Big Break Contest

Special Price: $40.00

Regular Price: $65.00

Prices in international currencies are close estimates as currency rates fluctuate daily.

Big Break Contest Launches Careers

  • Enter your screenplay or TV script by July 31, 2014 and launch your career
  • 11 Feature Genre and TV Format Winners share over $80,000 in cash and prizes, including The Final Draft/New York Film Academy Fellowship in Writing for Film & Television
  • Two Grand Prize Award Winners are flown to Hollywood for the Final Draft Annual Award Event
  • Join past winners who scored representation with A-list executives and have seen their scripts optioned,
    sold, and produced

Chat with our sales specialists or call (800) 231-4055 or (818) 995-8995

(8:30am - 5:30pm PT, Mon - Fri)

                     

Features & Info

Launch Your Screenwriting Career

Launch Your
Screenwriting Career

  • Enter your screenplay or teleplay in the
    Big Break Contest by July 31, 2014 and launch your writing career
  • Eleven winners will share cash, prizes, and an NYFA Writing Fellowship with a total value over $80,000
  • Join past winners who scored representation with A-list executives and have seen their scripts optioned, sold, and produced
11 Awards in TV and Film

11 Awards in TV and Film

  • Enter your feature screenplay in one of seven genre categories including Action, Comedy, Drama, Family, Period, Sci-Fi, and Horror
  • Enter your TV script in one of four categories in half-hour and hour formats for specs and pilots
  • Two Grand Prize Winners will be selected from the feature genre and television format winners
Join Final Draft in Hollywood

Join Final Draft in Hollywood

  • One TV winner and one Feature winner will be awarded Grand Prizes
  • Each winner will be flown to Los Angeles to join Final Draft at our Annual Awards event where we honor the Big Break winners along with recipients of Screenwriters Choice Awards and the Hall of Fame Award

Join the Big Break Winners

Take a tour with the 2012 Big Break Winners as they are announced and feted at the Final Draft Annual Awards Event.

FAQs

Most Popular Questions

Since I shouldn't include my personal information in the body of my script or on the title page, how do I remove or clear the title page?

To clear the title page:

  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

After the script is saved, when it's next opened in Final Draft, Document > Title Page will be blank. Don't worry, the entry system captures your title and provides it to the reader.

To remove the title page from the PDF export:

Final Draft 9 / 8: Click here

Final Draft 7: Click here

Final Draft 6: Simply clear the title page as directed above. This will cause the title page to be removed from the PDF export.

For information on how to create the title page, click here.

How can I be sure my script will not be plagiarized?
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 not, 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 for 15 years and we are very careful with our entrants' scripts. However, those easy steps will help ensure that your work is protected.
How long should my screenplay be?
Suggested length for screenplays is approximately 80 to 120 pages and for teleplays it is approximately 25 to 70 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.

Judging

What are the criteria for judging, and which genres are accepted?

The seven main feature genres for entries are:

  • Action/Adventure - Films with strong action scenes, exotic locales, stories of adventure.
  • Comedy/Rom-Com - Romantic comedies, straight, dark and raunchy comedy, satires, etc.
  • 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.

For TV scripts, we accept entries in the half-hour and hour-long spec and pilot categories.

Pick the genre that best fits your script. You can also enter the same script in a different genre for additional consideration, but you will need to submit another complete entry for that script. The readers and judges look for qualities such as craft and execution, originality, dialogue, characterization and structure.

Is coverage provided?
The Big Break is a rewards-based contest and offers cash, prizes and Hollywood meetings for the winner — no feedback or coverage.

If you would like to receive feedback, we offer ScriptXpert Coverage Services. We recommend you use them prior to entering the contest to help identify any possible flaws in your script. To receive coverage, visit: http://www.finaldraft.com/products/scriptxpert/
Who will be reading and judging my screenplay?
Our readers are professional script analysts 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 executives. The 2014 judges will be announced as they are confirmed.

Entering Your Script

Who can enter?
Any rule-abiding writer over the age of 18 whose screenplay or teleplay is not currently optioned.
What is the deadline to enter the 2014 Big Break Contest?

Deadines and the associated Entry fees:

$40 - Early Bird Deadline – April 30, 2014
$50 - Standard Deadline – July 15, 2014
$65 - Extended Deadline – July 31, 2014

Dates reflect deadlines for electronic submission of scripts. All entries must be electronically submitted by their respective deadlines.

Is there an entry fee?

Yes, the Big Break Contest does charge an entry fee to cover the costs of administration and reader fees.

Entry fees:

$40 - Early Bird Deadline – April 30, 2014
$50 - Standard Deadline – July 15, 2014
$65 - Extended Deadline – July 31, 2014

Dates reflect deadlines for electronic submission of scripts. All entries must be electronically submitted by their respective deadlines.

Can I enter the same script in more than one year of the Big Break Contest?
Yes, many entrants revise their scripts several times and re-enter. Some have gone on to become finalists after doing so.
Can I submit multiple screenplays and/or teleplays during one contest year?
Yes, you may enter as many different scripts as you wish. Each script must be submitted as a separate entry.
Can I enter the same revised script more than once in the same contest year?
Yes, but the revised script will be counted as a new entry and must be submitted separately.
Do you prefer digital or printed scripts?
We're environmentally conscious and only accept digital scripts. We accept Final Draft (FDX or FDR) or Adobe Acrobat (PDF) files.
Can I submit a paper script?
The Big Break entry system has been streamlined for your convenience and by popular demand. Please note that we no longer accept paper submissions.
Do you accept teleplays or stageplays?
We accept hour-long and half-hour original and spec television scripts in addition to feature screenplays. We do not have a division for stage plays.
Do I need to be a Final Draft user to enter the Big Break Contest?
No, you do not have to use any Final Draft, Inc. products to enter the Big Break Contest. Complete information on eligibility can be found in the Big Break rules on the Big Break product page.

In fact, many scripts are submitted in PDF format. The judges have no idea which software generated the script.
Can I submit a screenplay with a writing partner?
Yes, you and up to three other writing partners will be credited as winners and will divide the prizes amongst yourselves with the exception of travel for the grand prize feature and grand prize TV winners. Final Draft, Inc. will supply travel and hotel for up to two writers in those categories. It is the responsibility of the winners to decide who will travel and attend the meetings and how the cash and prizes will be distributed. Winners of the feature and TV finalist prizes are also responsible for dividing the cash and prizes amongst themselves.
Can I send my script in a language other than English?
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).
Can I submit images, audio, or accompanying documents along with my screenplay or teleplay?
Spec scripts are judged both in the industry and in our contest on the merit of the story and the writing skills. As such, we cannot accept any supplemental materials along with your script.

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.

Eligibility

I don't live in the United States. Can I still enter?
Yes, we accept entries from every nation and territory in the world. We've received submissions from Canada, the UK, Australia, New Zealand, Ireland, Germany, France, Spain, Zimbabwe and China, to name a few. And if you're one of the top three winners, we'll fly you from wherever you live to Los Angeles for the contest awards event.

Notifications and Verification

When are the semifinalists, finalists and winners announced?
The quarter-finalists will be announced in late September via a Final Draft email blast and listing on the Big Break website. Semifinalists, finalists, and winners will be notified by the contest director via phone and email. The semifinalists will be announced in October, the top 10 finalists in features and television in early November, the top 5 in mid-November, and the winners in both feature and TV in early December. The Grand Prize winners in features and TV will be revealed at our Annual Awards Event in February.
How can I verify that my submission is in order and has been received?
You will be notified by email immediately after submitting your script that your entry has been received. If you have received a confirmation email, your script is in our system and no further action is necessary. If you have not received a confirmation email, please check your junk mailbox or junk filter. If the confirmation is not in either place, email bigbreak@finaldraft.com for a copy of your confirmation. We will contact you if there is any technical issue with the file you submitted.

Rights, Options, and Adaptations

Do I retain the rights to my screenplays after submitting to the Big Break Contest, whether or not I win?
Yes, you retain all rights until you choose to sell or option your screenplay and/or teleplay.
I've written a screenplay based on a true story. May I use real people's names in my Big Break submission?
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 he 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.
Is it possible to submit an adaptation of a novel that no longer has copyright (author deceased over 100 years ago)?
We do accept adaptations. However, the source material must also have been written by the screenwriter of the adaptation. Therefore we cannot accept scripts adapted from works available in the public domain.
Would you accept a screenplay that is an adaptation of a published book, where the writer has contractually optioned the movie rights to the book?
No, the source material for an adaptation must be written by the screenwriter entering the contest.
Can I submit a screenplay or teleplay that was previously under contract but the contract has elapsed?
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.
What happens if I have an opportunity to sell or option my screenplay or teleplay after entering the contest, but before the contest is over? Will I still be able to sell or option it?
Yes, you would simply have to inform us that the script was optioned or sold and we would remove it from the judging.

Rules

Fees and Deadlines

  • $40 - Early Bird Deadline April 30, 2014
  • $50 - Standard Deadline July 15, 2014
  • $65 - Extended Deadline July 31, 2014

Dates reflect deadlines for electronic submission of scripts. All entries must be electronically submitted by their respective deadlines.

Submissions

The Big Break Screenwriting Contest only accepts online entry of feature film and television screenplays.
No printed scripts will be accepted.

To enter your script electronically, you must submit your screenplay in Final Draft (FDX, FDR) or 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) or teleplays (approximately 25 to 70 pages) in standard industry format for motion picture screenplays and teleplays, written in English. If you are using a word processing program that automatically formats screenplays, such as Final Draft, select the Screenplay format template.

All necessary information is captured upon entry of digital submissions, so title pages should be removed.
Do NOT include personally identifying information (name, etc.) on ANY page of your script.

Entry should consist of a screenplay or teleplay only. Do not include resumes, pitches, synopses,
casting suggestions, letters, or other supporting documentation with your submission. Judges will not receive these materials.

Multiple Entries

Entrants may submit multiple entries. Each submission must include its own entry and must include 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.

Eligibility

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 Final Draft, Inc. and its respective divisions, affiliates, subsidiaries, agents and advertising agencies (collectively, the "contest providers")), are not eligible to participate in the contest or to win any prize.

Screenplays under option at 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.

Spec scripts for any currently airing (with new episodes) network or cable program as well as original pilot scripts are accepted for the TV categories. Spec scripts must be for television programs currently on the air at the time of the contest entry. Spec scripts for shows cancelled prior to receipt of the entry will be disqualified.

Grand Prize winners in Features and TV and winners of the Feature Genre Awards and TV Category Awards are not eligible to re-enter the winning script in future Big Break Contests. They are, however, eligible to enter different scripts for consideration. Grand Prize Feature and TV, Genre and Format winners receive a free entry in the 2015 Big Break Contest as part of their 2014 prize package.

Co-Writers and Prize Division

Screenplays written by up to four people may be entered in the contest. Only one entry fee is required for such entries. All writers' names should be listed on the online entry. 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, Final Draft, Inc. will pay airfare and hotel for up to two writers, and two writers will have the option to attend meetings with studio executives and agents. All cash awards will be split equally between all writers. If a screenplay written by multiple writers is any of the Genre or TV Format finalists, prizes will be divided at writers' discretion.

Revisions, Refunds, and Resubmissions

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 received.

Once an entry has been submitted and payment has been processed no refunds will be issued.

If the script is rewritten during the entry submission period, the writer(s) may resubmit a script as a new entry for consideration in the contest. A resubmitted script is treated as a new entry and requires an entry fee.

Ownership and Industry Release

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.

General Provisions

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 Final Draft, Inc, 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.

11 Feature & TV Awards

  • 11 Feature and TV Winners share over $80,000 in cash and prizes!
  • 7 Feature Winners in each of the following genres: Action/Adventure, Comedy/Rom-Com, Drama, Family/Animated, Period/Historical/War, Sci-Fi/Fantasy, and Thriller/Horror
  • Four TV Winners in the following formats: Half-Hour Spec, Half-Hour Pilot, Hour-Long Spec, and Hour-Long Pilot

Each Feature and TV Award winner receives:


$1,000 Cash


NYFA Fellowship

  • Three-month membership to Robert McKee's Storylogue
  • Industry marketing from InkTip
  • Writer brand assessment from Lee Jessup
  • 5 free pitches to executives of your choice on Virtual Pitch Fest
  • Truby’s Blockbuster Genres: How The Top 11 Genres Really Work Audio Course
  • One-year Writers Database Membership courtesy of Script P.I.M.P.
  • "Social media marketing strategy for screenwriters" meeting with the pros at FilmBreak
  • StoryO from Jungle Software
  • Pitch Your Screenplay Like a Pro Ebook and Bonus Videos on marketing your screenplay and how to capitalize on being a Big Break Finalist — from Melody Jackson, Founder of Smart Girls Productions
  • One-year International Screenwriters Association CONNECT membership
  • Free Big Break Contest entry for 2015
  • Final Draft, Inc. ScriptXpert™ Basic Coverage
TV Format Winners also receive:
  • 1-3-5 Story Structure Made Simple screenwriting book and The Show Starter reality pitching book
  • Level 1 10-Week TV Spec & Pilot Teleseminar from Jen Grisanti Consultancy
  • One-year Tier 1 subscription to Show Starter Scheduling & Budgeting Plus

2 Grand Prize Award Winners

  • One Feature Grand Prize and one TV Grand Prize winner will be chosen from the 11 Feature Genre and TV Format award winners
  • These two Grand Prize Award Winners are flown to Hollywood for the Final Draft Annual Awards Event where we honor the Big Break winners along with recipients of
    The Screenwriters Choice Awards and The Hall of Fame Award

2013 Feature Grand Prize Winner
- Nicholas Horwood


2013 TV Grand Prize Winner
- Kenny Kyle

Each Grand Prize Award winner receives:


Apple iPad


Final Draft Writer App
for iPad


Trip to Hollywood

  • $15,000 cash for Feature Winner, $2500 cash for TV Winner
  • Roundtrip flight to Los Angeles plus hotel accommodations
  • Breakfast with screenwriter/producer Pen Densham (Riding the Alligator, Moll Flanders, Robin Hood: Prince of Thieves, producer of Backdraft)
  • Lunch with Big Break judges and other industry professionals
  • Dinner with working screenwriters and producers
  • 60-90 Minute Career/Meeting Prep Session from screenwriting career coach Lee Jessup
  • Admission to the August 2015 Script Pipeline Secret Door Pitchfest
  • Admission to any one of John Truby's Anatomy of Story Master Class in 2015
  • Admission to any one of Robert McKee Story Seminar in 2015
  • Final Draft, Inc. ScriptXpert™ Extended Coverage
  • An Email Query Blast to market your screenplay and capitalize on being a Big Break Winner — from Melody Jackson, Founder of Smart Girls Productions
  • Query Letter or One-Sheet analysis and a personalized, signed copy of
    The Screenwriter's Bible by Dave Trottier
  • Script consultation with a Script Pipeline’s Director of Development for potential industry circulation
Additional Prizes for TV Grand Prize Winner:
  • 1-3-5 Story Structure Made Simple screenwriting book and The Show Starter reality pitching book
  • Script Consultation from Jen Grisanti Consultancy including written/verbal notes and meeting to review the notes and your logline
  • One-hour career consultation with Carole Kirschner of Park on the Lot to create a step by step, personalized game plan for leveraging the contest win

The Final Draft / New York Film Academy Fellowship In Writing For Film & Television

Co-sponsored by The New York Film Academy, this unique screenwriting fellowship is a merit-based scholarship designed to raise each writer to a higher level of storytelling craft and provide intensive real-world training in the business of Hollywood.

The fellowship begins with a 12-week master class—one for film writers and one for television writers—held on the Burbank campus of the New York Film Academy and taught by top New York Film Academy instructors. Writers will receive individualized instruction and mentoring in their chosen medium, and visiting industry VIPs will provide first-hand, practical insights into the entertainment industry (Out of town winners will be able to participate via virtual classroom).

