Screenplay

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Screenplay Clinic

The Slamdance Screenplay Competition is dedicated to discovering and nurturing emerging screenwriters. Since 1995, the competition has established a strong track record for introducing writers to members of the entertainment industry who have gone onto to produce, option and represent submitted work. Like the Film Festival, the Screenplay Competition is a place for new, bold, and raw voices. We are looking for scripts that take risks, refuse compromises, and go places where Hollywood hacks fear to tread.

"The Slamdance Screenplay Competition is like an adrenaline boost to the cortex. It gave me the oomph necessary to climb faster and leap up to a higher rung. Slamdance is a celebration of not just offbeat storytelling, but above all, character. Character infects every vein of this festival and it's a beautiful thing." —Andrew Kightlinger, 2016 Grand Prize Winner for GREAT WHITE SHARK

"The best thing you can do for a screenwriter is encourage them, because trusting your gut is so crucial to writing interesting stuff. I got that encouragement from Slamdance every year I entered, with the brief feedback they always send at no extra charge. Winning was the ultimate encouragement to keep following my instincts, and it's more than paid off."—Jamie King, 2015 Original Teleplay winner for CASTLE ROCK and writer for Marvel's Jessica Jones

"Winning Slamdance was an incredible moral booster and the seal of approval that made the industry stop and take notice." —Nicole Kassell, Slamdance Screenplay winner and director of THE WOODSMAN, HBO’s Watchmen

“From the earliest encouragement of the readers, to the unforgettable whirlwind ceremony, to the ongoing excitement, meetings, and future collaborations — Slamdance is more than a festival. It is a family. I couldn’t be prouder to be a part of it." — Jessica Sinyard, 2018 Grand Prize Winner for THE PEAK

"Winning Slamdance is everything to me. Slamdance gave me a new lease on life and a chance to live my dreams. They opened up more doors than I could have ever imagined...I still can't believe everything they helped me achieve."— Tyler Tice, 2017 Grand Prize and Horror Screenplay Winner for DAY SHIFT

		Early Deadline	Regular Deadline	Late + Final Deadlines
Feature	41-110 pages	$50	$60	$75
Feature	111-140 pages	$65	$75	$90
TV Pilot	up to 45 pages	$35	$45	$55
TV Pilot	46-80 pages	$45	$55	$65
Short	Up to 10 pages	$25	$35	$45
Short	11-40 pages	$35	$45	$55

Early Deadline
Feature	41-110 pages	$50
Feature	111-140 pages	$65
TV Pilot	up to 45 pages	$35
TV Pilot	46-80 pages	$45
Short	Up to 10 pages	$25
Short	11-40 pages	$35

Regular Deadline
Feature	41-110 pages	$60
Feature	111-140 pages	$75
TV Pilot	up to 45 pages	$45
TV Pilot	46-80 pages	$55
Short	Up to 10 pages	$35
Short	11-40 pages	$45

Late + Final Deadlines
Feature	41-110 pages	$75
Feature	111-140 pages	$90
TV Pilot	up to 45 pages	$55
TV Pilot	46-80 pages	$65
Short	Up to 10 pages	$45
Short	11-40 pages	$55

ADD-ON COVERAGE

We also offer a full coverage service for an additional fee. Coverage consists of 3-4 pages of feedback featuring:

Genre suggestion
Logline
Brief plot synopsis
Page-by-page comments
Recommendations as to what the "next step” could be. This may address media, films, and screenplays the writer should be aware of, as well as any words of wisdom from our readers.

Standard Coverage (within 2 months): Features +$90, TV Pilots and Shorts +$80
Express Coverage (within 21 days): Features +$130, TV Pilots and Shorts +$120

Submission Rules

Eligibility

Scripts submitted to the competition must NOT have been previously optioned, purchased or produced at the time of entry.
If a submitted screenplay becomes optioned or purchased between the time of submission and the end of the judging period, the applicant must notify us and that screenplay will no longer be eligible for an award.
Scripts submitted to the competition must not have received awards from other competitions over $1,000 at the time of entry.
Screenwriters who have had previous feature screenplays produced and distributed by non-independent means are ineligible.
Screenwriters who earn their living writing for television are ineligible.
No adaptations of other written work, or content based off of an existing IP will be accepted unless the writer owns the rights to the original material, or the adapted work is in the Public Domain.
No specs will be accepted for the TV Pilot category.

