A Screenwriter’s Contest Strategy to Keep You Sane – Post‑Coverfly Update

Several years ago, I wrote a popular blog post about how to use (and not overuse) The Black List (the screenplay service) as part of a screenwriting self-evaluation and marketing strategy. Some time later, I shared an updated contest strategy leveraging new tools like screenplay coverage services, writing contests, and the contest submission portal Coverfly. Now, with Coverfly shutting down in 2025, it’s time to update my screenwriting contest strategy once again. In this post-Coverfly era, I’ll explain what’s changing, what we’ll miss without Coverfly, and how I plan to keep my contest journey on track. My core approach remains the same – the goal is still to stay sane and strategic while chasing those screenplay contest wins!

Coverfly’s past utility in my strategy can’t be understated: it aggregated contest results, provided a centralized screenwriting contest submission system, and even showcased my placements via an online profile and rankings. I could point to a script being in the “Top 1% on Coverfly” and industry folks took notice. With Coverfly going offline (the site is officially set to shut down on August 1) many of us are losing a handy tool for tracking contest success and gaining exposure. But all is not lost. I’ve adjusted by leaning more on my own website’s Awards page (where I list every one of my contest placements and wins) and on industry platforms like the International Screenwriters’ Association (NetworkISA.org) to showcase my contest achievements. In fact, the ISA lets me spotlight my work and contest wins in a standardized, industry-facing profile, in some ways, similar to Coverfly. And as the dust settles, new services are likely to step up. So, let’s dive into how my contest strategy works now, with Coverfly gone and replacement services still in development.

The First Step

My first step hasn’t changed: I make sure the writing is good enough before spending a dime on contest fees. Those entry fees add up, and if my scripts don’t place well, I get no value out of that “investment.” So instead of wasting money on contest entries to test my screenplay, I spend a bit more up-front on script coverage or professional notes.

Sure, I also get feedback from writer friends, but the real test is getting notes from people who don’t know me. A stranger’s critique is invaluable – they won’t try to spare my feelings when something is actually wrong with my script! The Black List (blcklst.com) is one of the cheapest options for quick-turnaround feedback. I used to use it in this way all the time. But after using the Black List’s evaluations for a while, I found that the note quality and ranking value weren’t as high as I’d hoped. They're great for folks who are starting out, but I wanted something a bit more specific and comprehensive. These days, I prefer a range of coverage services from Indie Film Hustle, Shore Scripts, and others. The coverage from these services costs more, but it’s also far more comprehensive than what I was getting from the Black List. This approach ensures I’m not only finding out if my screenplay is contest-ready, but also learning what I might improve before spending money to submit it to a competition. (I should note here that WeScreenplay, which also provided great coverage for me over the years, has shut down. It is owned by the same parent company as Coverfly, and is a victim of the same corporate "priorities").

What is Screenplay Coverage?

At its core, coverage is feedback. You send your script to a coverage service, pay them a chunk of money, and an experienced reader reviews the script and writes a detailed report. The feedback usually includes a story synopsis (a great way to see if the story in my head is actually coming through on the page) and specific notes on what works and what doesn’t in the writing.

Some coverage services also comment on the script’s market potential – for instance, whether the concept is better suited for an indie producer or a big studio. Many services provide a final verdict or “score” as well, typically boiling down to three grades: PASS, CONSIDER, or RECOMMEND. As a rule of thumb, I want my script to score a RECOMMEND from at least one professional reader (ideally, from two!) before I start submitting to contests. A RECOMMEND tells me the screenplay’s foundation is strong enough to stand out.

Screenplay Coverage Strategy

Just like with the Black List evaluations, coverage services can be hit-or-miss. One reader might love your script; another might dislike it. For that reason, I rarely trust a single evaluation. When I have a draft that feels ready, I usually submit it to two different coverage services to see what kinds of feedback I get from each. I don’t send my script to any screenwriting contest until I’ve received at least one RECOMMEND and one CONSIDER from coverage. This dual confirmation helps me feel confident that the screenplay has been vetted by multiple professionals.

If the script doesn’t get the high scores it needs, I take those notes, revise the script, and then spring for another round of coverage. Only when I have that RECOMMEND (or two!) and a solid CONSIDER do I proceed to the next phase: submitting the screenplay to contests.

Which Screenplay Contests Should I Submit To?

It’s tough to know which screenwriting contests are worth the fee. At the end of the day, even the best contest won’t do much for you if your script isn’t truly ready. But assuming you’ve honed your screenplay with coverage and you’re confident it’s contest-worthy, how do you decide where to submit? Here are a few guidelines I follow to pick competitions wisely without losing my sanity (or all my savings):

• Consult Multiple “Best Contest” Lists: There are plenty of lists of “top screenwriting competitions” out there, but don’t take any one list as gospel. I look at several sources and note which contests appear repeatedly. Those recurring names are usually reputable. (I’ll only mention contests here that I’ve personally done well in; if I omit a contest, it might still be great – I just haven’t had experience with it yet.)

• Prizes Aren’t Everything: I used to think the best contests were the ones with the biggest cash prizes or industry packages for the winners. Not necessarily! Remember, usually only one person wins the grand prize, and there may be thousands of entrants. A huge prize doesn’t guarantee your script will benefit. I’ve learned to focus less on prize value and more on the contest’s industry engagement. What does this mean?