Once the workshop has been completed, each fellow will be given a New York Film Academy Mentor to meet with once a month for the remainder of the calendar year for further guidance in script and career development.

New York Film Academy is devoted to promoting excellence in screenwriting and we are proud to partner with Final Draft in co-sponsoring this fellowship.

Success Stories

In recent years, over 50 Big Break semi-finalists, finalists, and winners have been signed to professional representation. Many have had scripts optioned, sold, and produced. Others have found full-time work in television. Read about their successes below!


Jacob Stark and Benjy Kaplan, 2013 TV Half–Hour Spec winners, have signed with CAA for representation.


TV Grand-Prize winner Kenny Kyle signed with Madhouse and CAA and will join the writers room of
Hawaii Five–0


2013 Comedy/RomCom top-3 finalist Stacy Jo Coffey's entry Adult Publishing For Teenaged Girls was optioned by Unstoppable Entertainment.


Nicholas Horwood, 2013 Feature Grand Prize winner, has signed with Magnet Management after meeting Mitch Solomon at the Big Break judges’ lunch.


2010 third-place winner Larry Brenner's script Bethlehem sold to Universal — Click here to read the complete article. Big Break judge Mitch Solomon of Magnet Management has also helped Larry secure writing work for hire in both television and features.


2012 Big Break first place winner Craig Houchin has just signed with agent Joel Millner of Larchmont Literary, and is working with Katonah Pictures producer Chris Salvaterra to package the film of his
winning screenplay, Ludlow.


Since winning the 2011 Big Break, Adam Perlman and Graham Sack have signed with The Gersh Agency for film and television and are developing a film project with Global Produce. Additionally, Adam is a writer for the HBO original television series The Newsroom.


Walt Disney Pictures acquired Labyrinth, a pitch by 2010 third-place Big Break winner Larry Brenner.


2012 Big Break Contest Finalists Marco van Belle & Kat Wood sign with Zero Gravity Management — Click here to read the complete interview.

Big Break Contest Finalists Marco van Belle & Kat Wood sign with Zero Gravity Management

A pair of finalists scored representation out of the Big Break Contest when they signed with manager Jeff Belkin of Zero Gravity Management. Marco van Belle and Kat Wood made the finals with their new script, The Burning Room. They gave us more information about their experiences and their hopes for the future.

Final Draft, Inc.: What attracted you to the Big Break?

Marco and Kat: The Big Break track record of getting exposure for writers. Of course we didn't know how far we'd progress, so to make the final 35 and get representation with Zero Gravity was unexpected and just fantastic.

FDI: Have you tried other contests? Or entering other scripts? Have you had any success elsewhere in the screenwriting world?

M&K: We've entered scripts into competitions before and we've always found the feedback from them encouraging. Our last two features made it through the early rounds of some other big-name competitions, but Big Break this year has been our stand-out success story.

FDI: How did the two of you start writing together?

M&K: Marco is also a director, and he first worked with Kat when he directed and produced a script she'd written. The resulting film — Mr. Bojagi — was a big success. It screened at festivals all over the world (including Austin) and was picked up for distribution by Shorts International. They really clicked creatively, so they decided to start writing together and haven't looked back.

FDI: What is The Burning Room about?

M&K: It's a horror film about a woman whose life is left in tatters after her husband is brutally murdered and her little boy taken. She's obsessed with finding her son, so when a shadowy group of vigilantes offer to bring her face to face with the man who took him she can't resist. But it's a horror, so of course it turns out that there's a lot more to the kidnapper than she thinks! He's a very, very nasty piece of work.

FDI: Writers usually have a lot of stories in their heads. What made you choose to write this story?

M&K: We just wanted to write something that was really true to the genres and films we love watching ourselves. This script has echoes of John Carpenter's version of The Thing and Alien/Aliens, so we had great fun playing with the tone and feel of these films while also stamping our own mark on a great genre.

FDI: Now that you're signed with a rep, what are your next steps? Both with the script and with your careers?

M&K: Signing with Jeff has been a huge step in our careers — but it is just one of many steps and we've got many others ahead of us. So the hard work really starts now. But the fact that we're now operating at a far more serious, professional level than we were before entering Big Break is really exciting. It's making us want to work harder than ever.

Jeff Belkin was kind enough to share some of his insights from his perspective of this new relationship.

FDI: This is not the first time you've signed a Big Break Finalist. Was there something that Marco van Belle & Kat Wood had in common with Christopher DeBiasse who you signed last year?

Jeff Belkin: The genres, concepts and styles of these writers could not be more different. Except to say that both reads engaged me, entertained me, were professionally composed, and gave me the confidence to get involved in their careers.

FDI: Is there a certain "something" you were looking for as far as a brand, style, or a type of writer?

JB: None what-so-ever. "I'll know it when I see it" is generally my motto. Ideally, I'm angling toward more commercial studio projects. But I never say never to most things. I've got indies, bio-pics and tentpole stuff. Low-budget horror is not something I'm actively looking for whatsoever -- but I just really loved this and the voice. Alien is one of my favorite films (as it is of Marco) and there's a lot elements of that movie in The Burning Room.

FDI: What do you plan to do next with not only the script, but also with your new clients?

JB: We already have producers interested in making this as a low-budget film (hopefully a theatrical release) -- and are just waiting to see if the financing can be raised. Otherwise, I have another party waiting in the wings. As for their next project, I want to see Marco and Kat put their great characters, dialogue, action et al. into something higher concept and bigger.

FDI: While obviously you loved The Burning Room, it didn't make the top-ten in Big Break. Is this script better than its finish might imply? What do you think kept it from getting farther in the contest?

JB: Clearly, everything in this industry is subjective and I have no idea what or if the readers/judges were looking for specifically. While I didn't read all 35 finalists, I did read a good number of them and -- with great respect to the winners and top-ten -- I do believe this script was worthy of placing higher and/or winning.


2009 top-20 semi-finalist Gia Milani's script All the Wrong Reasons was funded and shot in 2012. It stars Cory Monteith from Glee, Karine Vanasse from Pan Am and Kevin Zegers from TransAmerica and The Mortal Instruments. Milani directed the feature.


2011 Big Break 4th-Place Winner Signed by Silent R Management and CAA. — Click here to read the complete interview.

Q&A: Manager Jewerl Ross and Creative Artists Agency Sign Big Break 4th-Place Winner

Manager Jewerl Ross of Silent R Management and CAA sign fourth-place winner of the 2011 Final Draft, Inc. Big Break Screenwriting Contest, Sasha Isaac-Young, for her script The Prettiest Girl. Ross gives us the details about this exciting story of success for the new screenwriter.

Big Break: How did you discover Sasha's script?

Jewerl Ross: As one of the judges of the Final Draft, Inc. Big Break contest, I am sent the top-five scripts that the Final Draft, Inc. readers determine to be the best. This script was one of the five. I first had my assistant read them and give me his thoughts on which were the best. He and I have very similar tastes, and he couldn't stop talking about this script. I read it in short order and flipped for it. For me, it was hands down the best script I had read in six months.

Big Break: What is The Prettiest Girl about?

Jewerl Ross: The teaser I just typed for it says, "The Prettiest Girl explores the themes and complexity of The Talented Mr. Ripley, but disguises it with the perceived innocence of a world dominated by teen girls. When three teenage girls enter the woods and one does not return, our young protagonist Madeline is left to uncover the dark mysteries of her small town as we discover what may be hidden in her heart."

Big Break: What was it about the writing that made you realize you had to sign Sasha?

Jewerl Ross: Intelligence. This script has so much to say and it says it with subtlety and brilliance. It is not like anything I've read. I first read the script on a Saturday at 4:00 p.m. When I finished at 5:30, I walked to my coffee maker, poured myself another cup, walked back to the couch and immediately read it again, cover to cover. I haven't read a script twice in one sitting in 10 years. I knew right away I was in the hands of a real writer. In the weeks following that first read, there have been times that I have been so excited about the script that it has literally kept me awake at night. This script has the quality of any new script I take on: I know that I will be able to send it to 200 people and many of them will be dazzled by it. I have only made one submission so far and that was to CAA. They signed her immediately and have assembled a whole team around her.

Big Break: What was it like to tell Sasha the news? How did she react?

Jewerl Ross: Our first meeting was a two-and-a-half hour love fest. She responded to how I see her movie and my plans for it and her career. I responded to her great ideas, to her wholeness of character, and to her quirky way of seeing the world.

Big Break: What is it like being a judge for Big Break?

Jewerl Ross: This one script has made any involvement I have had with Final Draft worth my time. I know brilliance is so, so very hard to find. When you find it, you are blessed and lucky. The fact that Big Break has turned me on to this new voice, someone who I can imagine representing for the next 20 years, is amazing. I represent only 20 clients and to sign a new one is rare. Many of my current success stories have been with clients that I have represented for over eight years. As a result, it is not a volume game for me. It's about making good choices, long-lasting choices. This is one.

Big Break: How does Big Break stand out among the others?

Jewerl Ross: I don't know. I only judge for this contest. I have read the winners of the most prestigious contests. Occasionally, I have seen great talent in those contests, too. However, I have never have a found brilliance on this level from a contest.

Big Break: What's next for Sasha and her script?

Jewerl Ross: CAA and I are pursuing a three-pronged strategy. We will go out with it as a spec in 2012. We will send it to big-time directors. We will also try to put it together in the independent space.


Rob Frisbee, 2007 Big Break winner, is now making news in the trades with his third writing assignment in the last year and a half. He is represented by Brian Spink at Realm.
— Click here to read the complete article.


2011 Big Break Top-40 Finalist Christopher DeBaisse scores representation read more

2011 Big Break Top-40 Finalist Christopher DeBaisse scores representation

Screenwriter Christopher DeBaisse, who penned the script We Need Some Space and placed as a top-40 finalist in the Final Draft, Inc. 2011 Big Break competition, was signed by producer and manager Jeff Belkin of Foremost Films this week. DeBaisse's script is a comedy "about a guy who -- after getting dumped by his girlfriend -- goes on a bender and ends up sleeping through an alien invasion. When he wakes up, he is so single-minded about winning his girlfriend back, that he befriends aliens to find her," says Belkin, who discovered DeBaisse through the Big Break Contest. "Christopher is a great writer. You see his talent immediately on the page. And, perhaps even more impressively, his scripts made me laugh out loud. Repeatedly. That's not easy to do and happens rarely," Belkin adds. Big Break is an important contest for Hollywood, he confirms. "For scribes of any level, contests like Big Break prove to be a vital and necessary tool for exposure." DeBaisee, a Los Angeles-based story analyst for Universal Studios, is happy to have that exposure as well as official representation.


2007 Big Break second-place winner Nick Horwood has his script producedread more

2007 Big Break second-place winner Nick Horwood has his script produced

In 2007, Nick Horwood placed second in the Final Draft, Inc. Big Break Contest with his medieval buddy-comedy Knight Knight. As part of the contest prize he was flown to L.A., where along with meeting Oliver Stone and several of the contests’ distinguished judges, Horwood also met previous Big Break finalist Brendan Foley. Early in 2011, Foley invited Horwood to attend a workshop for writers and producers in Denmark with him, comedy writer and actress Shelley Goldstein, producer Lars Herman, and Hollywood veteran producer Ned Dowd. Among the 28 European writers and producers was filmmaker Christina Bucher, who persuaded Horwood to let her direct Knight Knight and to co-produce the film with her. Less than two months later, shooting was completed on the low-budget medieval epic, shot entirely on location in a genuine medieval castle. Nick Horwood said, "Big Break was the first contest I entered and it’s fitting that Knight Knight is the first feature film I have seen go from script to screen … earning me a writer, producer and actor credit along the way!"

(Photo credit: Hermit Film Productions)

For more information: http://www.facebook.com/Knightknightthemovie


2010 Big Break Winner Tejal Desai gains management and an option for his script before he left L.A.read more

2010 Big Break Winner Tejal Desai gains management and an option for his script before he left L.A.

2010 Big Break winner Tejal Desai had a manager and an option for his script Cowboys and Hindus before his three-day trip to Los Angeles was over. Big Break judge Jewerl Ross of Silent R Management immediately responded to the script and snapped up Tejal as a client shortly after they first met in person. Synthetic Pictures has also inked a deal for Tejal to write and direct his script. Tejal says: "[What] a memorable experience at Final Draft, Inc. in Los Angeles! The hotel, the meetings, the limo ride, red carpet, awards dinner, and the party, it was all amazing and truly unforgettable. What a great night!! [Big Break is] definitely one of the premier writing contests and I will recommend it to everyone I know." Mr. Ross had this to say about Tejal's screenplay Cowboys and Hindus, "This script epitomizes superior storytelling: characters whose humor and tragedy tug at the heart, and whose fears, desires and deepest emotions become your own, making it not an exercise in entertainment, but a complete validation of the power of great art. I'm excited to get to work for him." For more information about Jewerl Ross, please go visit http://www.silentrlit.com.


2010 Big Break second-place winner Mick Connolly gains a manager and an agentread more

2010 Big Break second-place winner Mick Connolly gains a manager and an agent

2010 Big Break second-place winner Mick Connolly of Melbourne, Australia took home honors for his clever, fast-paced heist comedy Crims. On returning home, he was contacted by Endeavor co-founder turned manager/producer David Greenblatt (the upcoming Battle Los Angeles). Connolly and his two fellow Big Break winners met and pitched to Greenblatt as part of their prize and Greenblatt loved the script. Greenblatt is now repping Connolly. Just days later, William Morris Endeavor Agent Danny Greenberg signed Connolly as well, and the team is busy introducing Crims to the industry. Connolly says: "The Big Break Contest lived up to its name for me. I secured a great manager within a week, met with executives and agents, and now have a number of producers asking to read my script. Final Draft opens doors!"


2009 Big Break winner Wyatt Wakeman signed by Big Break judge Brian Spink of Realm Literary
read more

2009 Big Break winner Wyatt Wakeman signed by Big Break judge Brian Spink of Realm Literary

2009 Big Break winner Wyatt Wakeman was the first entrant to make the semi-finals with two different scripts. Judge Brian Spink recognized his talent quickly and signed Wyatt for representation shortly after his win with Borderland was announced. Wyatt says: "It's easy to forget that there are people out there who try and honestly support the writer, who get genuinely excited for him, and who want to see him succeed. Final Draft, Inc. has given me back my faith in the process. You know those few elusive, mythical steps that exist between being a struggling writer and having representation that believes in you, with the moxy to make things happen? Enter and win the Final Draft, Inc. Big Break Contest and those moments happen right before your eyes."


2006 Big Break winner Robert Frisbee gains management from Benderspinkread more

2006 Big Break winner Robert Frisbee gains management from Benderspink

2007 Big Break winner Robert Frisbee’s Cityfall made quite an impression on industry judges as well as industry execs who wanted to meet with Rob.  Rob says, "A writer anywhere in the world can submit his or her script and know that it will be seen by people will not only read it, but who care greatly about cultivating undiscovered talent. In the weeks since winning the contest, doors are indeed opening."

Rob was snapped up by Benderspink management and several agents are interested in signing him.


2005 Big Break winner Julia Van Develder's The Escape Artist optioned by U.K. production companyread more

2005 Big Break winner Julia Van Develder's The Escape Artist optioned by U.K. production company

2005 Big Break winner Julia Van Develder’s The Escape Artist is in pre-production. The Escape Artist was optioned by a U.K. production company for award-winning director/writer/producer Helen Grace to direct. Julia says, "There's just no way to overstate how much easier Final Draft makes the writing process. 'Just add words' is so apt. And the contest? I call Liz Alani (the contest director) my fairy godmother. Thank you, Final Draft!"