Submission Guidelines

Screenplays must be in English, formatted according to the current industry standards in 12-point courier font.
Screenplays must have a cover page that includes the script's title. Other info can be included on the cover page, but is not required. The cover page does not count towards the overall script page count.
If the script is based on a true story, that should be noted on the cover page.
Slamdance is not responsible for screenplays or coverage stolen or lost in transit.
All entries must be mailed or uploaded by the appropriate deadline.
Deadlines close at 11:59 PM PST
Reader assignment is at our discretion and requests for rereads will not be accepted.
Multiple authorship is acceptable. Slamdance divides awards equally among co-writers.
No refunds provided after a submission has been made.

Judging

The first round of reading is done by individual readers. If your script is advanced to the next round, the script will be read and scored by multiple readers to determine whether it gets into quarterfinals and semifinals.
If your script makes it to semifinals, it will be discussed at the deliberations where readers will determine finalists and winners.
If your script did not make it into quarterfinals, it will not advance to further stages of the competition.
No judging decision will be included with the feedback.
Slamdance notifies winners only. Entrants are advised to check our website and e-newsletter for judging announcements.
The Slamdance Screenplay Competition readers’ decisions are final.

While not an official requirement for submission, we strongly suggest you register your screenplay with the Writers Guild of America, West and the US Copyright Office to protect your work.

A total of $16,000 in cash prizes will be awarded to the winners this year.
The Grand Prize winner will receive $8,000 in cash.
The winners of the Feature, Horror, TV Pilot, and Short categories will each receive $2,000 in cash.
The top three screenwriters in each category will receive prize packages that include Festival Passes good for all screenings and parties at the next Slamdance Film Festival in Park City, Utah
The top three screenwriters in the Feature and Horror category are eligible for membership in the Writers Guild of America’s Independent Writers Caucus.
The winning Horror and Feature screenplays will receive $2,500 in legal services from Pierce Law Group, LLP.
The top three screenwriters in each category will be included in the upcoming Slamdance Film Festival program which is distributed to industry professionals in Park City and year round.
Production companies, studios, top agencies and managers request to read our top scripts each year.

All projects begin with an initial consultation for $250. It consists of three steps:

A consultant will provide an exhaustive coverage report of about five pages that discusses the strengths, weaknesses, and methods for improving your script.
A 90-minute Skype call or in-person meeting with a consultant to discuss your project and the coverage report in depth.
Based on our discussion, we will send a summary proposal with actionable steps to be undertaken on your next draft.

90% of this initial fee will go directly to your consultant, who must prepare extensively to give your project the attention that it deserves.

Beverly Neufeld

Beverly Neufeld empowers writers to get their vision and their voices seen and heard. She holds an MFA in Screenwriting from UCLA, has won numerous awards, and was the Director of Development for Juntobox Films. She teaches online coverage classes for Roadmap Writers, and freelances as a script consultant and script doctor. She consults for various companies such as CAA, Gersh, FOX, Slamdance, Coverage Ink, and the PAGE competition and teaches Screenplay and Story Analysis at USC Film School.

Heidi Hornbacher

Dedicated to writers reaching their full potential, Heidi and her husband (both UCLA grads) founded PageCraft in 2008, offering screenwriting retreats in Italy and LA. Heidi evaluates scripts across a broad range of parameters including style, tone, plot, structure, character, dialog, and commercial potential. She helps writers understand how to make their work shine. Her clients have gone on to find representation, get staffed, win film and writing festivals, and even garner a daytime Emmy nod.