including Disney+, Universal Pictures, Netflix, Amazon, FX, and more. His clients include Jeff Chan (CODE 8), Robbie Amell (THE DUFF, UPLOAD), and Neil Pollner (MASS EFFECT, BIOSHOCK). He started his career in Australia directing and producing documentaries and music videos. Alex serves on the Industry committee for Australians In Film and was on the Hollywood Radio & Television Society board.

Lit Entertainment Group's Patrick White is a Creative Executive. Lit Entertainment Group was founded in 2019 and has produced Disney/Fox’s FREE GUY and Amazon/Skydance’s film THE TOMORROW WAR, HBO Max sci-fi series RAISED BY WOLVES, and the recent ABC/Hulu series PROMISED LAND.

Shelby Eggers (she/her) is a Manager at Lit Entertainment Group. Some of her clients include Dwayne LeBlanc (“Civic”), Simone Faoro (“The Yellow”), M.C. Plaschke (“We Met at Camp”) and Tuan Andrew Nguyen (“The Unburied Sounds of A Troubled Horizon”). Originally from Atlanta, she now resides in Studio City with her many plant children.

Chris Coggins has over two decades of experience in feature, television and digital series development and production. She began her career directly after graduation from The University of Southern California School for Cinematic Arts working as a Creative Assistant at Escape Artists/Sony Pictures.

At Escape Artists she assisted on productions The Pursuit of Happyness, The Weather Man, The Taking of Pelham 123, Knowing and The Great Debaters. There, she ascended through the ranks and procured numerous projects for the company including The Ends of the Earth, Fall From Grace, Seven Pounds, Masterpiece, Rumspringa! and I Want to *$&% Your Sister. She also secured the scripts for and co-produced The Back-Up Plan and Hope Springs. Coggins then moved on to working at Allison Shearmur Productions at her home studio Lionsgate and procured projects Burial Rites, Endangered and Nerve for the studio. There, she also developed Pride, Prejudice and Zombies and Cinderella. She then progressed to Rock Paper Scissors Entertainment as Head of Development. There she built a production slate, produced the PSA Take Yourself on a Date and was responsible for development on the company’s new media projects for The Oscars, HBO and Amazon. Coggins recent independent projects include producing the spec pilot Angelino Heights, PSA Not on My Watch and the music video for Alekesam’s All is Forgiven. Next, Coggins worked at Luc Besson’s studio EuropaCorp and procured projects Unt. Aniston Superhero Project, Fae and the English-language remake for the Japanese blockbuster Shield of Straw.

She recently moved into management at Heroes and Villains Entertainment representing writer, actors, directors and wellness professionals. Currently, She is a member of Film Independent, LACMA, the LA Conservancy and the spcaLA.

Story Driven is a management and production company helmed by CEO Peter Katz. We support the vision of writers and directors for film, tv and emerging mediums. Story Driven clients have worked with studios and streamers including Netflix, Hulu, Amazon, 20th Century Studios, Universal, Lionsgate, Orion TV, A&E Studios, Landmark Studio Group and Stage 13. Story Driven clients have worked with production companies including Genre Films, Proximity, Atomic Monster, Vertigo Entertainment, 87Eleven Entertainment and Ghost House Pictures. Story Driven clients have screened their films at festivals including SXSW, Sundance, Tribeca Film Festival, TIFF, AFI Fest and Fantastic Fest. Press outlets who have covered our clients include Entertainment Weekly, Forbes, Empire, Deadline, Hollywood Reporter, IndieWire and Vulture. Many of our clients are multi-platform storytellers. They create stories that live across the media landscape, including short stories, books, comics, and podcasts.

