HOW DO I APPLY?

• Click on the APPLICATION FORM.
• You will be routed to a TWL page on the Coverfly website. (Coverfly hosts this contest and you will need a free Coverfly account to submit. You will be able to restrict Coverfly contact to correspondence from The Writers Lab if you wish.)
• When prompted, upload your script as a PDF labeled with the project TITLE ONLY. DO NOT include the name of the screenwriter(s) ANYWHERE on the PDF.
• Complete all fields of the application and click the green SUBMIT box.
• Choose one of the options for our contest and add it to your cart.
• After you finalize payment and submission, you will receive a confirmation from Coverfly that you have successfully entered The Writers Lab contest.

Additionally, prior to submission, writers in the U.S. should register their script for copyright.

• Register your script with either The Writers Guild or the U.S. Copyright Office. Registration is quick and easy, and will protect you and The Lab’s staff and volunteers. (The Writers Guild of America, East, has offered the discounted price of $17 to Lab applicants who are not members of the Guild. Click HERE to register through the WGA. Choose the Student and NYWIFT/The Writers Lab option.)

• If you are entering from outside the U.S., please register your script with your local Writers Guild or U.S. copyright office. TWL also recommends THE SCRIPT VAULT for those outside the U.S.

Submission windows and fee structures are below. Please note, there are no deadline extensions.

• SUBMISSIONS WINDOW
  US Lab submissions are February 20th – April 4th, 2024.
• FEES
  Standard Entry — $65.00
  Standard Entry with 1.5-page WeScreenplay Feedback — $150.00
• DISCOUNTS
  Members of NYWIFT, WGAE, Film Fatales, and any other WIF organizations can use a discount code at checkout. Please ask your organization to share the Discount Code with you.
  All membership claims will be verified with these organizations, and any falsified applications will result in disqualification.

• Basic contact and biographical information (name, email address, contact phone number, mailing address, birth date).
• Script log line and genre.
• Full-length narrative feature script, in PDF format, preferably no more than 130 pages long and/or pilots (preferably no more than 44 pages (half-hour) or 75 pages (hour-long). Script lengths beyond the number of pages listed will incur a per-page surcharge.
• Registration of your script with an appropriate copyright agency. (See “How do I Apply” above for further details.)
• Credit/Debit Card for payment.

We ask US writers to register your script to prevent infringement, which will protect your work as well as The Writers Lab staff and volunteers. It is a standard industry practice in the U.S. to register any professional script with the U.S. Copyright Office or The Writers Guild in your home area (U.S. citizens use WGA East or West) or with your country’s equivalent Writers Guild.

The WGA East has generously offered a discount to The Writers Lab applicants. (See “How do I Apply” above for further details.)

Writers may submit up to three (3) complete scripts. Each script requires a separate completed application, and a separate non-refundable application fee paid by credit card.

Yes. Both writers must meet eligibility requirements (See Eligibility Requirements section below). Please designate one writer as the primary contact/potential attendee, and list that writer first in the writing credits on the application.

You may pay by check. Please email us at contact@thewriterslab.nyc to discuss the process.

Please email us at contact@thewriterslab.nyc with “Proof of Need” in the subject line to discuss the process. You will need to provide proof of public assistance or SSI with your application.

Coverfly offers the option to upload a revised draft of your script after you have applied. Please be advised that once our evaluation process is underway your initial submission might have already been read by our evaluation team. If you are considering submitting a revision, keep in mind that our jurors are very experienced and thoughtful. A strong, carefully crafted script will stand out—even a script that needs work.

If you are NOT able to submit electronically, please email contact@thewriterslab.nyc

False! You might have heard that the judges get tired of reading, or the winners have already been chosen. Quite the opposite. Every submitted script is read—multiple times—with the same care and rigor. Our readers are paid for their work and are always eager to find talented writers and exciting projects.

We use application fees to pay our independent readers, who carefully evaluate hundreds of scripts, through multiple rounds. The contributions of our primary donors cover only the Lab Retreat.

Writers selected for the U.S. Lab are responsible for travel to and from New York City. The Writers Lab organization covers travel to the Retreat venue from New York City, as well as food and accommodations during the Retreat.

Our final decision is based on the material alone. Your work will speak for itself.

All Lab notifications will be made via email. You will hear from us, whether you place or not, on or before August 1, 2024.

Notifications may be made on a rolling basis. Final decisions will be made on or before August 1, 2024.

The Writers Lab is open to women and non-binary writers over 40. We honor the fact that gender is personal and specific and seek to create an inclusive and supportive community. In addition, applicants must be 40 or over as of the first day of the Lab to which they are applying, and submit a completed narrative feature or pilot.

Your birthdate is necessary for us to confirm age eligibility, as outlined in the previous question.

Yes! Keep in mind that we do not cover transportation to/from New York City for selected writers.