2004 Big Break winner Rylend Grant signed by CAAread more

2004 Big Break winner Rylend Grant signed by CAA

2004 Big Break winner, Rylend Grant, quickly signed with CAA. Rylend says, "They've created quite a fan base for me. We have a lot of people, mostly directors, flirting with my winning screenplay DRIVE right now, and I'm meeting with a slew of major production companies. than anything though, DRIVE has become a calling card. It's created other opportunities. The Big Break Contest gave me a seal of approval, a big shiny medal hanging off of that calling card and because of that I just signed a six-figure deal to write for an A-list actress and an Oscar®-winning director. I am now writing a remake of a Chabrol film called L'ENFER for Luc Besson and Penelope Cruz. I'm having the time of my life. It's hard to believe I'm getting paid to do this." We are thrilled for Rylend!


2002 Big Break winner Shawn Corridan signed by MBST Management, winning script 8 Track picked up by Fox 2000read more

2002 Big Break winner Shawn Corridan signed by MBST Management, winning script 8 Track picked up by Fox 2000

2002 Big Break winner Shawn Corridan says, "Final Draft, Inc.'s software and Big Break Screenwriting Contest opened doors that countless query letters, screenwriting how-to books, and a thousand thankless hours of writing could not. As a result of using Final Draft, Inc. software and ultimately winning the contest, I was offered, literally overnight, representation by numerous agents and entertainment managers and was taking meetings with directors and TV and film producers." Shawn quickly signed with MBST Management. As seen October 2003 in The Hollywood Reporter, Fox 2000 has picked up Shawn Corridan's winning screenplay "8 Track" with directing team the Malloy brothers onboard to helm and Gil Netter to produce. The project is being envisioned as a gritty coming-of-age surf story, which draws on Corridan's life and surfing experiences. "8 Track" represents Shawn's first feature sale.


2001 Big Break Finalist Brendan Foley has first feature film producedread more

2001 Big Break Finalist Brendan Foley has first feature film produced

Brendan Foley premiered THE RIDDLE, his produced 2001 Big Break finalist script, at the Austin Film Festival in October 2007. THE RIDDLE is a $5 million indie and was Brendan’s first feature as a director. It stars Vinnie Jones (X-Men: The Last Stand), Derek Jacobi (Gladiator), Vanessa Redgrave, and Julie Cox. In September 2007 it made headlines in the trades by becoming the first film ever to premiere in conjunction with a national newspaper, The Mail on Sunday, the UK's top selling Sunday paper. The paper bought UK DVD rights and distributed 2.6 million copies, making the film one of the most-watched indie launches of all time.


2001 Big Break Finalist TJ Lynch's film A Plumm Summer produced, starring Henry Winkler, William Baldwin, and Peter Scolari.read more

2001 Big Break Finalist TJ Lynch's film A Plumm Summer produced, starring Henry Winkler, William Baldwin, and Peter Scolari

2001 Big Break Finalist TJ Lynch recently wrapped production on his Big Break top-10 screenplay. Retitled A Plumm Summer, the film’s cast includes Henry Winkler, William Baldwin, and Peter Scolari.  TJ says, "I'm a big believer in screenwriting contests.  For the unknown writer, winning or placing in the major competitions such as Final Draft, Inc.'s Big Break Contest is the fastest way to put oneself on the map.  Perhaps even more importantly, they are an efficient and impartial gauge with which to measure one's own writing with one's peers. Placing 7th out of 2,600+ entries gave me the booster shot of confidence I needed.  Now that the script has been shot and is in the can, I'm on top of the world!"


2000 Big Break winner Ken Hastings' "Dawg" now known as Bad Boy has been produced and shot by
Gold Circle Films.

Judges

The industry judges for the 2014 Big Break Contest will be announced in June when they are better able to commit to reading and considering the finalists' scripts.

The industry judges of previous contests are listed below. Final Draft, Inc. thanks these executives for their time and passion for supporting scriptwriters.


Judges from previous contests:

  • Adam Novak is a graduate of USC’s Filmic Writing Program, Adam Novak played a ruthless drug dealer in the 1990 senior thesis video of Boyz N the Hood by classmate John Singleton, which prepared him for the motion picture industry.
  • Benderspink is an innovative IP, production and management company.
  • Brian Spink is a literary manager/producer at boutique management company Realm which he founded in January 2011. Prior to that, he spent over a decade at Benderspink. He represents screenwriters and directors in film and television as well as comic book writers. Feature projects that Brian is executive producing include Abducted at Paramount, Last Voyage of The Demeter at Millennium, Webcam at Company3, and upcoming The Estranged. His clients have worked at every studio and with A-list filmmakers including Sam Raimi, Roland Emmerich, Robert Zemeckis, Steven Spielberg, Michael Bay, Ridley Scott, Phillip Noyce, John Woo, Robert Schwentke, David Goyer, Kathleen Kennedy, Mark Gordon, Gale Anne Hurd, Chuck Roven, and Will Smith.
  • Chris Cook is a literary manager and producer at Madhouse Entertainment in Los Angeles. He represents screenwriters and filmmakers in both film and TV. Among the talent he represents are Justin Kremer (McCarthy), Russell Sommer and Dan Frey (Bleeding Kansas), and Roberto Bentivegna (The Eel) who were on last year’s Blacklist. His clients Christian Magalhaes and Robert Snow are currently in production on their 2010 Blacklist script Murder of a Cat. He was highly involved in the development of the upcoming film, written by Aaron Guzikowski, Prisoners, and has several projects set up at different studios.
  • Eric Williams is currently a Partner at Zero Gravity Management. He began his career at Paradigm and then moved to Writers & Artists Agency as a Literary Agent. Eric transitioned to management in 2004, where he began growing the management division of Zero Gravity. Specializing in representing screenwriters and directors, Eric has a passion and reputation for discovering and breaking new talent, and represents exciting up-and-coming artists in addition to well-established industry professionals. Eric's diverse client list has included writers and/or directors involved in recent Hollywood studio blockbusters from Underworld Awakening, Harry Potter, Sherlock Holmes, and The A-Team. In addition, the upcoming Frozen at Disney Animation, The Judge at Warner Bros., and the creators of the acclaimed television series The Bridge. Eric has been a featured panelist at prominent screenwriting conferences all over the country, and has judged numerous screenplay contests.
  • Marc Hartogsohn is from South Florida and went to Syracuse University where he studied TRF (Television, Radio, Film) and History. He began his career in New York at Good Morning America where he won a Daytime Emmy® Award for coverage on the 2008 presidential election. He also worked in feature film development for independent producer Michael Gunther. In Los Angeles he first worked at Renegade 83 in unscripted television show development before joining The Gersh Agency as an assistant to a feature film below-the-line agent. He is now a junior agent at Gersh in the feature literary department.
  • Jennifer Au is a literary manager at Caliber Media representing writers and directors for film and television, and across all genres. Prior to starting at Caliber, she spent four years at Untitled Entertainment, first as an assistant and then as a junior literary manager. Jennifer began her career working at an independent production company followed by time at a top agency. She is a graduate of the USC School of Cinematic Arts.
  • Jewerl Ross grew up in Los Angeles and left Southern California to study political philosophy at Yale. After graduating in 1997, he returned to L.A. to work in entry-level positions at ICM and Paradigm before joining APA as an agent in early 1999. Three years later, after making a name for himself selling spec scripts, Marathon Entertainment hired Ross as a manager. In January 2006, Ross left to form his own company, Silent R Management.
  • Kailey Marsh is an independent literary manager & producer at Kailey Marsh Management & Productions. She represents screenwriters and directors in the feature, television and new media space. Kailey started out work for Steven Schneider while he worked on Paranormal Activity, and then became and assistant at Circle of Confusion. Kailey created The Blood List in 2009, which is the annual list hilighting the top-13 best unproduced, dark genre screenplays of the year. She and her clients have projects set up across town, in different stages of development and production. Bloodlist.com @kaileymarsh/
  • Marc Manus is a former award-winning photojournalist who attended USC film school before entering the field of artist representation. His first job was with manager Cathryn Jaymes, who represented the Academy Award-winning writer-director Quentin Tarantino, among others. After a brief foray into independent producing, Marc held positions at various management companies including Incognito Entertainment, which produced the Warner Bros. comedy Three to Tango. He then partnered with talent manager Jamie Gold for a couple of years, until he ventured out on his own to form Manus Entertainment. Marc now has a well-respected roster of up-and-coming writers and directors who have been involved in film and television projects at companies such as 20th Century Fox, Anchor Bay, Escape Artists, IFC Films, and Syfy. A few of his recent client projects include the original spec screenplay Cornered, in active development with 1821 Pictures, a remake of Phasma Ex Machina set up at Universal Pictures and Crawl to Me, an adaptation of the best-selling graphic novel from publisher IDW. Marc most recently served as co-producer on the micro-budget supernatural horror-thriller Delivery, which made its world premiere at the 2013 Los Angeles Film Festival.
  • Mike De Trana worked numerous aspects of the entertainment industry before founding his management/production company, Anvil Entertainment. During his time at Kadokawa Pictures USA, De Trana honed his development skills working on the The Masters of Horror series for Showtime, the film One Missed Call for Warner Bros. and developing adaptations of Japanese horror films for the American Market. Next, at The Gersh Agency De Trana quickly advanced from the Production and Literary departments, to working for the head of the production department and eventually the head of the agency. This afforded De Trana the opportunity to fully immerse himself in both the below the line and literary sides of the company, working with clients such as producers Ian Bryce and Larry Franco, and filmmakers such as Marc Webb, Diablo Cody, Bruce Beresford, Joe Dante and John Landis.
  • Mitch Solomon is a literary manager and producer who runs the production arm of Magnet Management. Among his clients is Larry Brenner, who was introduced to Solomon through the 2010 Final Draft, Inc. Big Break competition. Brenner subsequently sold his spec script Bethlehem to Universal with Joe Roth and Palak Patel producing and adapted Angelology on assignment at Sony for producers Overbrook and director Marc Forster’s Apparatus Productions. As a producer, Magnet’s projects in development include the family film The Creepy Kid at Paramount and Montecito Pictures, thriller Hourglass at Fox alongside Davis Entertainment, and Saint Anne a one-hour at HBO to be produced with Blumhouse and eOne Entertainment. Solomon's previous jobs include being the production head of The Bubble Factory and president of the feature film division at Film Roman. Prior to joining Film Roman, Solomon was the senior vice president of production of FilmColony at Miramax.
  • Todd Garner, the head of Broken Road Productions, is a veteran producer and Hollywood creative executive with a unique gift for creating and nurturing mainstream, commercial motion pictures. He is very active in various charities such as the Learning Garden and Doheny Eye Institute and is on the board of the Environmental Media Association and the MISS Foundation. In various capacities throughout his career, Garner has developed, overseen, executive produced or produced well over 170 movies, many of them major hits for their respective studios. Formerly a founding partner of Revolution Studios and before that co-head of production at Disney, Garner founded Broken Road Productions in summer 2005. In the last seven years, Broken Road has produced twelve movies and counting.
  • After graduating from The University of Arizona, Tom Drumm got his start in Hollywood interning for MTV and The Farrelly Bros. before joining the Brillstein-Grey mailroom. There Tom worked for Brillstein-Grey Management President Peter Safran, who he credits, along with Bernie Brillstein, for teaching him what makes a great manager. At the end of 2005, Tom broke off with Peter to form the production/management firm The Safran Company where we worked as a talent manager until recently forming his own company, Think Tank Management & Production, in 2013.
  • Tony Zequeira is a manager/producer affiliated with Larchmont Literary Agency. His management company excels at developing young writers and preparing them for a career in the entertainment business. He has worked with many successful young writer/directors such as George Hickenlooper (Casino Jack), Peter Gould (Breaking Bad, Too Big to Fail, Better Call Saul), and Brian Dannelly (Saved, Weeds). Prior to switching to manager/producer he worked at Evolution Management with Mark Burg, Oren Koules, and Gregg Hoffman and was involved in acquiring the Saw series of films.
  • Adam Novak is a graduate of USC’s Filmic Writing Program, Adam Novak played a ruthless drug dealer in the 1990 senior thesis video of Boyz N the Hood by classmate John Singleton, which prepared him for the motion picture industry.
  • Brian Spink is a literary manager/producer at boutique management company Realm which he founded in January 2011. Prior to that, he spent over a decade at Benderspink. He represents screenwriters and directors in film and television as well as comic book writers. Feature projects that Brian is executive producing include Abducted at Paramount, Last Voyage of The Demeter at Millennium, Shadows of Paris at Telefilm, and Untitled Thriller with Steven Schneider (Paranormal Activity).
  • Brooklyn Weaver owns Energy Entertainment, a literary management and production company based in Beverly Hills and is a producer on several film projects. As a literary manager, Weaver is known throughout Hollywood for having high-caliber taste in clients and projects and as a top dealmaker. As a producer, in 2012 Weaver executive produced revenge/drama Out of the Furnace starring Christian Bale, directed by Oscar®-nominated Scott Cooper with Leonardo DiCaprio, Ridley Scott and Ryan Kavanaugh producing, Relativity Media financed and is distributing.
  • Irene Yeung is a VP working with Roy Lee at Vertigo Entertainment (The Grudge, The Departed, The Strangers). She graduated from USC's School of Cinema-Television and began her career as an intern at Vertigo, where she worked her way through the ranks to her current position. She was an associate producer on the Screen Gems thriller The Roommate and a co-producer on the upcoming supernatural thriller 7500 at CBS Films. Vertigo is currently in production on the WB thriller Hidden and working on an adaptation of Stephen King's The Stand and It, a remake of OldBoy, and Godzilla.
  • Julian Rosenberg was born and raised in the community of Kitsilano in Vancouver, Canada. His career began at age 18 as an actor, before segueing into producing. By age 21, his films had won multiple awards and screened at dozens of festivals internationally. This early success led him to move to Los Angeles in 2005, and shortly thereafter he joined the United Talent Agency’s prestigious Agent Trainee Program. In 2008, he left the agency to become a talent manager, before joining Caliber Media where he has been a Manager since 2011.
  • Jennifer Au is a literary manager at Caliber Media representing writers and directors for film and television, and across all genres. Prior to starting at Caliber, she spent four years at Untitled Entertainment, first as an assistant and then as a junior literary manager. Jennifer began her career working at an independent production company followed by time at a top agency. She is a graduate of the USC School of Cinematic Arts.
  • Jewerl Ross grew up in Los Angeles and left Southern California to study political philosophy at Yale. After graduating in 1997, he returned to L.A. to work in entry-level positions at ICM and Paradigm before joining APA as an agent in early 1999. Three years later, after making a name for himself selling spec scripts, Marathon Entertainment hired Ross as a manager. In January 2006, Ross left to form his own company, Silent R Management.
  • Mitch Solomon is a literary manager and producer who runs the production arm of Magnet Management. Among his clients is Larry Brenner, who was introduced to Solomon through the 2010 Final Draft, Inc. Big Break competition. Brenner subsequently sold his spec script Bethlehem to Universal with Joe Roth and Palak Patel producing and adapted Angelology on assignment at Sony for producers Overbrook and director Marc Forster’s Apparatus Productions.
  • Palak Patel runs the film division for Joe Roth's company, Roth Films. Roth Films recently produced Alice in Wonderland directed by Tim Burton. They also produced Knight & Day starring Tom Cruise and Cameron Diaz. Patel was an Executive Producer on Snow White And The Huntsman. He is currently in post production on Oz: The Great and Powerful starring James Franco, Mila Kunis, Rachel Weisz, and Michelle Williams, directed by Sam Raimi, scheduled to be released in March 2013.
  • Trevor Engelson is a manager and producer at Underground, a company that manages the careers of a number of film and television writers, directors, comedians, and actors. The company’s clients include John Singleton, Jon Lajoie, Jim Field Smith, Joel David Moore, Dito Montiel and Irvine Welsh. Trevor was named in The Hollywood Reporter’s Next Generation 35 Under 35 for his work as a manager.
  • Jewerl Ross grew up in Los Angeles and left Southern California to study political philosophy at Yale. After graduating in 1997, he returned to L.A. to work in entry-level positions at ICM and Paradigm before joining APA as an agent in early 1999. Three years later, after Ross made a name for himself selling spec scripts, Marathon Entertainment hired him as a manager. In January 2006, Ross left to form his own company, Silent R Management.
  • Palak Patel is president of production of Joe Roth's company, Roth Films, which recently produced Alice In Wonderland for Disney and Knight And Day for Fox starring Tom Cruise. They are currently in preproduction on XXX3 for Paramount starring Vin Diesel. Patel was formerly president of production at Paula Weinstein's Spring Creek Productions which had a first-look deal at Warner Bros.
  • Jon Mora is a Development Executive at Doug Davison’s (The Ring, The Departed) newly formed production company, Quadrant Pictures. Prior to Quadrant, Jon worked in the motion-picture literary department at ICM, a major talent and literary agency representing clients in publishing, film, television, music and theatre. He received a B.A. in International Business from the University of San Francisco and studied at Sophia University in Tokyo, Japan.
  • Rudy Scalese is the VP of Development & Production for NALA films, where he helps identify and develop material to fulfill the company’s production slate of four to five mid-level budgeted films per year. Scalese recently oversaw the production of House of My Father, written by Andrew Steele, directed by Matt Piedmont, and starring Will Ferrell. Rudy also co-produced the company’s film Ceremony, written and directed by Max Winkler and starring Uma Thurman, Michael Angarano, Reece Thompson, and Lee Pace.
  • Joyce San Pedro is a Creative Executive working with Alex Siskin of Zhiv Productions and Escape Artists at Sony. She began her career in development after having worked in the publishing industry in various capacities - Foreign Rights, International Sales Director, and as a Managing Editor. The entry into the industry was through working with talent.She worked for talent manager JC Robbins, and then moved onto covering talent and literary agents at Metropolitan Talent Agency.
  • Tony Zequeira is a manager/producer affiliated with Larchmont Literary Agency. He currently works with Joel Millner in finding talented young writer-directors and helping them develop a career within the Hollywood studio system. Tony has worked with talents like Peter Gould (Breaking Bad, Too Big to Fail), George Hickenlooper (Casino Jack), Brian Dannelly (Saved!, Weeds), and Chuck Pfarrer (Red Planet, Arlington Road).
  • Drew Vinton has headed up development for Pearl Street Productions, Matt Damon and Ben Affleck's production company, since 2008. Among many of Drew's responsibilities is finding written material -- be it a screenplay, book, or article -- that has the potential to be turned into some form of "cinematic bliss.'" He is at his most content when sitting in front of a fresh, original, and well-crafted story. It takes a lot of work to create and hone such a work, and Drew has the utmost respect for those writers who attempt to accomplish the feat.
  • D.J. Gugenheim grew up in New York, Israel and Florida. At 16, he moved to L.A. by himself to pursue a girl and acting. Despite his itinerant lifestyle, he was admitted to UCLA a year early and studied theatre and business. There he won the Gilbert Cates Award for outstanding production (it was a multimedia/multiplatform version of Fahrenheit 451). After graduating, he worked at the Woodrow Wilson Center (a think tank in Washington, D.C.) as well as on Capitol Hill.
  • Molly Mayock is a screenwriter, film critic and television reporter/writer/producer. Her screenplay China Girl was a top-10 finalist in the Ben Affleck/ Matt Damon Project Greenlight. She has been an entertainment reporter for Philadelphia's WTXF-TV, a film critic for E! Entertainment Television, an Emmy®-nominated producer for Good Day L.A, and has written and produced more than 50 hours of television for networks that include the Discovery Channel, A&E, National Geographic Channel, Lifetime and History Channel. She is currently the showrunner for the hit National Geographic Channel series, Wild Justice.
  • Jennifer Merin, in addition to covering nonfiction film for About.com (http://documentaries.about.com), is the film critic for Women's eNews (www.WomenseNews.org) and is president of the Alliance of Women Film Journalists, a nonprofit organization of leading women film journalists in the U.S., Canada and the UK, where she helms AWFJ Women On Film (www.AWFJ.org), the organization's online journal.
  • Daniel Gutierrez, when working as a producer at an FM talk station, he developed "The Directors Cut Radio Program," a two-hour radio show about movies. The show was picked up on other stations -- FM, HD and Internet stations. Eventually they grew to over 16 stations across the country carrying the two-hour program. Other stations that can't carry the program, due to the length of program and their lack of airspace, began to use our short form reviews for their programming.
  • Palak Patel is president of production of Joe Roth's company, Roth Films, which recently produced Alice In Wonderland for Disney and Knight And Day for Fox starring Tom Cruise. They are currently in preproduction on XXX3 for Paramount starring Vin Diesel. Patel was formerly president of production at Paula Weinstein's Spring Creek Productions which had a first-look deal at Warner Bros.
  • Mitch Solomon runs the production arm of Magnet Management. Magnet Pictures' films in development include the family films The Creepy Kid at Paramount and Montecito Pictures, Hours of Fun at Disney, and horror-thriller The Tingler at Sony Pictures. Solomon's previous jobs include being the production head of The Bubble Factory and president of the feature film division at Film Roman. Prior to joining Film Roman, Solomon was the senior vice president of production of Film Colony at Miramax.
  • Brian Spink is a literary manager at BenderSpink, a production/management company based in Los Angeles. He’s been with the firm since its humble beginnings in a three-bedroom house in West Hollywood. His clients have worked with A-list filmmakers including Sam Raimi, Roland Emmerich, Robert Zemeckis, Michael Bay, Ridley Scott, and Phillip Noyce.
  • Todd Garner is a veteran producer and Hollywood creative executive with a unique gift for creating and nurturing mainstream, commercial motion pictures. Garner’s Broken Road Productions recently produced the 20th Century Fox action/comedy Knight & Day, The Sorcerer's Apprentice. Recent credits include Ice Cube starrer Are We Done Yet? and Next with Nicolas Cage, Julianne Moore and Jessica Biel.
  • Jewerl Ross is the principal of Silent R Management. Ross' clients include comedy writer David H. Steinberg (American Pie 2, Slackers, The Anubis Tapestry), sci-fi writer Trevor Sands (Electric Church, Hyperion Cantos), Matthew Aldrich (Counterfeit Son, The Trap), thriller writer David Logan (Sebastian Knight, Once Were Cops), English thriller writers Dominic Morgan & Mathew Harvey (Into Hell), television writer Brad Buecker (Glee). And those are just some highlights of Ross' 18 clients.
  • Jeff Graup is the CEO of Graup Entertainment. He has represented Academy Award®-winning writers and directors of major studio releases, and has had as many as 15 studio films released in a single calendar year. Jeff has focused his career on nurturing talent in all stages of their development. His experience working with writers and writer-directors makes him an invaluable asset to the industry. Today, Jeff’s ability to spot “young” and talented writers and directors has allowed him to break into the business some of the most distinctive voices in the movies.
  • Kirsten Smith is one of the most prolific female screenwriters in Hollywood. Her credits include Legally Blonde, 10 Things I Hate About You, Ella Enchanted, She’s The Man, and most recently, The Ugly Truth and The House Bunny, both of which she executive produced.
  • Laura Perez is lawyer, producer and principal of Converge Entertainment, LLC, a film financing and production company.
  • Brian Spink is a principal of Benderspink, Management & Production whose credits include A History of Violence, The Ring;, and Red Eye.
  • Katharyn Bond Márquez is a lawyer, producer and principal of Converge Entertainment, LLC, a film financing and production company.
  • Mike Goldberg co-launched literary management/production company Abstract Entertainment where he works with and developing young writers, and writer/directors, in feature film and television.
  • Dwayne Smith is a working professional screenwriter represented by Circle of Confusion who has sold four spec screenplays.
  • Eric Williams is a manager at Zero Gravity where he represents up-and-coming talent and established professionals.
  • Marvin V. Acuna is the founder of The Business of Show Institute and has over 15 years of motion picture/television production, development and artist representation experience, and a vast network of established entertainment industry relationships.
  • Dana Stevens, Writer: Life or Something Like It; For Love of the Game; City of Angels
  • Benderspink, Management & Production: A History of Violence; The Ring; Red Eye
  • Bruce Feirstein, Writer: The World is Not Enough; Tomorrow Never Dies; GoldenEye
  • Blake Snyder, Screenwriter and Author: Save the Cat!: The Last Book on Screenwriting You'll Ever Need
  • Raynold Gideon, Oscar nominated Writer/Producer: Stand by Me, Starman, Mr. Brooks
  • Simon Kinberg, Writer: Mr. & Mrs. Smith; X-Men: The Last Stand
  • Antwone Fisher, Award Winning Writer: Antwone Fisher
  • Bruce Feirstein, Writer: The World is Not Enough; Tomorrow Never Dies; GoldenEye
  • Brian Spink: Benderspink management/production
  • Bobby Sco, Oscar winning Writer/Producer: Million Dollar Baby; Crash
  • Simon Kinberg, Writer: Mr. & Mrs. Smith; X-Men: The Last Stand
  • Stuart Beattie, Writer: Collateral; Pirates of the Caribbean 1, 2 & 3
  • Zola Mashariki, Vice President of Production: Fox Searchlight Pictures
  • Christopher Lockhart, Executive Story Editor: ICM
  • Michel Shane, EP/Producer: I, Robot; Catch Me if You Can
  • Michael Zoumas: Miramax/Dimension, Sr. VP Production & Development
  • Maha Dakhil: CAA, agent
  • Joel Schumacher: Director, Phone Booth; A Time to Kill; Batman Forever; Falling Down; Writer: Phantom of the Opera; St. Elmo’s Fire; Car Wash
  • Todd Phillips: Director/Writer: Old School; Road Trip; Starsky & Hutch
  • Eva Mendes: Actress; Training Day, Hitch, 2 Fast 2 Furious, Once Upon a Time in Mexico; with producing partner George Garguervich
  • American Zoetrope, Francis Ford Coppola's production company
  • Brent Armitage, Producer (Gross Pointe Blank)
  • Kathie Fong-Yoneda, Paramount Story Analyst and author
  • Stephen J. Cannell and Lori Hughes, President and Production Executive at Cannell Motion Pictures
  • So Yun Kima, Genesis Literary Agent
  • John Truby and Syd Field, world-renowned screenplay teachers
  • Andrea McCall, head of Story Department at Dreamworks
  • Tony Zequeira, Larchmont Literary Agency and Dino Carlaftes,
    Metropolitan Talent Agency
  • Scott Jones, President Artist View Entertainment
  • Hawk Koch, famed producer and Vice President of the Producers Guild of America
  • Marti Blumenthal, partner of Writers And Artists Group International

