Screenwriting Contests and Fellowships Worth Entering – Movie Squirrel – Filmmaking, Screenwriting, Hollywood News, and What to Watch

Quick answer: the screenwriting contests and fellowships most often cited by industry readers include the Academy Nicholl Fellowships, the Austin Film Festival Script Competition, the Sundance Institute Screenwriters Lab, studio and network writing programs such as the Warner Bros. Discovery Access Writers Program, and long-running contests like the PAGE Awards and Final Draft’s Big Break. Before paying any entry fee, check who judges, what winners actually received and what rights the rules ask for.

Screenwriting contests can do real things for a new writer: put a script in front of industry readers, give a reason to finish a draft, and sometimes lead to meetings, representation or a fellowship. They can also drain money if you enter every contest that advertises a big prize. Every screenplay contest sets its own rules, so read them before you pay an entry fee.

This guide covers the major contests, fellowships and labs, what each one is known for and, where we could verify it on the official site, the current status, deadlines and fees. It is part of the Movie Squirrel series on how to become a screenwriter. Details below were checked on official pages in October 2026 and are labeled that way. Deadlines and fees change every year, and some programs change their entire format, so confirm everything on the official site before you enter. Where we could not verify current details, we left them out.

Contests vs. Fellowships vs. Labs

These terms get used loosely, but they work differently.

Contests judge scripts and award prizes, which may include cash, meetings, software and publicity. Most charge an entry fee.
Fellowships usually offer money, mentorship or a structured program to a small number of writers. Some are attached to contests; others are application-based.
Labs and studio writing programs focus on development and mentorship, often over several months. Many are free to apply to, but the eligibility rules and time commitment can be strict.

A strong placement in a respected contest is mainly useful as a signal. It gives managers, agents and producers a reason to read your script, which is why the reputation of a contest matters more than the size of its prize. Some programs introduce finalists to production companies, but an introduction is not a promise that anyone will buy the script. Script competition finalists are often announced before the winners.

Academy Nicholl Fellowships in Screenwriting

The Nicholl Fellowships, run by the Academy of Motion Picture Arts and Sciences, are among the best-known programs for emerging feature screenwriters. The format has changed significantly in recent years.

As of October 2026, the Academy’s official site says the program now works exclusively through official partners: university programs, screenwriting labs, film festivals and filmmaker programs that vet and recommend scripts. For the 2026–2027 cycle, the Academy announced 55 partners, with two public submission portals:

The Black List, open June 8 to July 6, 2026, or until 2,500 entries were received, recommending up to 25 scripts.
The Writers Guild Foundation, open June 22 to July 20, 2026, or until 2,000 entries were received, recommending up to 20 scripts.

Writers could submit through only one public portal. Academy members judge the partner-recommended scripts to choose finalists, and the program says up to five fellowships will be awarded in spring 2027. The public windows for this cycle have closed. Watch the Academy’s official Nicholl pages for the next cycle.

Austin Film Festival Script Competitions

Austin Film Festival, a nonprofit founded in 1994, runs one of the most widely recognized script competitions, alongside its annual Writers Conference. Categories include drama and comedy features, short screenplays, drama and comedy teleplays (pilots and specs), digital series, fiction podcasts and playwriting, plus optional sponsored awards that require an added fee.

As of October 2026, AFF’s official site lists the 2026 script competitions as closed. The 2026 feature screenplay fees were $60 (early bird, March 27, 2026), $70 (regular, April 24) and $90 (late, May 27). Short screenplays and teleplays were $50, $60 and $75 on the same dates. AFF says entrants can opt in to free reader comments, and that the Drama and Comedy feature winners each receive $5,000 plus travel reimbursements and the festival’s Bronze Typewriter Award.

AFF is also one of the Academy’s Nicholl partners for the 2026–2027 cycle. Check AFF’s site for the next cycle’s dates.

Sundance Institute Screenwriters Lab

The Sundance Institute’s Screenwriters Lab is a development program, not a contest. It supports writers, writer-directors and teams developing their first or second fiction feature. Sundance uses a single Development Track application to consider projects for the Screenwriters Lab, the online Screenwriters Intensive, and related fellowships and grants, including the Alfred P. Sloan program.

As of October 2026, Sundance’s official site says the 2028 Development Track application will be open March 30 to April 20, 2027. In most cases, a complete screenplay draft is required. Selection is highly competitive, and the lab experience centers on intensive work with creative advisors.

Studio and Network Writing Programs

Several studios and networks run programs for emerging television writers. These usually focus on staffing, mentorship and building a sample portfolio rather than prizes, and most do not charge an application fee. Their names, formats and windows change often. Most programs ask for a TV script sample, either an original pilot or a spec episode of an existing show, depending on the rules.

Warner Bros. Discovery Access Writers Program

Writers who remember the long-running Warner Bros. Television Writers’ Workshop will find today’s version under the WBD Access banner. According to the official WBD Access site, it is for writers who have staffed on one or zero seasons of U.S. network or streaming television. Applicants must submit two original samples in the same genre, be 18 or older, live in the United States and have the right to work in the U.S. Participants learn about the business from executives and attend master classes. As of October 2026, its official Submittable page lists no open calls.

NBCUniversal Launch and the NBC TV Writers Program

NBCUniversal’s talent development arm, NBCU Launch, runs programs across NBC, Peacock and Universal Studio Group. NBCUniversal describes the NBC TV Writers Program as its program for emerging episodic television writers. We could not verify current dates and eligibility on an official page, so check the NBCU Launch site directly for the next application window.