Daniel Leap is a Scripted Literary Agent at Independent Artist Group (IAG). He works with both writers and directors across TV and film and from varying levels. Originally from Upstate New York, he graduated from Ithaca College before moving to Los Angeles. He got his start working in development at Blumhouse Productions, and on-set for various commercials, films, and TV series, such as TruTV’s signature comedy I’M SORRY as well as Netflix’s hit series DEAD TO ME. He is passionate about being a platform and advocate for diverse, queer, and left-of-center voices in the industry. A genre-nerd, he is especially drawn to horror, sci-fi, fantasy, and comedy pieces, although tries to be well-round in reading a bit of everything.

• $10,000 cash
• An Apple iPad
• Dell XPS Laptop
• A trip to Hollywood* –Roundtrip airfare to Los Angeles plus 3 night hotel accommodations
• UCLAex Masterclass
• 1 year subscription to ScriptHop
• Writer brand assessment and 60-Minute Career Prep Webinar with screenwriting career coach Lee Jessup
• Copy of Save The Cat! Story Structure Software and book
• Query Letter or One-Sheet analysis and a personalized, signed copy of The Screenwriter’s Bible by Dave Trottier
• Final Draft Go™ App for iPhone and iPad.

• Script Consultation from Jen Grisanti Inc.
• One-hour career coaching session with Carole Kirschner to create a personalized game plan for leveraging the contest win.

• $1,000 Cash
• Final Draft 13
• New York Film Academy Fellowship - online immersive program from the world-renowned film, media, and performing arts college.
• 5 Career coaching sessions with screenwriting coach Lee Jessup
• 60-minute webinar with screenwriting career coach Lee Jessup on how to capitalize on your Big Break win
• Participation in a 6-Week Teleseminar from Jen Grisanti Inc.
• One year subscription of MasterWriter software
• Free Big Break Contest entry for 2026
• Script coverage from Big Break readers
• A Copy of Save The Cat! Strikes Back by screenwriter Blake Snyder.
• 6 month subscription to ScriptHop

• One-on-one consultation with Erika Alexander of Color Farm Media on development and producing

• $1,000 Cash
• Final Draft 13
• Feedback on a verbal pitch or pitch deck, plus a 1-hour feedback session with Seed & Spark
• Free Big Break Contest entry for 2026
• 6 month subscription to ScriptHop
• One year subscription of MasterWriter software

• One-on-one consultation with Seed & Spark on crowdfunding, producing, and distribution

• $35.00 – Early Bird Deadline Shorts Standard Entry April 21, 2025
• $75.00 – Early Bird Deadline Shorts Standard Entry + Feedback April 21, 2025
• $45.00 – Early Bird Deadline Standard Entry April 21, 2025
• $110.00 – Early Bird Deadline Standard Entry + Feedback April 21, 2025
• $45.00 – Regular Deadline Shorts Standard Entry May 19, 2025
• $85.00 – Regular Deadline Shorts Standard Entry + Feedback May 19, 2025
• $65.00 – Regular Deadline Standard Entry May 19, 2025
• $130.00 – Regular Deadline Standard Entry + Feedback May 19, 2025
• $55.00 – Final Deadline Shorts Standard Entry June 9, 2025
• $95.00 – Final Deadline Shorts Standard Entry + Feedback June 9, 2025
• $75.00 – Final Deadline Standard Entry June 9, 2025
• $140.00 – Final Deadline Standard Entry + Feedback June 9, 2025
• $65.00 – Extended Deadline Shorts Standard Entry June 30, 2025
• $105.00 – Extended Deadline Shorts Standard Entry + Feedback June 30, 2025
• $85.00 – Extended Deadline Standard Entry June 30, 2025
• $150.00 – Extended Deadline Standard Entry + Feedback June 30, 2025