Sponsors

Final Draft, Inc. thanks our 2014 Big Break sponsors who are dedicated to supporting aspiring scriptwriters. Please visit their sites to view the products they offer for writers.

Dave Trottier has sold or optioned 10 screenplays (three produced) and helped hundreds of writers break into the writing business. He is an acclaimed script consultant, author of The Screenwriter’s Bible, and friendly host of keepwriting.com.

FilmBreak is a data-driven marketing platform connecting film fans with filmmakers and celebrities. We help filmmakers to actively build, engage and identify the taste profiles of their online audience through two unique services: AUDIENCE ID (data-backed social media marketing), and CROWDFUND X (high-end crowdfunding consulting and management). www.filmbreak.com

More than 200 films have been produced from scripts and writers found through InkTip. InkTip: Getting the right script into the right hands. http://www.inktip.com/

The International Screenwriters' Association provides screenwriters with the tools, resources, and support they need to propel their careers past common hurdles and setbacks. We hope to challenge and dispel the idea that successful screenwriters survive by talent alone, without regard to hard work, collaboration, and a willingness to learn from their peers. Our goal is to train screenwriters to continuously hone their craft through classes, workshops, and other educational opportunities, and to emulate their personal writing role models in order to carve a path toward their own success. http://www.networkisa.org/

Jen Grisanti Consultancy offers consulting services for the TV, feature and novel writer. as well as writing seminars, teleseminars and one-on-one story and career consultations. Experience is the bridge that will take you from run of the mill material to extraordinary product to land that job. Get the personal guidance you need from a professional script consultant who has seen it all. As a Current Programs Executive for both Spelling Television, Inc. and CBS/Paramount, Grisanti staffed, advised and guided the writers and directors of top primetime shows for 12 years. By drawing on business savvy and her technique for developing material from within, she will empower you to give the studio executives what they want without compromising your talent and integrity. http://jengrisanticonsultancy.com/

John Truby's Anatomy of Story Master Class in 2014
The Gold Standard for Today's Top Writers.

Attended by writers from Pixar, Disney, Paramount, ABC, NBC, FX, NBC, Universal, Warner Bros. and countless others, John Truby is Hollywood's premier and most sought-after screenwriting instructor and story consultant. Truby doesn't promise you'll win an Oscar, an Emmy or even make the NY Times Bestseller List after taking his class (even though many do!), but he will give you the principles and tools you need to be a great writer.

Truby's class is three days of intense, advanced content - no filler, no name-dropping, no Hollywood stories. There's a reason more than 35,000 writers have attended his sold-out seminars around the world over the last 25 years, and the American Film Institute declared that "Truby's course allows a writer to succeed in the fiercely competitive climate of Hollywood." http://trubywriting.com/

Author of Michael Wiese Productions' Getting It Write: An Insider's Guide To A Screenwriting Career, released in March 2014, Lee Jessup is a career coach for professional and emerging screenwriters, with an exclusive focus on the screenwriter's professional development. Her clients include WGA members, Golden Globe and Emmy nominated screenwriters, writers who sold screenplays and pitches to major studios, and contest winners. Lee spent 6+ years as director of ScriptShark. During her time with ScriptShark, Lee introduced hundreds of screenplays to entertainment industry professionals, and spearheaded a national Business of Screenwriting seminar series launched in partnership with Final Draft and sponsored by The New York Times Company. An invited speaker at screenwriting conferences and festivals both in the US and Europe, Lee is a regular contributor to Script Magazine and was the interview subject for a number of film-centric television and web programs. To learn more about Lee and her services, visit www.leejessup.com.

The New York Film Academy 4-Week Filmmaking Programs are hands-on, intensive workshops that allow students to achieve more in less time than at any other film school. Each program is designed by award-winning entertainment industry professionals for students looking for intensive training using professional facilities and equipment. Programs begin year-round in New York and Los Angeles. Visit http://www.nyfa.com for more information.

