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 on 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 compromise, and go places where Hollywood hacks fear to tread.
In addition to our regular prizes, this year will feature the second annual Slamdance Screenplay Mentorship Award. Slamdance loves finding diamonds in the rough. We read many amazing scripts that— with some polish and finishing—could be finalist contenders and stand a better chance of getting produced. We think it's time to step up and take action on often-heard reader comments like "if only the writer made another pass, cut down 10 pages, fixed a few holes...it'd be a script to die for!" That's why we have the Slamdance Screenplay Mentorship Award. In addition to awarding the best screenplays submitted to Slamdance, our readers will nominate unique scripts that, with a little more development and support from a team of alumni, could turn into production-ready ventures. From these nominations, we will select the 2021 Mentorship Award-winner who will receive personal mentorship through Slamdance's alumni network and screenwriting consultants.
"Winning Slamdance, I feel validated and it is very encouraging for me as an artist. I feel even more motivated to get this film made." — Joyce Sherrí, 2020 Grand Prize Winner for SWEET SIXTEEN
"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 (now being produced by Netflix)
"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
SUBMISSIONS OPEN
February 24, 2021
Early Deadline
April 5th, 2021
Regular Deadline
June 7th, 2021
Late Deadline
July 19th, 2021
Final Deadline
July 27th, 2021
Quarter-Finalists Announced
September 21, 2021
Semi-Finalists Announced
September 28, 2021
Top 12 Announced
October 4, 2021
WGAW Awards Party
October 14, 2021
FEATURE
- 41-140 pages
- All narrative genres welcome.
HORROR/THRILLER
- 41-140 pages
- Scripts featuring menacing situations, heightened feelings of suspense, bloodshed, or the imminent threat of death.
TV PILOT
- Up to 80 pages
- Half-hour, one-hour or webisode.
- All narrative genres welcome.
- Entries may include a show bible up to 5 pages in length at the end of the script.
SHORT
- Up to 40 pages
- All narrative genres welcome.
Submission Fees
Early Deadline | Regular Deadline | Late Deadline | Final Deadline | ||
|---|---|---|---|---|---|
Feature | 41-110 pages | $57 | $67 | $82 | $87 |
| 111-140 pages | $72 | $82 | $97 | $102 | |
TV Pilot | up to 45 pages | $40 | $50 | $60 | $65 |
| 46-80 pages | $50 | $60 | $70 | $75 | |
Short | Up to 10 pages | $30 | $40 | $50 | $50 |
| 11-40 pages | $40 | $50 | $60 | $60 |
Early Deadline | ||
|---|---|---|
Feature | 41-110 pages | $57 |
| 111-140 pages | $72 | |
TV Pilot | up to 45 pages | $40 |
| 46-80 pages | $50 | |
Short | Up to 10 pages | $30 |
| 11-40 pages | $40 | |
Regular Deadline | ||
|---|---|---|
Feature | 41-110 pages | $67 |
| 111-140 pages | $82 | |
TV Pilot | up to 45 pages | $50 |
| 46-80 pages | $60 | |
Short | Up to 10 pages | $40 |
| 11-40 pages | $50 | |
Late Deadline | ||
|---|---|---|
Feature | 41-110 pages | $82 |
| 111-140 pages | $97 | |
TV Pilot | up to 45 pages | $60 |
| 46-80 pages | $70 | |
Short | Up to 10 pages | $50 |
| 11-40 pages | $60 | |
Final Deadline | ||
|---|---|---|
Feature | 41-110 pages | $87 |
| 111-140 pages | $102 | |
TV Pilot | up to 45 pages | $65 |
| 46-80 pages | $75 | |
Short | Up to 10 pages | $50 |
| 11-40 pages | $60 | |
Feedback
Every entrant will receive short feedback from one of our readers. It will include a genre suggestion, a logline, and a paragraph outlining the strengths and weaknesses of your screenplay. The goal of the feedback is to provide you with short & sweet constructive criticism of your work.
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
Submit
By entering the Slamdance Screenplay Competition, you confirm that you agree to the 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.