Yes! Citizenship and country of residence do not affect eligibility for the U.S. lab. However, your narrative feature script or pilot must be in English. Additionally, keep in mind that selected writers are responsible for their own travel to/from New York City for the Lab Retreat (and related passport/VISA requirements), and are expected to be in New York by the day before the Lab begins.

The Writers Lab U.S. is open to ALL international applicants. Please see the previous question for information on travel and visa considerations.

No, you do not need to submit these documents with your application. However, accepted writers will need to provide these documents in order to sign the Lab Contract, which finalizes acceptance.

Absolutely not. The Lab seeks to foster exciting voices, regardless of professional experience. However, The Lab does NOT teach screenwriting basics. Submissions must exhibit knowledge of screenwriting formatting, standards, technique and style.

Yes. The Writers Lab requires submission of a FULLY COMPLETED script/screenplay.

While there is no correct length, features are generally between 80 and 130 pages; half-hour pilots are 22-44 pages; and hour-long pilots are 45-75 pages (depending on genre and other factors). Please note that feature screenplays longer than 130 pages, and pilots longer than 44 pages (half-hour) or 75 pages (hour-long), will incur a per-page surcharge to the application.

The Writers Lab has no software preference, as long as the script uses industry standard formatting, and is converted to a PDF before submission.

All scripts must be submitted as PDF files. All film industry professionals expect scripts in PDF format, so this is a good opportunity to format your script to industry standards.

Although your script may include other languages, the predominant language must be English. (Tip: Providing translation for passages in other languages can help, but we don’t recommend translating every non-English line, as doubling up can slow the pace, and is often unnecessary.)

We welcome re-submissions, as long as the script has undergone a substantial revision that has addressed the following:

• Are all characters clearly introduced, established, and fully realized, with a defined need and arc?
• Is every line of dialogue necessary, either revealing character or moving the plot along?
• Are the descriptions well written, specific and succinct?
• Will this story speak to a wide audience?
• Is this story right for this Lab? Does it tell a story from a POV not generally seen, or for an underserved audience?
• Does the script follow standard formatting protocols? Has it been carefully proofread so that readers will not struggle with typos, long paragraphs, or confusing scenes?

Yes, we will consider scripts based on prior works as long as you have secured the underlying rights to the material. We ask for proof of rights, in the form of a contact, e-mail, or letter, if your script reaches the Finalist level in the selection process.

No. The Lab is for completed feature and television pilot scripts only.

While the Lab will consider scripts at various stages of development, the draft submitted must meet the following standards of completion:

• Scripts must be either feature-length polished drafts, in the 80-to-120 page range, OR polished pilots that are 22-44 pages (half-hour) or 45-75 pages (hour-long).
• We will not consider screenplay fragments, treatments, synopses, book excerpts, or stage plays.
• Scripts should show a strong understanding of screenwriting technique and style.
• Scripts should present a fully realized story, with an identifiable concept, world, characters and genre

We will make all reasonable and customary efforts to protect your ideas. Additionally, we request that you copyright your submission. (Please see “Why must I register my script for copyright” under THE APPLICATION.)

Yes. We have no restrictions on material that has been to, or developed through, other labs, workshops or programs.

Both virtual and in-person retreats include the writers who have been selected; nearly 20 mentors and guest speakers; and the founders plus TWL team members.

Writers, mentors, guests, the founders and team members gather for workshops, discussions, peer groups, story rooms, individual story presentations, screenings, keynotes, Q & As, panels, and, of course, one-on-ones. We also connect informally over meals, cocktail hours, walks, and exercise sessions. The Retreat is a very full four days.

The Writers Lab is a screenplay development lab. We are not a producing lab, nor do we offer any kind of production funding. However, in addition to connecting participants with a peer group of driven and talented writers, the Retreat offers access to, and interaction with, a range of other film industry professionals.

Any script accepted to our Lab will benefit from further development. That is the primary focus of The Writers Lab, and all selected writers should expect to revise their script with the support of experienced industry mentors. Beyond script development, the Lab offers recognition for your work as well as a unique chance to connect with a supportive community of peers and industry professionals.

The Writers Lab offers additional development support for writers in the months following the Lab, as well as a range of programs and resources for all Lab alumnae. When possible, we also plan follow-up networking events every year.

Demographics

Our readers represent diversity of gender identification, age, race, and ethnicity. In the first TWO rounds, we have a team of trusted readers who have been trained to look for well-crafted stories that meet The Writers Lab mission. In the THIRD round, we invite industry professionals to read scripts and take notes. The Founders read alongside readers in all rounds.

• 95% identify as women
• Ages 21 – 70
• 40% identify as Non-white
• 100% are in media and/or entertainment: directors, writers, producers, actors

Qualifications

Reference, Interview, previous experience, sample script discussion, implicit bias meeting. Reader Mandate: Transparency of genre preferences, personal biases, time limitations.