Park on the Lot — Director of WGA's Showrunner Training Program, creator of the CBS Writers Mentoring Program, and the leading expert on career strategies for writers and producers, Carole Kirschner teaches creative professionals how to navigate the challenging and often mystifying field of show business. Her book, Hollywood Game Plan: How to Land a Job in Film, TV and Digital Entertainment is a primer on how to break in, stay in, and move up in the entertainment industry. Through her popular workshops, sometimes referred to as "Hollywood Business School," Carole teaches writers and producers the real world strategies that will help them get meetings, sell projects and get hired. http://parkonthelot.com/

Riding The Alligator is the one screenwriting book for artistic writers by a real Hollywood writer that aims to get their creative passions flowing! Pen Densham, as a writer, producer and director, has headed TV series and features that have grossed in excess of a billion dollars. Self-taught, he has one primal message – write from the heart. "The movies I sold most often were the ones I created for myself." Pen’s new book approaches writing as a humanistic art, a personal journey of discovery and gives optimistic approaches for handling the business on your own terms. http://www.ridingthealligator.com/

Launched in 2000 as an industry-leading research tool for screenwriters, Script Pipeline’s Writers Database gathers the specific needs and submission guidelines for over 1,000 companies, including managers, agents, and producers looking for new material. Members receive unlimited logline and query letter reviews, free entries to Script Pipeline competitions, discounts on script coverage, and one-on-one, personalized assistance with development professionals to ensure you’re well prepared for a competitive marketplace. http://www.scriptpipeline.com/writers-database

ScriptXpert is a professional coverage service that helps you develop your script from a rough draft or outline into a polished screenplay ready to be submitted to producers, agents, and managers. Even professional screenwriters value outside opinions about their script: Does it have a strong plot? Are the characters dynamic and real-to-life? Is the story tight and marketable? Get the answers you need from a coverage service designed to help you through every step of the process. http://www.finaldraft.com/products/scriptxpert/

Designed for both beginning and established screenwriters, The Secret Door Pitchfest, presented by Script Pipeline, gathers a selected group of high-level producers, managers, agents, and key executives searching for new material and fresh voices, allowing the writer to pitch and network in a more intimate, organized, hassle-free environment. Previous attendees have included Lakeshore Entertainment, Gersh, FilmEngine, Principal Entertainment, and other top companies. http://www.secretdoorpitchfest.com/home

Melody Jackson, Ph.D., is the Founder and Owner of Smart Girls Productions, a marketing, consulting, social media, and branding firm which works with Screenwriters on their Hollywood careers. A frequent invitee to writers groups, Melody specifically focuses on helping put the power of marketing into your hands, whether through traditional hard copy query letters, email blasting, or by establishing your presence with social media. Online or offline -- building relationships effectively is critical to your success.

Melody is also the author of such ebooks as Get Famous in Any Profession, How To Pitch Your Screenplay Like a Pro, Follow-Up Impact: How to Build Lasting Connections to the People You Meet by Staying In Touch Without Driving Them Crazy, as well as too many other ebooks to list here. For more information: http://smartg.com/

With Show Starter Scheduling & Budgeting Plus, you create your production calendar, and the software instantly crunches your numbers! What used to take days now takes only hours – and your schedule, budget and cash flow are always in sync for instant updates. This online app is easy to use, low-priced and ideal for indie filmmakers, reality productions, student films, and new media projects that don’t have the money or the study time to buy and master four different "blockbuster movie" software programs.

StoryO™ is an exciting new tool that takes story organization to a whole new level. StoryO allows writers to enter ideas onto index cards, rearrange and attach them to multiple sequences and timelines, then develop plot points, multiple story lines and characters along the way. StoryO allows writers to outline their stories in broad strokes at first, then drill down to establish details later. http://www.junglesoftware.com/storyo/what_is_storyo.php

STORYLOGUE (www.storylogue.com) is an online writer's service Robert McKee has created for the writer's community. All content that has been added to STORYLOGUE since the inception on January of 2010 is viewable at your leisure 24/7. New content is uploaded 365 days a year:

  1. Weekly Lessons: These are advanced studies that are not in the STORY Seminar or in the STORY book. All the material McKee gives here is brand new.
  2. Weekly Interviews: McKee interviews notable professionals from the industry each week. Many are award-winning writers, producers, directors, comedians, etc. who discuss how they do what they do. Some notable interviews are Ed Saxon (Oscar Award-Winner of SILENCE OF THE LAMBS, PHILADELPHIA), Bill Block (W, DISTRICT 9), Patrick McGrath (NY TImes reviewer, Writer of Spider, Asylum – made into film etc), Zak Penn (THE AVENGERS, THE INCREDIBLE HULK), Drew Carey (Comedian), and more.
  3. Daily Q&As: Each Monday - Friday, McKee answers questions from writers all over the world.
  4. Writer's networking room: Writers discuss and help each other collaborate in this room.
  5. LIVE CHAT: McKee will do live chats on some Saturday mornings with the members.

Robert McKee is very pleased to sponsor 2013 Big Break Competition. Robert McKee is unique among writing mentors. No matter what your writing credentials or story medium, your next project calls for an absolute command of creative decisions. With his distinctive blend of award-winning scholarship, professional acting and directing experience, and craft knowledge across all media, Robert McKee helps writers think beyond formula and take the best story decisions of their career - be it in cinema, literature, theatre or television. Already he has helped story creators win 49 Oscars as well as 170 Emmys. Whether delivered through his books, seminars or digital platforms, McKee's trademark combination of classical learning, passion for his subject and unrelenting drive to write the truth has resulted in him becoming the story whisperer of his age - an Aristotle for today's media world.

"The McKee Story Seminar is for writers who want true excellence on every work they produce; who want to reach for greatness and who do not simply want to be 'good enough.' At the McKee Seminar, I have finally discovered what my movie is about and I now can deepen the experience for the audience."

–Craig Houchin, 2012 Big Break First-Place Winner

Please visit www.McKeeStory.com to find out more.

John Truby is Hollywood’s premier screenwriting instructor and story consultant. Over the last 25 years, more than 30,000 people have attended his sold-out seminars around the world. Truby's Writers Studio is pleased to offer Truby's Blockbuster Genres: How the Top Genres Really Work audio course to the Big Break Top Ten Finalists. This all-day seminar covers the hidden elements of Action, Comedy, Crime, Detective, Fantasy, Horror, Love, Masterpiece, Myth, Science Fiction and Thriller.
http://www.truby.com

Virtual Pitch Fest is the only website in the world that lets screenwriters pitch Hollywood pros with the assurance of a guaranteed response. With VPF, personal query letters sent to companies you pick are all responded to within 5 days. VPF now has 370+ studios, production companies & reps all taking pitches online. Big Ppayers include Lionsgate, Phoenix, 2929, Lynda Obst, Sony, MTA, Alcon, Benderspink, Rat, Platinum, Original Film, Lawrence Bender, Red Wagon, Paradigm, Circle of Confusion & APA. VPF has been earning major cred in the biz, with site connections resulting in produced films, many script deals and writers landing representation.

Past Winners

2013 Big Break Winners & Finalists

The winners of the 2013 Final Draft, Inc. Big Break Contest were read and ranked by our panel of industry judges. The two winners attended the Final Draft, Inc. Annual Awards Event on January 7th, 2014 at the Paramount Theatre at Paramamount Pictures where they received their awards. In addition to the red carpet awards ceremony, they enjoyed cash prizes and meetings with industry leaders.

Congratulations to Nicholas Horwood of London, UK for his Grand Prize winning feature script Lancelot!

Congratulations also go to the very first Big Break Television Grand Prize winner, Kenny Kyle of Los Angeles, CA, for his hour-long spec of Newsroom, Stand Your Ground.

To contact our winners and finalists regarding their scripts, please click here to email your request.