• The Big Break Screenwriting Contest only accepts online entry of feature film, television, and short screenplays (original pilot scripts only).
• No printed scripts will be accepted.
• To enter your script electronically, you must submit your screenplay in PDF format. You are not required to use Final Draft in order to enter the Contest.
• All submissions should consist of: – Full-length screenplays (approximately 80 to 120 pages); – Teleplays (hour-long approximately 40 to 70 pages, half hour approximately 20 to 35 pages); – Short script screenplays (maximum 20 pages).
• Any entries over 150 pages WILL BE DISQUALIFIED. For feature and teleplay, entries less than 20 pages that are clearly not a screenplay (comic books, etc.) will also be disqualified.
• All necessary information is captured upon entry of digital submissions, so title pages should be removed or contact information must be deleted from the title page. The title of the script will be provided to the reader as part of the file name and in the judging form.
• Do NOT include personally identifying information (name, etc.) ANYWHERE in your script as this will result in INSTANT DISQUALIFICATION. This includes: – Writers name, WGA or representation info on the title page; – Writers name on ANY page of the script; – Writers name within the script’s file name.
• The file name of your script should contain your script title only, and no other information.
• Entry should consist of a screenplay, teleplay, or short script only. Do not include resumes, pitches, synopses, casting suggestions, letters, or other supporting documentation with your submission. Judges will not receive these materials.
• The exception is original hour-long and half-hour TV entries, which may include standard supplementary materials, such as lists of recurring characters and future episodes, as part of the screenplay. This information would need to be included within the same file, at the end of the script.
• Entrants who select to receive feedback on their screenplay will be given at least 550 words of assessment from a competition reader. Feedback will be automatically emailed to entrants upon its completion.

• August 22, 2025 (Quarterfinalists)
• September 19, 2025 (Semifinalists)
• October 10, 2025 (Category Top 10)
• November 7, 2025 (Category Winners)
• December 5, 2025 (Grand Prize Winners)

• Entrants may submit multiple entries. Each submission must include its own entry form, a separate file and separate entry fee. Entries will be considered for the genre prize in each category and for the grand prize in either feature film or television.

• The Big Break Contest is open to any individual who is 18 years of age or older at the date of entry and has access to the Internet.
• Employees, officers, directors, contractors and agents, and their immediate families and household members regardless of where they live, or members of the same households (whether related or not) of Cast & Crew Production Software, dba Final Draft and its respective divisions, affiliates, subsidiaries, agents, Big Break Contest sponsors, and advertising agencies (collectively, the “contest providers”), are not eligible to participate in the Contest or to win any prize.
• Screenplays under option at the time of submission are not eligible.
• Adaptations are not eligible unless the source material was written by the screenwriter of the entry in question. Scripts are not eligible if the source material has been sold, produced, or is currently under option to any third party.
• Grand Prize winners in Features and TV, category winners, and Short Script Award winners are not eligible to re-enter their winning scripts in future Big Break Contests. They are, however, eligible to enter different scripts for consideration. Grand Prize Feature and TV winners, as well as category winners, receive a free entry in the 2026 Big Break Contest as part of their 2025 prize package.

• Screenplays written by up to four people may be entered into the contest. Only one entry fee is required for such entries. All writers’ names should be listed on the online entry – if they are not, your co-writer’s name will not be reflected on our website if your screenplay advances in the contest. List the writer who will be the primary contact first, and include the address, telephone, and email for that person only. All writers must authorize submission of the entry. By clicking Submit, all writers authorize the submission.
• If a screenplay written by multiple writers is one of either of the Grand Prize winners, all cash awards will be split equally between all writers. If a screenplay written by multiple writers is any of the category finalists or Grand Prize winners, prizes will be divided at writers’ discretion but only one of each prize will be distributed.

• In order to run a fair contest for all entrants, revisions or missing pages will not be accepted under any circumstances once an entry has been assigned to a reader.
• Once an entry has been submitted and payment has been processed no refunds will be issued.
• If the script is rewritten and the original entry has already been assigned to a reader, the writer(s) may resubmit a script as a new entry for consideration in the contest. This is treated as its own entry and requires the full entry fee.
• Substitutions of either corrected pages or new drafts of the entered material will be allowed for a limited time (provided the entry has not already been assigned to a reader) with a $6 reentry fee through Coverfly. Please proofread your script carefully before submitting.