Overview

In the first TWO rounds, we have a team of trusted readers who have been trained to look for well-crafted stories that meet The Writers Lab mission. We meet regularly to explain our mandate and mission; to discuss scripts; to answer questions. We use a buddy system so each writer can bounce thoughts and questions with a fellow reader.  Each reader must complete a scoring section, answer a list of questions AND provide at least a few lines of commentary on each script. In the THIRD round, we invite industry professionals to read scripts and take notes. The founders read alongside readers in all rounds. All scripts are read blind. All readers are paid per script.

Details

Round 1

Each script is assessed twice. Two readers are required to read and score the script across several assessments and then provide brief top-line notes. Any script that receives at least one positive recommendation moves to …

Round 2

A Round 2 reader must answer a slightly more detailed list of assessment questions, and provide notes. If the reader scores high on all the questions, the script moves on to…

Round 3 

Scripts that have reached this level are read by professional jurors, a team of about a dozen allies (eg. managers, producers, execs.) This script group comprises a few hundred features and pilots that have been and continue to be assessed and discussed.

Round 4

The top 45 to 60 scripts from Round 3 are read again or discussed by founders, and reader notes are carefully reviewed. To select our final cohort of 12, we assess the excellence of the script alongside diversity of race, ethnicity, genre, format, age, residence, and short personal statements in the application.

Overview

Readers are instructed to look for a strong grasp of screencraft as well as diverse voices, POVs, genres, stories and characters. Below is a sampling of the questions our readers must answer: 

• Craft / Formatting: Is this a complete feature or pilot (1-hr OR half-hour)? Does the writer know basic screen craft? Does the script show standard formatting (slug lines, character introductions, indented dialogue, proofed for typos, etc)? 

• Cinematic Storytelling: Is the writing VISUAL? Does the writer clearly establish the world, characters and action? 

• Characters / Representation: Are the characters diverse (eg. gender, race, ethnicity, ability, POV)? Are they authentically and fully developed with individual voices, appropriate arcs and journeys?

The Writers Lab has THREE notification dates.

On July 1 we email TWO groups: writers whose scripts are NOT moving on and writers whose scripts are moving on as Quarterfinalists.

On July 15 we email TWO groups: writers whose journey ends at Quarterfinalist and writers whose scripts are moving on to the Final Selection round.

By August 1 we email and announce TWO groups: Semifinalists and Participants.

Scripts submitted are predominantly in the following genres: Drama, Coming of Age, Historical, with strong numbers in Sci Fi, Fantasy, Horror, Thriller, Comedy and Romcom. We intentionally maintain genre proportions at higher levels of the competition to ensure an inclusive variety of stories.

We strive for over 30% diversity of race, ethnicity, ability, POV and other demographics at each level of selections.

The Writers Lab explicitly invites applicants to choose how they wish to identify themselves in terms of gender, sexuality, race, ethnicity, and ability. These application identifiers are consulted at each round of selection to ensure that diversity remains proportional to submissions. Because The Writers Lab serves women and non-binary writers over 40, applicants must identify as women or non-binary. We honor the fact that gender is personal and specific and seek to create an inclusive and supportive community.

Clearly establish your protagonist’s need and obstacles, and make sure you carry through the arc of her story, all the way to some sort of resolution.

World needs to be clearly, economically, and cinematically established (especially in genre scripts).

Choose a main story and set it up clearly for your audience. Many scripts take on too much and lose their way.

Most film stories can be told in well under 120 pages. Every line or sentence should add to the story, not repeat or distract. Cut what you can, and keep your story moving.

Ask yourself: Is that line essential? Is it stating subtext or exposition that can be SHOWN? Does it successfully build conflict? Does it reveal character through wit and/or texture?

Have you written too little? (Set your scenes! Introduce your characters! Include important visual details!) OR, do you have way too much? (Don’t describe characters’ feelings, camera shots, or back story.) And, break up blocks of description into easily digestible bites.

Old or new, your story must stand out, with new insights into universal themes or compelling characters or perspectives. At the same time, know your cliches and tropes, and when to use or lose them.

Make sure your story effectively uses the visual and auditory aspects of storytelling for the screen. (Note: use music references with care; referencing unlicensed songs can reveal lack of screenwriting savvy. Suggest only, i.e. “She sings something like [song name]…”)

TWL doesn’t require a woman protagonist, but we definitely notice scripts that pass the Bechdel test, and wince when female characters are introduced solely as “gorgeous/hot/pretty/curvy.” This applies to gender across the spectrum. TWL isn’t interested in gender clichés, tokenism or stereotypes. We champion complex and compelling characters, and stories that provide an authentic experience and point of view.

Proofread, proofread, proofread. It matters.

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