Feature Prize Winners
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Action/Adventure
  • The Last Match by Mike Scannell of Austin, TX
Comedy/Rom-Com
  • The Pinkerton Principle by Ant Keogh of Hawthorn, Australia
Drama
  • Every Mother's Son by Jeff Goldstone of New York, NY
Family/Animated
  • Le Chat Noir by Paula Sewell of Los Angeles, CA
Period/Historical/War
  • Lancelot by Nicholas Horwood of London, UK
Sci-Fi/Fantasy
  • Asterion by Kieron Holland of Point Claire, Australia
Thriller/Horror
  • Erebus by Giovanni Taveras of College Point, NY
Television Prize Winners
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Half-Hour Spec
  • The Hero Hypothesis (Big Bang Theory) by Jacob Stark & Benjy Kaplan of Los Angeles, CA
Half-Hour Pilot
  • Never Famous by Nicholas Anthony of Los Angeles, MN
Hour-Long Spec
  • Stand Your Ground (Newsroom) by Kenny Kyle of Los Angeles, CA
Hour-Long Pilot
  • Even Deeper by Michael Sullivan of Playa Del Ray, CA
Top 3 Feature Finalists
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Action/Adventure
  • Adrenaline Heart by Mark Ching of Roanoke, VA
  • Arktos by Eric Day of Los Angeles, CA
  • The Last Match by Mike Scannell of Austin, TX
Comedy/Rom-Com
  • Adult Publishing For Teenaged Girls by Stacy Coffey of Portland, OR
  • The Pinkerton Principle by Ant Keogh of Hawthorn, Australia
  • The Weeping Virgins Of Ogallala by Michael Barry of Austin, TX
Drama
  • Across The Border by Jesse Cobb of Pacifica, CA
  • Every Mother's Son by Jeff Goldstone of New York, NY
  • Staying Fat For Sarah Byrnes by Kevin Rexroat of Tacoma, WA
Family/Animated
  • Finding Distance by Jodi Levitan of Oceanside, NY
  • Haley's Flight by Michael Carnick of Del Mar, CA
  • Le Chat Noir by Paula Sewell of Los Angeles, CA
Period/Historical/War
  • Dangerously Subversive by Stephany Folsom of Los Angeles, CA
  • Kingmaker by Bradley Rister & Alexa-Sascha Lewin of Hermosa Beach, CA
  • Lancelot by Nicholas Horwood of London, UK
Sci-Fi/Fantasy
  • Asterion by Kieron Holland of Point Claire, Australia
  • Country Of The Blind by Gert Basson of Santa Monica, CA
  • The Grid by Robert Matthews & Mike Marriage of Santa Monica, CA
Thriller/Horror
  • Dormants by Mark Raab of Newton, NJ
  • Erebus by Giovanni Taveras of College Point, NY
  • Roanoke: A Tale Of Colonial Horror by Arjen - Devries, Christopher Walters & Winston Pear of Culver City, CA
Top 3 Television Finalists
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Half-Hour Spec
  • Genius (Modern Family) by Jake Horowitz of Toronto, Canada
  • Tamales (New Girl) by Andy Wasif of Los Angeles, CA
  • The Hero Hypothesis (Big Bang Theory) by Jacob Stark & Benjy Kaplan of Los Angeles, CA
Half-Hour Pilot
  • Alter Egos by Ramsey Ess of Brooklyn, NY
  • Never Famous by Nicholas Anthony of Los Angeles, MN
  • Walk Like a Man by Bill Balas of North Hollywood, CA
Hour-Long Spec
  • Fifty Shades of Robert (Downton Abbey) by April Fitzsimmons of Culver City, CA
  • Land of Plenty (Shameless) by Elfi Martinez of Philadelphia, PA
  • Stand Your Ground (Newsroom) by Kenny Kyle of Los Angeles, CA
Hour-Long Pilot
  • Borderline by Branyon Davis of Los Angeles, CA
  • Even Deeper by Michael Sullivan of Playa Del Ray, CA
  • Zero Sum Game by Andrew Gerngross of Marina Del Ray, CA
Top 10 Feature Finalists
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Action/Adventure
  • Adrenaline Heart by Mark Ching
  • Arktos by Eric Day
  • Cntrl + Alt + Del by Lee Metzger
  • Double Game by Baqar Hasnain
  • Geert The Elf by Stephen Stull
  • Kill The Writer by Michael Hahn & William Lafferty
  • Maeve by Roderick Mclachlan
  • The Last Match by Mike Scannell
  • The Rum Jungle by David Stephens & Peter Petrucci
  • Wreckage by Arlene Leigh Cox & Joshua Cox
Comedy/Rom-Com
  • Adult Publishing For Teenaged Girls by Stacy Coffey
  • Bad Dads by Sammy James, Jr
  • Kill Kringle by Craig Ghiglione
  • Ladies' Night by Michelle Amor
  • Lousy Lay by Robert Keith Watson
  • One Night Only by Heather Wilson
  • Pacoima by Kate Douglas
  • Poker Night by Tony Leech & Mark Mollenkamp
  • The Pinkerton Principle by Ant Keogh
  • The Weeping Virgins Of Ogallala by Michael Barry
Drama
  • A Woman In The Shadows by Julia Fontana
  • Across The Border by Jesse Cobb
  • Every Mother's Son by Jeff Goldstone
  • Four Days In Pelico by Patrick Sullivan
  • Frances by Shawna Chance
  • Freefall by Sarah Walker
  • Ghost Story by Julio Olivera & Eddie Strait
  • Shovel Buddies by Jason Hellerman
  • Staying Fat For Sarah Byrnes by Kevin Rexroat
  • Swipe by Daniel Sussman
Family/Animated
  • A Love So Loud by Heather Ferrell
  • Canola by Robert Bowden
  • Derby by Jennifer Taylor-Whitehorn
  • Finding Distance by Jodi Levitan
  • Gonars by Katrina Nicholson
  • Haley's Flight by Michael Carnick
  • Monsters For Hire by Josh Golden
  • One Flip To Mars by Joanne Theodore
  • Le Chat Noir by Paula Sewell
  • The Incredible Journeys Of Supernova Jones by Aaron Senser
Period/Historical/War
  • Child Of War by Namina Forna
  • Dangerously Subversive by Stephany Folsom
  • Freud by Daniel Ragussis
  • Kanowna - Place Of No Sleep by Chris Richards-Scully
  • Kingmaker by Bradley Rister & Alexa-Sascha Lewin
  • Lancelot by Nicholas Horwood
  • Operation Chariot by Jon Paquette
  • Princess Alice by Scott Abbott
  • Rasputin by Andrew Lloyd
  • The Exiled Heart by Mark Olmsted
Sci-Fi/Fantasy
  • Asterion by Kieron Holland
  • Country Of The Blind by Gert Basson
  • Eiko by Sammy James, Jr.
  • Kosmonaut by Jordan Wynn
  • Limbo by Nicole Grenoble
  • Map Of The Universe by Joshua Rebell
  • Scarlet Peak by Eric Dietel & Taylor Gledhill
  • The Grid by Robert Matthews & Mike Marriage
  • Virtual Life by David Hitchcock
  • Zombie Apocalypse by Amanda Creiglow
Thriller/Horror
  • Containment by Nicholas Carr
  • Domestic by Avra Fox
  • Dormants by Mark Raab
  • Erebus by Giovanni Taveras
  • Fiend by Jeff York
  • Let It Bleed by Marshall Moore
  • Roanoke: A Tale Of Colonial Horror by Arjen - Devries, Christopher Walters & Winston Pear
  • Three If By Air by Peter Field
  • Virtual Witness by Diana Osberg
  • Where Vengeance Waits by Robert
Top 10 Television Finalists
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Half-Hour Spec
  • Blonde Ambition by Ann Truong
  • Clowns, Frowns, and Cello Sounds by Jason Kessler
  • Defenestrate by Rachel Love
  • Modern Family - Genius by Jake Horowitz
  • New Girl by Gloria Iseli
  • School Spirit by Jessica Sutich
  • Storm of the Century by Jason Ginsburg & Kevin Walsh
  • Tamales by Andy Wasif
  • The Hero Hypothesis by Jacob Stark & Benjy Kaplan
  • The Ring of Wu Ping by David Seropian
Half-Hour Pilot
  • All Smiles by Vance Stringer
  • Alter Egos by Ramsey Ess
  • Never Famous by Nicholas Anthony
  • On Tour by Nicholas Stathis
  • Physical Destination by Nina Braddock
  • Royal Cinema by Brian DePasquale
  • Sharp & Valentine: Love Detectives by Jess Lane
  • The Perfect Cover by Michael Blomquist
  • Time Out by Ian McWethy
  • Walk Like a Man by Bill Balas
Hour-Long Spec
  • Family First by Michele Kushner
  • Fifty Shades of Robert by April Fitzsimmons
  • Get a Move On by Dominick Cappuccilli
  • Helping Hands by Lily Blau
  • It's a Dog's Life by Gina Kelly
  • Nuclear Family by Michael Sullivan
  • Person of Interest - The Man in the Suit by Christopher Iannacone
  • Shameless - Land of Plenty by Elfi Martinez
  • Stand Your Ground by Kenny Kyle
  • The Clown on the Beech by David Seropian
Hour-Long Pilot
  • Borderline by Branyon Davis
  • Citizen by Christine Downs
  • Do No Harm by David Power
  • Even Deeper by Michael Sullivan
  • Immersion by Bo Yeon Kim & Erika Lippoldt
  • Pennsylvania by Tim Olshefski
  • Pros by Daniel Janoff
  • The Messiah Project by David Baugnon
  • The Roman by Rzwan Cabani
  • Zero Sum Game by Andrew Gerngross
Semifinalists Feature
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  • 3D At The Palace (Family/Animated) by Kent Wilson
  • A Little Fire (Period/Historical/War) by Linda Fisher
  • A Love So Loud (Family/Animated) by Heather Ferrell
  • A Pill For Your Thoughts (Drama) by Tyler Davis
  • A Place In The Ground (Comedy/Rom-Com) by Don Riemer
  • A Restoration Comedy (Comedy/Rom-Com) by Linda Jenkins
  • A Woman In The Shadows (Drama) by Julia Fontana
  • A Yellowstone Christmas (Family/Animated) by Daniel Klein
  • Absolutely Fearless (Comedy/Rom-Com) by Brian Erwin
  • Across The Border (Drama) by Jesse Cobb
  • Adrenaline Heart (Action/Adventure) by Mark Ching
  • Adult Publishing For Teenaged Girls (Comedy/Rom-Com) by Stacy Coffey
  • Alter (Sci-Fi/Fantasy) by Max Folkman & Nick Folkman
  • Amazonia (Action/Adventure) by Danielle Weinberg
  • Among The Dead (Thriller/Horror) by Thomas Gaunt
  • Arktos (Action/Adventure) by Eric Day
  • As Above, So Below (Comedy/Rom-Com) by Tara Hall
  • Asterion (Sci-Fi/Fantasy) by Kieron Holland
  • Backspace (Sci-Fi/Fantasy) by Charles Huneke
  • Bad Dads (Comedy/Rom-Com) by Sammy James, Jr.
  • Bank Robbing For Dummies (Comedy/Rom-Com) by Robert Keith Watson
  • Below (Sci-Fi/Fantasy) by Brian Selfon
  • Benjamin The Great (Family/Animated) by Scott Ruane
  • Bickleton, Usa (Family/Animated) by Noelle Buffam
  • Black Maddy (Drama) by Aaron Abdelhak
  • Black Sun (Thriller/Horror) by Andrew Goth
  • Blood Oil (Action/Adventure) by Neringa Bryant & Maureen Sheehan
  • Bloodlines (Sci-Fi/Fantasy) by David Merlino & Dustin Sweet
  • Bloody Mary (Thriller/Horror) by Emily Felt
  • Bronx, Inc. (Period/Historical/War) by Mario O. Moreno
  • Burn Down House (Drama) by Simon Davidson
  • Canola (Family/Animated) by Robert Bowden
  • Caravaggio's Shadow (Period/Historical/War) by Torkjell Stromme
  • Ceasefire (Drama) by David Kaneen
  • Child Of War (Period/Historical/War) by Namina Forna
  • Cntrl + Alt + Del (Action/Adventure) by Lee Metzger
  • Containment (Thriller/Horror) by Nicholas Carr
  • Country Of The Blind (Sci-Fi/Fantasy) by Gert Basson
  • Dangerously Subversive (Period/Historical/War) by Stephany Folsom
  • Dave Made A Maze (Action/Adventure) by Steven Sears & Bill Watterson
  • Deadmen (Action/Adventure) by Andrew Hunt
  • Declivity (Thriller/Horror) by Lillian Curvey
  • Defeat (Drama) by Megan Riakos
  • Derby (Family/Animated) by Jennifer Taylor-Whitehorn
  • Digital Override (Sci-Fi/Fantasy) by Colburn Tseng
  • Ding (Drama) by Michael Lehman
  • Dinner With The Alchemist (Thriller/Horror) by Jenna St. John
  • Diving Into The Wreck (Drama) by Srdjan Smajic
  • Do Unto Others... (Action/Adventure) by Dave Merlino & Dustin Sweet
  • Doing Time In America (Drama) by Cori Healy
  • Domestic (Thriller/Horror) by Avra Fox-Lerner
  • Don't Call Me Sunshine (Period/Historical/War) by John Tinkelenberg
  • Dormants (Thriller/Horror) by Mark Raab
  • Double Game (Action/Adventure) by Baqar Hasnain
  • Dream Chasers (Drama) by Tyrone Mitchell
  • Eiko (Sci-Fi/Fantasy) by Sammy James, Jr.
  • Elephant In The Room (Comedy/Rom-Com) by Tom Morris
  • Elf Storage (Family/Animated) by Jeff Burdick
  • Erebus (Thriller/Horror) by Giovanni Taveras
  • Escorted (Drama) by Julio Alonzo, Tony Patrick & Keiland Goffigon
  • Every Mother's Son (Drama) by Jeff Goldstone
  • Fiend (Thriller/Horror) by Jeff York
  • Finding Distance (Family/Animated) by Jodi Levitan
  • Fire And Stone (Period/Historical/War) by Sue Scott
  • First Light (Sci-Fi/Fantasy) by Douglas Stark
  • Four Days In Pelico (Drama) by Patrick Sullivan
  • Frances (Drama) by Shawna Chance
  • Frankenswine (Comedy/Rom-Com) by Charlie Schulman
  • Freefall (Drama) by Sarah Walker
  • Freud (Period/Historical/War) by Daniel Ragussis
  • Geert The Elf (Action/Adventure) by Stephen Stull
  • Get Carly (Action/Adventure) by Paul Littell
  • Getting A Head (Comedy/Rom-Com) by Anthony Rivers
  • Ghost Story (Drama) by Julio Olivera & Eddie Strait
  • Go Cold (Drama) by Kevin Stein
  • Golden Calf (Action/Adventure) by Zack Slouka
  • Gonars (Family/Animated) by Katrina Nicholson
  • Haber (Period/Historical/War) by Daniel Ragussis
  • Haley's Flight (Family/Animated) by Michael Carnick
  • Hide & Seek (Action/Adventure) by Michael Zolezzi
  • In Excess (Family/Animated) by John Kim
  • Incision (Action/Adventure) by Michael Donald
  • Jokers & Thieves (Drama) by Mark Rathaus
  • Junk Boy (Drama) by Daniel G. Doyle
  • Kanowna - Place Of No Sleep (Period/Historical/War) by Chris Richards-Scully
  • Kill Kringle (Comedy/Rom-Com) by Craig Ghiglione
  • Kill The Writer (Action/Adventure) by Michael Hahn & William Lafferty
  • Kingmaker (Period/Historical/War) by Bradley Rister & Alexa-Sascha Lewin
  • Kosmonaut (Sci-Fi/Fantasy) by Jordan Wynn
  • Ladies' Night (Comedy/Rom-Com) by Michelle Amor
  • Lancelot (Period/Historical/War) by Nicholas Horwood
  • Let It Bleed (Thriller/Horror) by Marshall Moore
  • Limbo (Sci-Fi/Fantasy) by Nicole Grenoble
  • Lions Of Babylon (Period/Historical/War) by Michael Daniels
  • Lola (Drama) by Pauline Findlay
  • Lousy Lay (Comedy/Rom-Com) by Robert Keith Watson
  • Machina (Comedy/Rom-Com) by Tom Radovich
  • Maeve (Action/Adventure) by Roderick Mclachlan
  • Magdalena (Drama) by Roberto Saieh
  • Map Of The Universe (Sci-Fi/Fantasy) by Joshua Rebell
  • Marlowe (Period/Historical/War) by Louise Ransil
  • Milk Run (Period/Historical/War) by Lee Nuttall
  • Mobtown (Drama) by James Gossard & Gabriel Fremuth
  • Monsters For Hire (Family/Animated) by Josh Golden
  • Muffled Screams (Thriller/Horror) by David Kaneen
  • My Friend, The Wire (Thriller/Horror) by Michael Harring
  • Nonda (Drama) by Theresa Tierney & Eileen Tierney
  • Off The Rails (Action/Adventure) by John Reardon
  • On The Edge (Action/Adventure) by Dan Kinmonth
  • One Flip To Mars (Family/Animated) by Joanne Theodore
  • One Good Day (Drama) by Scott Taylor
  • One Night Only (Comedy/Rom-Com) by Heather Wilson
  • Operation Chariot (Period/Historical/War) by Jon Paquette
  • Otto The Strange (Drama) by Tony Martin
  • Our Own Sweet Time (Comedy/Rom-Com) by Stan Munslow
  • Pacoima (Comedy/Rom-Com) by Kate Douglas
  • Penance (Action/Adventure) by David Linke & Kevin Linke
  • Pigeons (Family/Animated) by Jenny Kirlin & Kitt Lavoie
  • Pink Balls (Comedy/Rom-Com) by Joe Eatherton
  • Poker Night (Comedy/Rom-Com) by Tony Leech & Mark Mollenkamp
  • Post-Apocalyptica (Action/Adventure) by Matthew Purdy, Dan Slater & Adam Booth
  • Postpartum (Thriller/Horror) by Ben Feuer
  • Princess Alice (Period/Historical/War) by Scott Abbott
  • Pushing Dawn (Thriller/Horror) by Matthew Breault
  • Railroad Girl (Period/Historical/War) by Briana London & Lynn Mills
  • Rasputin (Period/Historical/War) by Andrew Lloyd
  • Ravaged Country (Period/Historical/War) by Brian Selfon
  • Red Line (Action/Adventure) by Chris Roosen
  • Roanoke: A Tale Of Colonial Horror (Thriller/Horror) by Arjen Devries, Christopher Walters & Winston Pear
  • Roll With It (Comedy/Rom-Com) by Alicia Bien
  • Salmon Belly (Thriller/Horror) by Nathaniel Shapiro
  • Santa's Shrink (Comedy/Rom-Com) by P.J. Lewis & Dave Coulier
  • Saying Hello To The Devil (Action/Adventure) by B.J. Williams
  • Scarlet Peak (Sci-Fi/Fantasy) by Eric Dietel & Taylor Gledhill
  • Scenes From A Marriage (Drama) by Michael Easton
  • Scream Queens (Comedy/Rom-Com) by Susie Singer Carter & Don Priess, Robert Beaucage
  • Shovel Buddies. (Drama) by Jason Hellerman
  • Sky God (Drama) by David Shipko
  • Southpaw (Period/Historical/War) by John Reardon & Jesse Moss
  • Station (Period/Historical/War) by Andrew Byrne
  • Staying Fat For Sarah Byrnes (Drama) by Kevin Rexroat
  • Stranded (Drama) by Andrew Crabtree
  • Subterranean (Thriller/Horror) by E.B. Rhee & Evan Stroncone
  • Swipe (Drama) by Daniel Sussman
  • Ted And Helen (Drama) by Diana Ardzrooni & Alyssa Katz
  • That Time Of The Month (Thriller/Horror) by Joe Hauler
  • The Author And The Aeronaut (Period/Historical/War) by Kendell Klein
  • The Baghdad Bureau (Drama) by Margaret Ables
  • The Bitter Bush (Drama) by Deborah Vajda
  • Le Chat Noir (Family/Animated) by Paula Sewell
  • The Day I Met Charlie (Drama) by Tom Geraty
  • The End-Of-Summer Guest (Period/Historical/War) by John Orlock
  • The Exiled Heart (Period/Historical/War) by Mark Olmsted
  • The File (Drama) by Peter Loffredo
  • The First Loser (Comedy/Rom-Com) by Nihar Patel
  • The Fountain And The Sparrow (Comedy/Rom-Com) by Jacob Colman
  • The Franchise (Comedy/Rom-Com) by James Grayford
  • The Girl Who Would Not Die (Period/Historical/War) by Marianne Wilner
  • The Grid (Sci-Fi/Fantasy) by Robert Matthews & Mike Marriage
  • The Incredible Journeys Of Supernova Jones (Family/Animated) by Aaron Senser
  • The Illustrious Gentleman (Comedy/Rom-Com) by Peter Baloff
  • The Last Cigarette (Drama) by Aron Flasher
  • The Last Draw Of Ruben Del Toro (Action/Adventure) by David Ventura Garcia
  • The Last Match (Action/Adventure) by Mike Scannell
  • The Miracle Five (Period/Historical/War) by Thomas Lockridge, Jeff Day & Rick Baker
  • The Moor (Period/Historical/War) by Thomas Thonson
  • The Morning After (Comedy/Rom-Com) by Rebekah Reaves
  • The North Star (Drama) by Daniel Rizzotto & Erica Meredith
  • The Pinkerton Principle (Comedy/Rom-Com and Drama) by Ant Keogh
  • The Plumbers (Period/Historical/War) by Sean Olenick
  • The Ride Along (Action/Adventure) by Rich Elvers
  • The Rum Jungle (Action/Adventure) by David Stephens & Peter Petrucci
  • The Sky Is Blue Like An Orange (Period/Historical/War) by Caveh Zahedi & Arnold Barkus
  • The Weekend (Comedy/Rom-Com) by Angela Cravens Chander
  • The Weeping Virgins Of Ogallala (Comedy/Rom-Com) by Michael Barry
  • Three If By Air (Thriller/Horror and Drama) by Peter Field
  • Tuff Mutha (Comedy/Rom-Com) by Christopher Van Dijk
  • Tundra (Sci-Fi/Fantasy) by Burke Kearney
  • Used (Comedy/Rom-Com) by Brad Sharpe
  • Virtual Life (Sci-Fi/Fantasy) by David Hitchcock
  • Virtual Witness (Thriller/Horror) by Diana Osberg
  • Visions (Thriller/Horror) by Steven Gottlieb & Howard Walper
  • Where Vengeance Waits (Thriller/Horror) by Robert Everson
  • Wilful Destruction (Comedy/Rom-Com) by Anthony Turnbull
  • Wreckage (Action/Adventure) by Arlene Leigh Cox & Joshua Cox
  • Zombie Apocalypse (Sci-Fi/Fantasy) by Amanda Creiglow
  • Zombie Nazis (Thriller/Horror) by Doug Still
Semifinalists Television
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  • A House Divided (Hour-Long Pilot) by Ariella Blejer & Dawn Kamoche
  • All Smiles (Half-Hour Pilot) by Vance Stringer
  • Allison Apple: Middle School Detective (Half-Hour Pilot) by Adam Grabinski
  • Alter Egos (Half-Hour Pilot) by Ramsey Ess
  • American Blood (Hour-Long Pilot) by Todd Henderson & Neal Tyler
  • And the 'T' in 'L.G.B.' (Half-Hour Spec) by Stefanie Black & Clark Harding
  • And the Lot Lizards (Half-Hour Spec) by Dani Hart
  • Babycakes (Half-Hour Spec) by Wei-Drin Lee
  • Bayou (Hour-Long Pilot) by Christina Pina
  • Bear Trap (Hour-Long Pilot) by Danielle Nicolet
  • Black Sheep (Half-Hour Pilot) by Josh Sorokach
  • Blind Trust (Hour-Long Spec) by Tony Arias
  • Blonde Ambition (Half-Hour Spec) by Ann Truong
  • Borderline (Hour-Long Pilot) by Branyon Davis
  • Borderline (Hour-Long Pilot) by Scott Jarrett , Matthew Jarrett & Erica McIntosh
  • Buried (Hour-Long Pilot) by Lorelei Ignas
  • Citizen (Hour-Long Pilot) by Christine Downs
  • Clowns, Frowns, and Cello Sounds (Half-Hour Spec) by Jason Kessler
  • Dead to Rights (Hour-Long Pilot) by Michele Alosinac
  • Defenestrate (Half-Hour Spec) by Rachel Love
  • Devil on My Back (Hour-Long Spec) by Tara Pinley
  • Do No Harm (Hour-Long Pilot) by David Power
  • Dreamwalkers (Hour-Long Pilot) by Michael Fox
  • Even Deeper (Hour-Long Pilot) by Michael Sullivan
  • Family First (Hour-Long Spec) by Michele Kushner
  • Family Guy: Peter Envy (Half-Hour Spec) by Joseph Casner
  • Fifty Shades of Robert (Hour-Long Spec) by April Fitzsimmons
  • Food Trucks (Half-Hour Pilot) by Alex Mann
  • Freak U (Half-Hour Pilot) by Amy Rosenbloom & Jay Albrecht
  • Genesis (Hour-Long Pilot) by Aaron Edwards
  • Get a Move On (Hour-Long Spec) by Dominick Cappuccilli
  • Good Sports (Hour-Long Pilot) by Mallory Carra
  • Happy Campers (Half-Hour Spec) by Adi Blotman
  • Helping Hands (Hour-Long Spec) by Lily Blau
  • Homeward Bound (Half-Hour Spec) by Bryan Kett
  • Immersion (Hour-Long Pilot) by Bo Yeon Kim & Erika Lippoldt
  • It's a Dog's Life (Hour-Long Spec) by Gina Kelly
  • Jackie & Marilyn (Half-Hour Pilot) by Benjamin Morgan
  • Kaboom Town (Half-Hour Spec) by Jason Ginsburg & Kevin Walsh
  • Kink (Hour-Long Pilot) by James Handel
  • Long Island (Hour-Long Pilot) by Robert Weinberger
  • Micro (Half-Hour Pilot) by Neil Champagne & Conrad Sun
  • Modern Family - Genius (Half-Hour Spec) by Jake Horowitz
  • Never Famous (Half-Hour Pilot) by Nicholas Anthony
  • New Girl (Half-Hour Spec) by Gloria Iseli
  • No Sleep For Cowboys (Hour-Long Pilot) by Scott Jarrett & Matthew Jarrett
  • Nothing to Fly Home About (Half-Hour Spec) by Ben Stinson
  • Nuclear Family (Hour-Long Spec) by Michael Sullivan
  • Off The Grid (Hour-Long Pilot) by David Eisenberg & Alev Aydin
  • On Tour (Half-Hour Pilot) by Nicholas Stathis
  • Overwatch (Hour-Long Pilot) by Greg Houghton & William Roth
  • Pennsylvania (Hour-Long Pilot) by Tim Olshefski
  • Person of Interest - The Man in the Suit (Hour-Long Spec) by Christopher Iannacone
  • Physical Destination (Half-Hour Pilot) by Nina Braddock
  • Pinkie (Hour-Long Pilot) by Edisol Wayne Dotson
  • Pros (Hour-Long Pilot) by Daniel Janoff
  • Rebound (Hour-Long Pilot) by Nantale Corbett Lauren Tuck
  • Royal Cinema (Half-Hour Pilot) by Brian DePasquale
  • Sacrifice (Hour-Long Spec) by Halley Gross
  • School Spirit (Half-Hour Spec) by Jessica Sutich
  • Selling Out (Half-Hour Pilot) by Daron James
  • Severed Threads (Hour-Long Pilot) by John Dryden
  • Shameless - Land of Plenty (Hour-Long Spec) by Elfi Martinez
  • Shanghai'd (Hour-Long Pilot) by Curtis Burdick & Scott Burdick
  • Sharp & Valentine: Love Detectives (Half-Hour Pilot) by Jess Lane
  • Shining City (Hour-Long Pilot) by Douglas Stark
  • Small Town News (Hour-Long Pilot) by Ben James & Adam Kaplan
  • Spidey Sexuality (Half-Hour Spec) by Sinead Persaud
  • Stan Loses His Colon (Half-Hour Spec) by Jimmy Cuty & Elliot Montesi
  • Stand Your Ground (Hour-Long Spec) by Kenny Kyle
  • Static (Hour-Long Pilot) by Keith Davidson
  • Storm of the Century (Half-Hour Spec) by Jason Ginsburg & Kevin Walsh
  • Sub Rosa (Hour-Long Pilot) by Cindy Appel
  • Summerland (Hour-Long Pilot) by Lynn Reed
  • Tamales (Half-Hour Spec) by Andy Wasif
  • The Battle of Pawnee (Half-Hour Spec) by Matt Black
  • The Clown on the Beech (Hour-Long Spec) by David Seropian
  • The Diversity Committee (Half-Hour Spec) by Jim Bernfield
  • The Electric Gospel (Hour-Long Pilot) by Courtney Kirkpatrick & Edward Kirkpatrick
  • The God of Many Faces (Hour-Long Spec) by Ashley Park
  • The Hero Hypothesis (Half-Hour Spec) by Jacob Stark & Benjy Kaplan
  • The Mayor of Hollywood (Hour-Long Pilot) by Gayle Jackson
  • The Messiah Project (Hour-Long Pilot) by David Baugnon
  • The Outlaw (Hour-Long Pilot) by Matt Bosack
  • The Paraspawn Paradox (Half-Hour Spec) by Ann Marie Lindbloom
  • The Perfect Cover (Half-Hour Pilot) by Michael Blomquist
  • The Ring of Wu Ping (Half-Hour Spec) by David Seropian
  • The Roman (Hour-Long Pilot) by Rzwan Cabani
  • The Stay-At-Homes (Half-Hour Pilot) by Kirk Pynchon
  • The Unfuckables (Half-Hour Pilot) by April Shih
  • The Walking Dead - Coming of Age (Hour-Long Spec) by Raag Harshavat
  • Theives' Gallery (Hour-Long Pilot) by Zach Zerries
  • Time Out (Half-Hour Pilot) by Ian McWethy
  • Trident: The Only Easy Day was Yesterday (Hour-Long Pilot) by Matt Bosack
  • Union (Hour-Long Pilot) by Aaron Rollins
  • Walk Like a Man (Half-Hour Pilot) by Bill Balas
  • Youngbloods (Hour-Long Pilot) by Jeff Marsick & Scott Malchus
  • Zero Sum Game (Hour-Long Pilot) by Andrew Gerngross