• All prizes and awards are subject to change.
• Prize travel is subject to capacity controls, availability, weather, seasonal influences, and certain other restrictions, all of which are subject to change. No changes will be made to travel details once any element(s) of the travel arrangements have been booked, except at Final Draft’s sole discretion. All airline tickets issued in conjunction with the prize are not eligible for upgrades, frequent flyer miles, or any other promotional benefit. Final Draft is not obligated to replace any lost or stolen tickets (including any event tickets or admission passes), travel vouchers, certificates, or similar items once they are in the winner’s possession. Travel must be roundtrip. Final Draft will determine the flight itinerary in its sole discretion. No refund or compensation will be made in the event of the cancellation or delay of any flight. Air travel is subject to the terms and conditions set forth in these Rules and those set forth by Final Draft’s air travel prize supplier, as detailed in the passenger ticket contract issued by such supplier.

• Big Break Contest entrants retain all rights to their screenplays.
• By entering the Big Break Contest, you represent and affirm that your entry is an original creative work, and does not infringe, misappropriate or violate the copyright, trademark or other intellectual rights of any third party.
• By entering the Big Break Contest, you acknowledge and agree that contest Judges receive numerous submissions of ideas, stories and scripts, and that your entry, and the ideas and stories embodied in it, may be similar or identical to other material already received and/or developed by one or more of the Judges. You also agree that you are not entitled to any compensation or credit for use by contest Judges of any such other material.

• By agreeing to these Rules and Conditions you agree that you have read the rules of the contest and that you have the authorization to submit this screenplay to the Big Break Contest. You further agree that your screenplay is owned by you (and co-author(s)).
• VOID WHERE PROHIBITED OR RESTRICTED BY LAW. All federal, state and local laws and regulations apply.
• The entrant shall indemnify and hold harmless Cast & Crew Production Software, dba Final Draft its employees, contractors, agents and Big Break Judges from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney’s fees, and costs of the court) which may be incurred by reason of any claim involving copyright, trademark, credits, and/or publicity to the Screenplay entered.

1. Go to Document > Title Page
2. Select all the text with Apple (Command) + A on Mac and Control + A on Windows
3. Press the Delete key to clear the page
4. Go to File > Close to return to your script

The only information listed in your file name should be the title of your script.

The Diversity category is for scripts written by underrepresented writers. The story itself does not have to be about inclusion or issues of equality. When submitting, you will be asked to select the Diversity category and the actual genre of your script so we can assign it to the appropriate reader. If you are a writer who qualifies for this category you are welcome to submit under the Diversity category or can elect to submit under any genre specific category. You do not need to enter the Features & TV category to enter the Diversity category.

The Diversity category exists to encourage writers who have underrepresented voices in Hollywood to enter the contest. These writers are also welcome to submit their scripts to any of the other categories they are eligible for.

There is a great demand in the film and television industry for stories from writers from diverse backgrounds. The Diversity category allows us to easily identify these writers for industry professionals.

Underrepresented writers, including:

• American Indian
• Asian/Pacific Islander
• Black
• LatinX
• LGBTQIA
• Middle Eastern
• Women
• Non-Binary
• Differently-abled
• Any other voices that have been historically ignored by Hollywood.

We recommend that you register your script with the WGA and/or the U.S. Copyright Office. We do not require such registration for entry. We are aware that we instruct you not to include a cover page (so that readers cannot see your name) and that copyright or registration information would normally be on that page. We simply recommend that you take at least one of those steps to protect your intellectual property. Whether you do or do not take those steps, your script will still be read. At no point in the entry process do we check for registration or copyright. Our contest has been running 20 years and we are very careful with our entrants’ scripts. However, those easy steps will help ensure that your work is protected.

Suggested length for screenplays is approximately 80 to 120 pages and for teleplays it is approximately 25 to 70 pages. Short film scripts must not exceed 20 pages. Entries over 150 pages WILL BE DISQUALIFIED. Submissions less than 20 pages or that are clearly not a screenplay (short stories, comic books, etc.) will also be disqualified.