PAGE International Screenwriting Awards

The PAGE Awards is a long-running international contest with multiple genre categories, judged by industry professionals, and it says many past winners have gone on to representation and assignments.

As of October 2026, PAGE’s official site says the 2026 winners have been announced and that submissions for the 2027 competition open December 1. For reference, the 2026 fees ran from $49 (early entry, January 15) to $89 (final entry, May 8), with optional script feedback for $100 and a $5 discount for short film scripts of 30 pages or less. PAGE uses anonymous judging, so only the title should appear on the title page.

Final Draft Big Break

Big Break is run by Final Draft and accepts features, original TV pilots and shorts, with categories for several genres and a diversity category for underrepresented writers. As of October 2026, its official page lists two grand prize winners, each receiving $10,000 in cash plus other prizes, and a $5,000 prize for the short script winner.

The 2026 contest closed on June 29, 2026. Standard feature and TV entries ranged from $45 (early bird) to $85 (extended), with higher prices for entries that include written feedback. The 2026 announcement schedule lists category winners on November 20, 2026, and grand prize winners on December 18, 2026. Its rules state that entrants retain all rights to their scripts.

The Black List

The Black List is two things. Its annual list, released each year, is a survey of executives’ favorite unproduced scripts. Its website is a platform where writers can host scripts for industry members to find and buy paid evaluations from readers. The site charges for hosting and evaluations; check its official help pages for current prices.

The Black List also served as one of the Nicholl’s public submission portals for 2026–2027. Writers sometimes use strong evaluations as a way to get their scripts noticed, but there is no guarantee of results, so set a budget before you start.

How to Avoid Scams and Wasted Fees

Not every contest is worth entering. Before paying, check:

Who are the judges? Reputable contests name readers’ qualifications or final-round judges. Vague claims about “Hollywood insiders” are a warning sign.
What happened to past winners? Look for specific, checkable outcomes such as representation, options or produced credits, not just testimonials.
What rights do the rules claim? Read the rules. A contest should not take ownership of, or an option on, your script just for entering. Big Break, for example, says entrants keep all rights.
How do the fees compare to the value? A high fee for a contest with little industry recognition is rarely worth it.
Is the contest independently discussed? Search for discussions of the contest among working writers and on established screenwriting sites.
Are there hidden costs? Some contests charge extra for each category, for feedback or for “upgrades.” Know the full price.

Set a yearly contest budget and spend it on a few well-known competitions rather than many small ones.

Building a Yearly Contest Plan

A simple plan keeps entry fees under control and puts each script where it fits best.

Pick one or two finished scripts that represent your strongest work and your main genre.
Choose a small set of targets: one fellowship or lab, one or two major contests, and, for TV writers, the studio programs whose eligibility you meet.
Note each program’s usual application window. Many open in winter or spring and close by early summer, though every program sets its own calendar.
Enter at the early deadline when you can. Fees for several contests rise as deadlines pass.
Track every entry, fee and result in one place, so you can judge which contests were worth it the next year.

Getting Your Script Contest-Ready

Before entering, make sure the script is the best draft you can produce. Most contests do not accept revisions after submission, and some require a full new fee for an updated draft.

Follow the format conventions in the guide to how to format a screenplay.
Check page limits, which vary by contest. The guide to screenplay length lists several published limits.
Remove your name from the title page if the contest uses anonymous judging.
Register the script first. Several contests recommend registering with the WGA or the U.S. Copyright Office, as covered in the guide to copyrighting a screenplay.

A placement is most useful when you can act on it quickly, so have a polished logline and a second sample ready. Representation can follow a strong result, and literary agencies sometimes read finalists. If a result leads to an offer, read any option agreement carefully, ideally with an entertainment attorney, before signing. Agents and managers who read a winning script will usually ask what else you have, which is covered in the guide to getting a screenwriting agent.

Tools That Help

These books and desk tools help you plan entries and track results.

As an Amazon Associate I earn from qualifying purchases.

AT-A-GLANCE 2027 Monthly Wall Calendar, 15.5 x 22.75 inches (paid link): For tracking contest deadlines, entry dates and announcement dates.

The Screenwriter’s Bible by David Trottier (paid link): Useful for a final format check before you enter.

Save the Cat! by Blake Snyder (paid link): Useful for a structure pass on the draft you plan to submit.

Nulaxy Ergonomic Adjustable Laptop Stand for Desk, Dual Foldable Computer Stand (paid link): For long revision sessions before a deadline.

Frequently Asked Questions

Are screenwriting contests worth it?

Some are. Well-known contests and fellowships can get a script read by industry professionals. Many smaller contests offer little beyond the prize. Research each one before paying. Some contests use working industry professionals as readers or judges, so check who actually reads the scripts.

Which screenwriting contest is the most prestigious?

The Academy Nicholl Fellowships and the Austin Film Festival Script Competition are among the most frequently cited, along with labs such as Sundance’s. Reputation varies by genre and format, so read about past winners.

How much do screenwriting contests cost to enter?

Fees vary widely. As examples, 2026 standard feature entries ranged from $60 to $90 at Austin Film Festival and from $45 to $85 at Big Break, depending on the deadline. A mentorship grand prize, where one is offered, is described in each contest’s rules.

Can I enter the same script in multiple contests?

Usually yes, unless a contest’s rules say otherwise. Big Break, for example, allows it as long as other contests do not have exclusivity clauses. Pitch decks are usually not required for a screenplay contest unless the rules ask for them.

Do I need to register my script before entering?

It is usually not required but often recommended. Registration gives you a dated record before your script reaches many readers.

What should I do if I place in a contest?

Update your query letters, contact managers and producers who read in your genre, and have another polished sample ready.