 

The winners of the 2012 Final Draft, Inc. Big Break Contest were read and ranked by our panel of industry judges. The three finalists attended the Final Draft, Inc. Annual Award Event on February 7th, 2013 at the Paley Center for Media in Beverly Hills where their places were announced. In addition to the red-carpet awards ceremony, they enjoyed cash prizes and meetings with industry leaders.

  • First Place: Ludlow (Drama) by Craig Houchin
  • Second Place: Life Copy (Sci-fi) by A Rouveyrol
  • Third Place: The Whaler's Daughter (Drama) by Matthew Snyman

To contact our winners and finalists regarding their scripts, please click here to email your request.

Top-5 Finalists
  • Life Copy (Sci-fi) by A Rouveyrol
  • Ludlow (Drama) by Craig Houchin
  • The Ultimate Almanac (Family) by David Ullendorff
  • The Whaler's Daughter (Drama) by Matthew Snyman
  • Time Nerds (Comedy) by Andrew McCarthy
Top-10 Finalists
  • Danger, Inc. (Adventure) by Gary Hershberger and Mike Calvert
  • Le Mécano (Drama) by Lukas Hassel
  • Life Copy (Sci-fi) by A Rouveyrol
  • Ludlow (Drama) by Craig Houchin
  • One Night Stan (Comedy) by Tony Boland
  • Run (Action) by Dennis Luu
  • The Man From Longwood (Period) by Russell Thompson
  • The Ultimate Almanac (Family) by David Ullendorff
  • The Whaler's Daughter (Drama) by Matthew Snyman
  • Time Nerds (Comedy) by Andrew McCarthy
Top-35 Finalists
  • 1900 Rock Shock (Animated Feature) by Frederick Calvert
  • Albion (Period) by Robert Blaise Hesselgren
  • Danger, Inc. (Adventure) by Gary Hershberger and Mike Calvert
  • Heart of a Racer (Coming of Age) by Carrie Fitch
  • Lamentations (Horror) by Ben Lanoha
  • Le Mécano (Drama) by Lukas Hassel
  • Life Copy (Sci-fi) by A Rouveyrol
  • Lost Sheep (Thriller) by Mark Dempsey
  • Ludlow (Drama) by Craig Houchin
  • Man With Van (Crime) by Ed Blythe and James Windeler
  • Mirror-Me (Horror) by Keith Dando and Leone Annabella Betts
  • My Boyfriend's the Antichrist (Romantic Comedy) by Adam Taylor
  • Ole (Comedy) by Jon Price and Jerry Rapp
  • One Good Day (Coming of Age) by Scott Taylor
  • One Night Stan (Comedy) by Tony Boland
  • Pipsqueak (Comedy) by Jay Lien
  • Property of Madison (Drama) by Lisa Redlich
  • Pudgeon (Animated Feature) by Joe Friend and Aaron Mahoney
  • Run (Action) by Dennis Luu
  • Run The Tide (Drama) by Rajiv Shah
  • Senioritis (Drama) by Brian DePasquale
  • Siluria (Sci-fi) by Sam Celia
  • Straight Razor Jazz (Thriller) by David Scott Hay
  • Street Corners (Drama) by Marie Robinson
  • The Bridge (Thriller) by Teddy Adams
  • The Burning Room (Horror) by Marco van Belle and Kat Wood
  • The Land Of Things That Don't Exist (Comedy) by Andrew Friedhof
  • The Man From Longwood (Period) by Russell Thompson
  • The Sneaker Man (Drama) by Anthony Stitt
  • The Theory of Almost Everything (Romantic Comedy) by Lorraine Devon Wilke
  • The Ultimate Almanac (Family) by David Ullendorff
  • The Whaler's Daughter (Drama) by Matthew Snyman
  • Time Nerds (Comedy) by Andrew McCarthy
  • Tooth Fairies (Animated Feature) by Ryan Fuller
  • What Rough Beast (Western) by Kranti Pally
  • Your Number's Up (Comedy) by Christopher Bacon

Winners Announced!

The winners of the 2011 Final Draft, Inc. Big Break Contest have been announced. These scripts were read and ranked by our panel of industry judges. The four finalists attended the Final Draft, Inc. Annual Award Event on October 27th at the Paley Center for Media in Beverly Hills where their places were announced. In addition to the red-carpet awards ceremony, they enjoyed cash prizes and meetings with industry leaders.

  • First Place: Adam Perlman and Graham Sack of West Hollywood, CA for The Morgan Principle
  • Second Place: Glenda Gannis of Los Angeles, CA for Holy Mackerel
  • Third Place: Miguel Becerra of Fullerton, CA for The Gossip

To contact our winners and finalists regarding their scripts, please click here to email your request.

Top-5 Finalists
  • Miguel Becerra for The Gossip
  • Glenda Ganis for Holy Mackerel
  • Sasha Isaac-Young for The Prettiest Girl
  • Andrea Kail for The Sun God at Dawn, Rising from a Lotus Blossom
  • Adam Perlman and Graham Sack for The Morgan Principle
Top-10 Finalists
  • Miguel Becerra for The Gossip
  • Mary Anderson Casavant for This Side of Heaven
  • Glenda Ganis for Holy Mackerel
  • Sasha Isaac-Young for The Prettiest Girl
  • Allen Ivers for Construct
  • Andrea Kail for The Sun God at Dawn, Rising from a Lotus Blossom
  • Duane Knudson for Never Look Back
  • Adam Perlman and Graham Sack for The Morgan Principle
  • Blaine Ross for Sugar Momma
  • Wendy Wilkins for Backseat Debutantes
Top-40 Finalists
  • John Baker for Robots Are Assholes
  • Miguel Becerra for The Gossip
  • Mary Anderson Casavant for This Side of Heaven
  • Daryl Coon for Unraveled
  • Christopher DeBiasse for We Need Some Space
  • JD Evermore for Confederacy of Saints
  • Ryan Farr for Home Videos
  • David Fertik for NO on H8
  • Glenda Ganis for Holy Mackerel
  • Gustavo Garzon for The Exile
  • Matthew Gayne for The Refugees
  • Tamsyn Harker and Esther Venning for This Dark Light
  • David Hauslein for Buck Run
  • Robert Hoffman for Digit
  • Matthew Hurst for Big Man
  • Sasha Isaac-Young for The Prettiest Girl
  • Allen Ivers for Construct
  • Andrea Kail for The Sun God at Dawn, Rising from a Lotus Blossom
  • Zack Kaplan and Graham Funke for The Great Train Adventure
  • Judd King for Prey Road
  • Duane Knudson for Never Look Back
  • Dale Lucas and Chad Rouch for Sons of Camelot
  • Mark Macauley and Peter Hort for Khama; Land of My People
  • Cynthia Marks for The Recipe
  • Michael McCoy for Under the Rising Sun
  • Valentina Mezzacappa for Night and Fog
  • Carolyn Miller for Violet
  • Rick Mitchell and Matthew Quinn for On the Track of the Maltese and Other Curiosities
  • Brian Pargac for Father Patrick
  • Chad Pennington for Rock Daddy
  • Adam Perlman and Graham Sack for The Morgan Principle
  • Nicholas Reiff for Toy Soldier
  • Blaine Ross for Sugar Momma
  • Christian Ryden for The Tenth Commandment
  • Andrea Stern Himoff and Adam Himoff for The Guardian of Gilgahar
  • James Szklar and Chris Ewing for Armitage Shanks
  • Brad Taylor and Kelly Maddox for Nightingale
  • Jordan Thomas for The Coronation
  • Wendy Wilkins for Backseat Debutantes
  • Gregory Zymet and Heidi Roller for Apartment 206

Winners Announced!

The winners of the 2010 Final Draft, Inc. Big Break Contest have been announced. These scripts were read and ranked by our panel of industry judges. The three finalists were flown to Los Angeles where they attended the Final Draft, Inc. Annual Award Event on October 14th at the Paley Center for Media in Beverly Hills where their places were announced. In addition to their trip and red-carpet awards ceremony, they enjoyed cash prizes and meetings with industry leaders.

  • First Place: Tejal Desai of Austin, TX for Cowboys and Hindus
  • Second Place: Mick Connolly of Melbourne, Australia for Crims
  • Third Place: Larry Brenner of New York, NY for Flesh and Blood

To contact our winners and finalists regarding their scripts, please click here to email your request.