The short script category is open to short scripts with a maximum page count of 20 pages. Short scripts may be in any genre.

• Action/Adventure – Films with strong action scenes, exotic locales, stories of adventure.
• Comedy/Rom-Com – Romantic comedies, straight, dark and raunchy comedy, satires, etc.
• Diversity – Open to writers from diverse backgrounds. Who can enter? Underrepresented writers, including but not limited to:
  • American Indian
  • Asian/Pacific Islander
  • Black
  • LatinX
  • LGBTQIA
  • Middle Eastern
  • Women
  • Non-Binary
  • Differently-abled
  • Any other voices that have been historically ignored by Hollywood
• Drama – More serious, realistic scripts exploring dramatic stories with deep themes.
• Family/Animated – Scripts directed to the children/family market, movies that can be enjoyed by the whole family, animated features.
• Period/Historical/War – Biopics, scripts based largely in the past, war epics, and scripts featuring historical characters.
• Sci-Fi/Fantasy – Space travel, disaster and post-apocalyptic stories, scripts set in alternate worlds and universes, stories with magical elements.
• Thriller/Horror – Scripts that use suspense, fear and/or tension as main story elements, spy and crime thrillers, psychological thrillers, mysteries, ghost, zombie and monster stories.

• Half-Hour Original Pilot – 30 minute original television scripts, typically comedy but not always.
• Hour-Long Original Pilot – 60 minute original television scripts, typically dramas but not always.
• Diversity Original Pilot – Open to writers from diverse backgrounds. Who can enter? Underrepresented writers, including but not limited to:
  • American Indian
  • Asian/Pacific Islander
  • Black
  • LatinX
  • LGBTQIA
  • Middle Eastern
  • Women
  • Non-Binary
  • Differently-abled
  • Any other voices that have been historically ignored by Hollywood

• All genres

We do not provide coverage for screenplays entered into the contest, however at the time of entry writers may elected to purchase feedback notes with their submission.

Coverage is included as part of the prize package for winning scripts.

Our readers are professional script analysts from diverse backgrounds who carefully evaluate each entry and sign confidentiality agreements to ensure that your work is protected. After screenplays are narrowed to finalists, a panel of notable industry professionals conducts the final judging to determine the winners. These jury members represent award-winning writers, producers, and A-list development executives. A current list of our judges can be found here.

Any rule-abiding writer 18 and older whose screenplay or teleplay is not currently optioned.

• Early Bird Deadline - April 21, 2025
• Regular Deadline -  May 19, 2025
• Extended Deadline -  June 9, 2025
• Last Chance Deadline - June 30, 2025

• $35.00 – Early Bird Deadline Shorts Standard Entry April 21, 2025
• $75.00 – Early Bird Deadline Shorts Standard Entry + Feedback April 21, 2025
• $45.00 – Early Bird Deadline Standard Entry April 21, 2025
• $110.00 – Early Bird Deadline Standard Entry + Feedback April 21, 2025
• $45.00 – Regular Deadline Shorts Standard Entry May 19, 2025
• $85.00 – Regular Deadline Shorts Standard Entry + Feedback May 19, 2025
• $65.00 – Regular Deadline Standard Entry May 19, 2025
• $130.00 – Regular Deadline Standard Entry + Feedback May 19, 2025
• $55.00 – Extended Deadline Shorts Standard Entry June 9, 2025
• $95.00 – Extended Deadline Shorts Standard Entry + Feedback June 9, 2025
• $75.00 – Extended Deadline Standard Entry June 9, 2025
• $140.00 – Extended Deadline Standard Entry + Feedback June 9, 2025
• $65.00 – Last Chance Deadline Shorts Standard Entry June 30, 2025
• $105.00 – Last Chance Deadline Shorts Standard Entry + Feedback June 30, 2025
• $85.00 – Last Chance Deadline Standard Entry June 30, 2025
• $150.00 – Last Chance Deadline Standard Entry + Feedback June 30, 2025

Entrants who select to receive feedback on their screenplay (feature or pilot) will be given at least 550 words of assessment from a competition reader. Feedback for short scripts may be shorter. Feedback will be automatically emailed to entrants upon its completion.