- Slamdance only accepts submissions via online submissions platforms FilmFreeway, Coverfly and the Slamdance Direct Form. We no longer accept hard copies of scripts via mail.
- All entries must be 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.
- Scripts cannot be updated with new drafts after they have been submitted.
- 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.
- One entry from the competition will be awarded the Slamdance Screenplay Mentorship Award, consisting of personal mentorship through Slamdance's alumni network and screenwriting consultants. This includes an in-depth coverage report, an action plan for next draft development, further review of subsequent drafts, support in preparing a pitch deck, and best efforts in helping get the finished work produced through Slamdance's alumni network.
- Production companies, studios, top agencies, and managers request to read our top scripts each year.
The Slamdance Screenplay Clinic offers a chance for writers to develop and discuss their work at length with experts that want to help.
We offer a range of services including expanded coverage, polish editing, structural analysis, and good old-fashioned brainstorming. The Screenplay Clinic is operated separately from the Slamdance Screenplay Competition and is available year round.
How It Works
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.
Our Consultants
“A good script doctor helps an author find his or her voice. It’s never about you. It’s about your clients. How can you help others realize their artistic visions as well as develop a property that can be sold and produced? Those are the keys to success.” —Noel Lawrence
Anna Siri
Anna is an award-winning screenwriter and independent producer with both short and feature film credits. She works regularly as a consultant, ghostwriter, screenplay contest and festival judge, and script doctor, and hails from a background that includes Northwestern University and the UCLA Professional Program in Screenwriting. She enjoys scripts in all genres.
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.
Michael Lucid
Michael Lucid is a writer for film and TV who's written for "Drunk History" on Comedy Central and the CBS Diversity Showcase, and he's currently an in-house script reader for Amazon Studios. Five of his short films have screened in Slamdance, one of which won the Slamdance Online Audience Award, and he's been a script reader for the Slamdance Screenplay Competition for over three years.
Noel Lawrence
Noel Lawrence makes, curates, distributes, and writes about cinema. He is currently working on his latest feature, Sammy Gate. After receiving a master’s degree in Russian Literature from Stanford University, Noel transitioned into creative writing. Since then, he has regularly consulted on teleplays and features in development. His clients have been able to secure production deals, win major film festivals, and garner critical acclaim."
To inquire more about our Screenplay Clinic services, please fill out the Request Service form below.
We unfortunately do not update drafts after a screenplay has been submitted. Please make sure you stand by the draft you are submitting, because that is what the reader will see and judge. You can resubmit your script as a new entry but all submission fees will still apply and each draft will be considered as a separate entry.
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.
Our readers will not read past the page limit so please keep your script under the page count listed.
Unfortunately even if a script is updated on FilmFreeway our readers only have access to the first submission you submitted. We unfortunately don't update drafts after they have been submitted.
Supplemental materials are not required for your submission, and readers are not required to read them. If you wish to include them, they should be included at the end of the pdf and will count towards the page count for the submission.
The submission fee goes towards paying our readers and our staff so they can review your work and manage the competition.
As much as we wish we could, we unfortunately do not offer submission waivers or discounts for our screenplay competition. We hope you understand and if you are still able to submit, we recommend you do so by our early deadline while fees are at their lowest.
Yes, we recommend that writers include up to 5 pages of additional material at the end of their script PDF that can act as a show bible to give readers extra context for the pilot episode.
You can submit a new draft but it will be considered as a new entry and will require a separate entry fee. The new version will be judged independently from the old version by a new reader. Unfortunately, we are unable to update entries with new drafts due to the nature of the judging process.
Every entrant will receive short feedback from one of our readers. It will include a genre suggestion, a logline, and a paragraph outlining the strengths and weaknesses of your screenplay. The goal of the feedback is to provide you with short & sweet constructive criticism of your work. If you would like more extensive feedback, you can add-on the additional full coverage report.
The feedback that you received is just one industry professional’s opinion of your work. You are completely entitled to disagree. We try to keep our reviews constructive and helpful, but it is ultimately up to you as a writer whether to accept the criticism and advice. Look for the note behind the note.
Our readers are carefully vetted and are required to read scripts in their entirety, a process which we monitor closely.