2010 Big Break Contest: Winners' Acceptance Speeches

Top-5 Finalists
  • Jason Groce for Transit
  • Kelly Anelons for Master’s Key
  • Larry Brenner for Flesh and Blood
  • Mick Connolly for Crims
  • Tejal Desai for Cowboys and Hindus
Top-10 Finalists
  • Chris Bessounian & Tianna Langham for Guns and Saris
  • David Margolis for The Last Concerto
  • Jason Groce for Transit
  • Kelly Anelons for Master’s Key
  • Larry Brenner for Flesh and Blood
  • Mick Connolly for Crims
  • Stacy Coffey for Mob Jerky
  • Stephen Kunc for Whitey Don’t Learn
  • Tejal Desai for Cowboys and Hindus
  • Tony Boland for Spacekid
Top-35 Finalists
  • Alex Ranarivelo (The Girl With No Name)
  • C. M. Robinson (Deadly Passage)
  • Carol Masciola (Baghdad Bureau)
  • Chris Bessounian (Guns and Saris)
  • Craig Rosenthal (Rye Rice)
  • David Andrew Stoler (Where We Are From)
  • David Margolis  (The Last Concerto)
  • David Marko (Underland)
  • Erica Rosbe (Mail Order Bullet)
  • Erik Selekman (Soccer Don)
  • Gary Allison (The Final Round)
  • Jason Groce (Transit)
  • Jay Blumenkopf (Hollywood Gospel)
  • Jennifer Thomas (Snilderholden’s Jungle)
  • Kathryn Kramer Waters & Jesse Waldman (Stealing Balloons)
  • Katie Petrachonis (Dud)
  • Kelly Anelons (Master’s Key)
  • Kimball Armes (One Working Weak)
  • Larry Brenner (Flesh and Blood)
  • Matt Morgan (Kingdom Street)
  • Matthew Saville (Firehands)
  • Mick Connolly (Crims)
  • Mike Folie & Timothy Becker (They Shoot Weddings Don’t They)
  • Mike Mayer (Isolation)
  • Neil Sonnekus (Amatsotsi Tsotsi)
  • Nick Bicanic & Jason Bourque (Executive Outcomes)
  • Patrick Grandaw & Meher Gourjian (Dust)
  • Silvio Nacucchi (Fifty Years in May)
  • Simone Samano (Java Men)
  • Stacy Coffey (Mob Jerky)
  • Stan Evans (Lord Ockley & The Alien)
  • Stephen Kunc (Whitey Don’t Learn)
  • Tejal Desai (Cowboys and Hindus)
  • Tony Boland (Spacekid)
  • Vanessa King & Mike Palmisciano (Once More Eden)
Semifinalists
  • Adam Dekraker & Kevin Wolfe for Organic
  • Adam Polonsky for Deafo
  • Alan Catlin for Savant
  • Alex Ranarivelo for The Girl With No Name
  • Alex Simon for Baron of Havana
  • Alexander Janko for Home Town
  • Alisha Chocholous and Jason Burkey for Never Two Late
  • Alison Mcmahan and John Leary for Heaven Sent
  • Alison Star Locke for The Projectionist
  • Alistair Kaley for Tyrant
  • Allan Durand for Willie Francis Must Die Again
  • Alonzo Peterson for A Work in Progress
  • Andre Radojcich for Idle Expresidents
  • Andrea Jastrzab for Damned
  • Andrew B. Smith for Hays Code
  • Andrew Jones for Zombie Baby
  • Andrew Pozza for A Schizophrenic Love Story
  • Andrew Silverman for An Unromantic Comedy
  • Andrew Wheeler for The Way of The Dead
  • Anthony Stitt and Jeff Trently for Donnie Lasagna
  • Ben Radatz for Dianah
  • Benjamin Mullane for Wild Again
  • Benjamin Odell for Son of Man
  • Bethany Hunt for The Tragedy of Dale MacFadden
  • Bill Wilson for Orphan Train
  • Boaz Dror for Night of The Mullets
  • Bradley Johnson for Blood Moon
  • Branda Hughes for Sheattle
  • Brenda Cronenberg for Tears of Glory
  • Brian McDonald for Freeman
  • Bryan Thompson for Afterburn
  • C. M. Robinson for Deadly Passage
  • Carol Masciola for Baghdad Bureau
  • Charles Brown for A Cry Among Men
  • Charles Nwachukwu for American Salesman
  • Chip Phillips for Gone Again
  • Chris Bessounian & Tianna Langham Guns and Saris
  • Chriss Williams for Underground
  • Christopher Bolton for Double Top
  • Craig Rosenthal for Rye Rice
  • Cyd Zeigler for Thrive
  • Dale Forbes for Take-Your-Kid-To-Work Day
  • Damien Alameda for Cassie’s Song
  • Dane McCauley for Darkness Darkness
  • Darryl Smith for The Devil’s Echo
  • Daryl Coon for Hope Springs
  • David Andrew Stoler for Where We Are From
  • David Atkins for Pepper
  • David Chang for Before The King
  • David Demaret for Dead of State
  • David Fulton for Amateurs
  • David Margolis for The Last Concerto
  • David Marko for Underland
  • David Rakowiecki for The Radcliffe Polar Expedition: A Vampire Tale
  • David Rush for Miller and The Jabberwock
  • David Warnock for Runaway Colt
  • Derek Foster for Hitmen
  • Dominic Mah for Crystal Sister
  • Dorie Barton for Loserville
  • Dylan Rush for Golden Opportunity
  • Elizabeth Cotone for Rosemary
  • Elizabeth Franklin for Web of Deception
  • Elizabeth Lyons for Home Land Security
  • Emily Condit for Revelations
  • Erica Rosbe for Mail Order Bullet
  • Erik Selekman for Soccer Don
  • Galen Tong for Mercenary
  • Gary Allison for The Final Round
  • Gavin Daniel for The Blood of Others
  • Geordie McClelland for Initial Descent: An Oklahoma Hightower Story
  • George Murray for April Riley
  • Gin De Mesa Laranas & Yam Laranas for Remember Me Kindly
  • Graham McKay for The Stumps
  • Graham Smith for Idle Women
  • H.W. Robbie Robertson for Sweet Child of Mine
  • Hal Trussell for Promises Not Kept
  • Hannah B. Coverman for Strays
  • Henry Crum for Tunnels
  • Howard Kuperberg & Brad Slaight for Stock Footage
  • Huy Pham for All or Nothing
  • Irin Evers for Miss Christmas
  • Jack Messitt for Remote Control
  • Jack Zafran for Peter The Great
  • Jackie Devereaux for Mars Bonfire
  • Jaime Dawkins for Due Process
  • Jamee Decio for Peeping Tom
  • James Burnham for Date My Daughter
  • James E. Taylor for Male Order
  • James Henry for The Cool Dark Forever
  • James McCarthy for Unfinished Business
  • Jamie Evans for Crime Consequence
  • Jason Groce for Transit
  • Javier Reyna for The Room Above
  • Jay Blumenkopf for Hollywood Gospel
  • Jeannette Manning & Joseph Yuan for Inheritance
  • Jedediah Silva for Solitude
  • Jeffrey Stein for Isolated Minority
  • Jennifer Thomas for Snilderholden’s Jungle
  • Jenny Hagel for Product Placement
  • Jeremy Olstyn for Wheat Kings
  • Joe Russo for Star Struck
  • John Coughlin for Mother Machine
  • John Mahony for Four Families
  • John Simpson for Inflight
  • Jonathan Eig for Ask Me
  • Joseph Duerst for R.E.M.
  • Joshua Hoover for Fugue
  • Joshua Izenberg & Mitchell Kiven for Celestine or Diary of a Dialamaid
  • Joshua Rollins for Convergence
  • Jude Severin for Back in Harlem
  • Julian Mountfield for The Lost Children
  • Kaley McMahon for Offbeat Melody
  • Kathleen Mullin for Only The Devil Knows
  • Kathryn Kramer Waters & Jesse Waldman for Stealing Balloons
  • Katie Petrachonis for Dud
  • Kelly Anelons for Master’s Key
  • Kevin Gilbert for The Tetris Complex
  • Kimball Armes for One Working Weak
  • Kranti Kanade for Against Itself
  • Lance Wayne for The 2nd Ark
  • Larry Brenner for Flesh and Blood
  • Laure Jullia for Marie Highfield’s Movie
  • Len Lippman & Ali Lippman for Dark Wolf Slewinski: Alien Hunter
  • Marc Delamater for Triton
  • Mari Sangiovanni for The Sibling Rule
  • Mark Gordon for Paper Son
  • Mark Scullard for Behind The Fat Lady
  • Mary Ryan for Vanilla Slim
  • Matt Morgan for Kingdom Street
  • Matthew Jones and Andrea White for Lydia’s Hero
  • Matthew Nelson for The Adversary
  • Matthew Saville for Firehands
  • Meilani Wenska for The Funeral and Ana
  • Melissa Kester for Fortunes
  • Mercedes Valle for Thirddegree
  • Michael James Jackson for Sleeping in Thunder
  • Michael Mathenge for My Sister Sophie Won’t Speak
  • Michael McCoy for Under The Rising Sun
  • Michael Schock for Morrigan
  • Michael Stark for Buffalo Bill and The Invisible City
  • Michael Ventre for Starlight Falls
  • Michelle Amor for Sniper Black
  • Michelle Davidson for Offwhite
  • Mick Connolly for Crims
  • Mike Folie & Timothy Becker They Shoot Weddings Don’t They
  • Mike Mayer for Isolation
  • Mike Sheriff for Reality Check
  • Neil Sonnekus for Amatsotsi Tsotsi
  • Nick Bicanic and Jason Bourque for Executive Outcomes
  • Nicole Gomez Fisher for Sleeping With The Fishes
  • Nived Ravikumar and Ben Stebor for Virgin's Island
  • Ori Kowarsky for Hobgoblin
  • Patrick Grandaw and Meher Gourjian for Dust
  • Patrick Homes for Damascus Road
  • Paul Marks for Stringerz
  • Paul Russell Laverack for Dancing Queen
  • Peter Gacs for Child Soldier
  • Peter Tamaribuchi for World of Man 2.0
  • Phil Ferriere for Betrayed
  • Philip Fraserandrews for To Vulgaria for Love
  • R. Ian Simpson for Below The Waist
  • R. Scott Shields for Strawberry Mansion
  • Rachel McNevin for Reconstructing Kate
  • Raymond Roswell for The 38th Parallel a Korean War
  • Richard Flynn for Fading in Our Hands
  • Rob Leininger for The Last Flight of Galileo
  • Robert Walton for Feeling Cheap This Morning
  • Robin Brooks for A Romp Through Hell
  • Robin Johnstone for The Running
  • Rod Dixon for Wild Wild Hundreds
  • Ron Napier for Kenosis
  • Ryan Byrne for The Golden Tree
  • Sara Green for The Millennium Reich
  • Sarah Hurst for Reincarnation
  • Sasha Torres for Our House
  • Sean Corrigan for Confession
  • Seth Berkowitz for Poppa Marty
  • Shane McCabe for Next of Kin
  • Shane Willis & Tony Rebel for Run to The Horizon
  • Shannon Hile & Richard Eden for How Not to Bury Your Mother
  • Shannon Mcmahon Lichte & Michael Wallace for The Hill of The Kisses
  • Shari Gullo for When in Wisconsin
  • Sharon Mccoy for The Scrapbook Garden
  • Shona Tuckman for Finding Joy
  • Silvio Nacucchi for Fifty Years in May
  • Simone Samano for Java Men
  • Sonia Castang for Windward
  • Sonia Pathak for Kindnesses Left by The Side of The Road
  • Stacy Coffey for Mob Jerky
  • Stan Evans for Lord Ockley The Alien
  • Stephen Kunc for Whitey Don’t Learn
  • Steve Martinez for The Geritol Gang
  • Steven Maines for Longinus
  • Steven Shank for Bush League
  • Stuart Altman for Steaks and Strippers
  • Stuart Flack for Not Quite Dead
  • Stuart Rogers for Mercutio
  • Susan Tuan for The Tailors of Shanghai
  • Suzanne Kelman for Maggie The Brave
  • T. Steed for Dance of The Spike Nameless
  • Tejal Desai for Cowboys and Hindus
  • Teresa Cutlerbroyles for Burn
  • Teresa Vilaseca for The Engagement
  • Terri Buese for The Shadow of Nedlog
  • Thao Nguyen for Little Big Men
  • Thomas Crow for The Physics of Love
  • Tim Pitoniak for Shoot the Moon
  • Tom Batha for The Big Beyond
  • Tom Mccown for Dogs
  • Tommy Kelly for Brock Daniels: The Last Master of Death
  • Tony Boland for Spacekid
  • Tony Fonseca for The Model Maker
  • Tony Sommo for The Compensation Point
  • Trevor Mccall for Broken Vessels
  • Tyler Smith for Stealing Canada
  • Valerie Dalena for Depth of Field
  • Vanessa King & Mike Palmisciano for Once More Eden
  • Wesley Criblear for Sounds of Kinison
  • William Milano for Ice Deep
  • Wolfgang Muchow for Too Small to Save
  • Yolanda Beasley for Background Milton

Winners Announced!

The winners of the 2009 Final Draft, Inc. Big Break Contest have been announced. These scripts were read and ranked by our panel of industry judges. The three finalists were flown to Los Angeles where they attended the Final Draft, Inc. Annual Award Event on October 14th at the Paley Center for Media in Beverly Hills where their places were announced. In addition to their trip and red-carpet awards ceremony, they enjoyed cash prizes and meetings with industry leaders.

  • First Place: Wyatt Wakeman of West Hollywood, CA for Borderland
  • Second Place: Kevin Lee Miller of Los Angeles, CA for Trigger Mom
  • Third Place: Karen Briner of Los Angeles, CA for Amanzi

To contact our winners and finalists regarding their scripts, please click here to e-mail your request.

Top-10 Finalists
  • Nathan Blackwell Transgalactic Zoo
  • Karen Briner Amanzi
  • Mary Casavant Judgey
  • Robert Jason Clark Awaken
  • Michael Ennis Bobby & Dawn
  • Craig Houchin Ludlow
  • Rob Leininger Tough Kids
  • Kevin Lee Miller Trigger Mom
  • Wyatt Wakeman Minus Men
  • Wyatt Wakeman Borderland
Semifinalists
  • Joseph Balczo Abducting Christmas
  • Richard Flynn Darlin' Pretty
  • Christopher Krumlauf & Juan Castro Dickie Feldman
  • Josephine Mackerras Skin
  • Ben McCracken Repeating Reprisals
  • Alasdair McMullan Jesse James V. Jack The Ripper
  • Gia Milani All The Wrong Reasons
  • Benjamin Odell The Lion
  • Rob Rex Atom Bravo
  • Dave Shramek Dudley Charles

Winners Announced!

The winners of the 2008 Final Draft, Inc. Big Break Contest have been announced. These scripts were read and ranked by our panel of industry judges. The three finalists were flown to Los Angeles where they attended the Final Draft, Inc. Annual Award Event on October 14th at the Paley Center for Media in Beverly Hills where their places were announced. In addition to their trip and red-carpet awards ceremony, they enjoyed cash prizes and meetings with industry leaders.

  • First Place: Terry O’Brien of Toronto, Ontario, Canada for Flesh & Blood
  • Second Place: Jordan Thomas of Seattle, WA for Arctic Air
  • Third Place: Robert Bowden of Bristol, UK for A Child of Our Time

To contact our winners and finalists regarding their scripts, please click here to email your request.

Top-10 Finalists
  • Robert Bowden A Child Of Our Time
  • VJ Boyd Crypto Baby
  • Mark Hammer Sonny Takes To Peru
  • J.P. Hills Badland
  • David Van Hooser Barefoot Mel
  • Nicholas Horwood The Sons Of Avalon
  • Ehud Lavski The Things I Saw Before I Went Blind
  • Kevin Naughton The Great Christmas Train Robbery
  • Terry O'Brien Flesh And Blood
  • Jordan Thomas Arctic Air
SemiFinalists
  • David Ball Chuck Hodges
  • Jennifer Barclay The Fontaines
  • Nino Del Pesco The Third Realm
  • Paul Gulino The Lost Brigade
  • John Killeen In God’s Name
  • Linda Marr Involuntary Man
  • Michael Morra Shades Of Grey
  • Austen Rachlis When The Shooting Stops
  • David Stieve The Gunshot’s Echo
  • Coert Voorhees Air And Space
  • Terence Winkless & Raly Radouloff The Apprentice

2006 Winners

  • First Place: Robert Frisbee for Cityfall
  • Second Place: Nicholas Horwood for Knight Knight
  • Third Place: Tony Urgo for The Wizard Joe

2006 Winners

  • First Place: Tom Cosgrove for The Sea Devils
  • Second Place: Yehudi Mercado for Buffalo Speedway
  • Third Place: Stinson Carter for Ananias

2005 Winners

  • First Place: Julia Van Develder for The Escape Artist
  • Second Place: Craig Tiede for Zoo Day
  • Third Place: Jon Gilbert for The Sculptress and The Thief

2004 Winners

  • First Place: Rylend Grant for Drive
  • Second Place: Kate Miles for Twenty Questions
  • Third Place: George R. Olson for Headspook

2003 Winners

  • First Place: D.J. Richardson for Do Not Remove
  • Second Place: Bob Bridges for Holliday's Girl
  • Third Place: Sam Nam for The Straight and Narrow

To contact our winners and finalists regarding their scripts, please click here to email your request.