Substitutions of either corrected pages or new drafts of the entered material will be allowed for a limited time (provided the entry has not already been assigned to a reader) with a $6 reentry fee through the Coverfly portal.

Please note that if a reader has already been assigned and a previous draft has been evaluated and not advanced, the revised script will need to be counted as a new entry and must be submitted separately and paid for as a separate entry.

Yes, you may enter as many different scripts as you wish. Each script must be submitted as a separate entry.

We’re environmentally conscious and only accept digital scripts. Entries must be submitted in PDF format.

We accept hour-long and half-hour original television scripts in addition to feature screenplays. We do not have a category for stage plays.

No, you do not have to use any Final Draft products to enter the Big Break Contest. Scripts must be submitted in PDF format.

Yes, you and up to three other writing partners will be credited as winners and will divide the prizes amongst yourselves.

You may enter the contest, but the script must be written in English so that our readers can read it. If a script has other languages in it as part of the plot, simply denote that the line will be spoken in another language using a parenthetical, e.g. (Speaking in Spanish).

Scripts in the industry are judged on the merit of the story and the writing skills. Because our judging emulates the industry evaluation process, we cannot accept any supplemental materials along with your script. The exceptions are:  1. Original hour-long and half-hour TV entries, which may include standard supplementary materials, such as lists of recurring characters and future episodes, as part of the screenplay. 2. Images within the script (maximum file size is 20mb).

Entries in The Big Break Screenwriting Contest are managed by Coverfly. Their support team can be contacted here.

Yes, as long as the other contest does not have any exclusivity clause preventing you from entering other contests.

Substitutions of either corrected pages or new drafts of the entered material will be allowed for a limited time (provided the entry has not already been assigned to a reader) with a $6 reentry fee through Coverfly. Please proofread your script carefully before submitting.

Yes, we accept entries from most nations and territories in the world. We’ve received submissions from Canada, the UK, Australia, New Zealand, Ireland, Germany, France, Spain and China, to name a few.

• August 22, 2025 (Quarterfinalists)
• September 19, 2025 (Semifinalists)
• October 10, 2025 (Category Top 10)
• November 7, 2025 (Category Winners)
• December 5, 2025 (Grand Prize Winners)

You will be notified by email from Coverfly immediately after submitting your script that your entry has been received. If you have received a confirmation email, no further action is necessary. If you are an existing Coverfly user, you can also track your submission through your dashboard. If you have not received a confirmation email, please check your junk mailbox or junk filter. If the confirmation is not in either place, please contact Coverfly here.

Yes, you retain all rights until you choose to sell or option your screenplay and/or teleplay.

We do accept adaptations of true stories, however, you must be sure that the people represented in the script have given you permission to use their names and stories unless those stories are in the public domain and the rights are available. In order to enter, you must be able to grant the rights to the story you wrote to a producer, should they want to option the script. Securing the rights to the source material is the responsibility of the screenwriter. If you feel that the rights are available, you may certainly enter. Regrettably, we cannot offer any advice on whether or not the rights are available. We recommend that you consult an attorney if you plan to pursue the project, as the question regarding rights – even life rights – would eventually come up and need to be addressed prior to anyone’s optioning or buying the script.

We do not accept any adaptations, only original material.

No, the source material for an adaptation must be written by the screenwriter entering the contest.

Any script that is CURRENTLY NOT under option (or contract) is eligible to enter the contest. If a pre-existing option has expired, you are able to enter.

Yes, you would simply have to inform us that the script was optioned or sold and we would remove it from the judging. We highly encourage all writers to hold off on withdrawing their submission until any option deal is indeed fully executed.