• Look at How They Treat Finalists: The real value of a contest often lies in what happens if you almost win. If you’re lucky – but not lucky enough to win the top prize – you might reach the finalist or semifinalist stage in some contests. Pay attention to how contests reward and amplify their finalists and semis. Are industry pros reading those scripts? Does the festival promote their finalists to the industry (beyond just sharing a list of titles)? The best competitions offer something valuable even to those who don’t take first place.

So, when vetting a contest, here’s what to look for:

Who’s Reading?

In most contests, the first rounds are judged by anonymous “readers” – folks who likely don’t have the clout to advance your career. That’s fine; it’s part of the process. But crucially, find out who reads the finalist scripts. In many reputable competitions, once you reach the finals, your screenplay is read by industry professionals – people who can make a difference (agents, managers, producers, showrunners, etc.). Even if you don’t win outright, you want those people reading your work and loving it. That way, a “loss” can still turn into a win if an industry judge is impressed enough to reach out to you after the contest. Most good contests will list (or at least hint at) who’s on the judging panel for the final round, so dig through their website for that info!

For example, the PAGE Awards is a great case study. When my screenplay "Out of the Sky" was a PAGE Awards Finalist, it was read by top literary agents and managers. I didn’t win the contest, but one of the managers who read my script contacted me afterward for a meeting to discuss my work. In short, who reads your script at the finalist stage matters a lot.

Additional Support?

Another factor: What support does the contest give to finalists (and winners)? The very best screenwriting competitions actively help boost their top writers. This support might include emailing loglines of finalist scripts to industry contacts, setting up meetings for finalists with reps or producers, making introductions, or even hosting networking events.

I experienced this first-hand with Launch Pad. My PAGE finalist script later became a Top 50 finalist at the Launch Pad Feature Competition, and a representative from Launch Pad started emailing me every few months to see how they could help my career. They’ve since submitted my screenplay to agents and managers and tried to set up meetings on my behalf. That kind of follow-through is gold for an emerging writer. These are exactly the contests I target – ones that don’t stop at the award announcement, but continue to champion the high-ranking scripts and writers, getting our work into the right hands.

In summary, I aim for contests that have industry pros as final round judges and a track record of supporting their finalists beyond just handing out a certificate. Those competitions can truly open doors. (I should note here: The Launch Pad, which is owned by the same parent company that owns Coverfly, seems to be shutting down much of its operations. It's unclear to me if their screenwriting contests will continue, or if those will also go the way of Coverfly and WeScreenplay. This is a sad development. Another valuable tool for the aspiring writer getting cut in the name of some sort of corporate "efficiency".)

The Critical Keystone of My Contest Strategy (After Coverfly)

There is one more important (nay, critical!) piece of my contest strategy, and it’s where the biggest change has happened: how I aggregate and present my contest results. In the past, Coverfly was the keystone. I submitted to contests (and even ordered coverage) as much as possible through the Coverfly platform, because it would collect all those results, calculate a score, and rank my screenplays against others on the site. Essentially, Coverfly served as a one-stop hub for my contest submissions and a running scoreboard of my success. In addition, my high-ranked scripts on Coverfly were read numerous times by executives and reps browsing Coverfly for new content. Coverfly even created extra opportunities for top writers: they selected one of my scripts for a professional virtual table read, complete with hired actors and an audience of producers and reps. They regularly invited top-ranked writers (myself included) to exclusive pitch sessions with industry insiders. All of that – the rankings, the Red Lists, the built-in exposure to Hollywood, and the convenient submission system – will be gone overnight when Coverfly goes dark.

My top 3 screenplays on Coverfly - just before the end of the platform. How do I replace this resource?

So, what now? How do I fill this Coverfly-shaped void in my strategy? For now, I’ve adopted a DIY approach combined with leveraging other platforms:

• My Personal “Red List” – the Awards Page: I maintain a detailed Awards & Recognition page on my own website where I list every contest result my scripts earn (quarterfinalist, semifinalist, finalist, winners, etc.). This is now the primary place where I aggregate my contest successes. It’s manual, yes, but it ensures that nothing gets lost. Anyone visiting my site – including industry folks I network with – can see at a glance which competitions I’ve placed in. In a way, this page now serves one purpose that my Coverfly profile used to serve: it’s my public scorecard of screenwriting contest achievements.

• Network ISA (International Screenwriters’ Association): I’ve also turned to the ISA platform to showcase my work in an industry-facing way. The ISA’s website allows writers to build a profile and list loglines, projects, and importantly, contest placements and awards. My profile on NetworkISA acts as a standardized resume of my accomplishments that industry professionals (agents, managers, producers) can browse. The ISA actively champions emerging writers – their Writer’s Showcase is all about spotlighting our work and successes to get us discovered. I can list most of my contest placements there, and the ISA even has its own programs like the ISA Development Slate and Top 25 Screenwriters to Watch, which writers with a lot of contest traction might get invited to. Essentially, ISA is one of the places I’m parking my accolades now, in hopes that it catches the eye of someone who can help move my career forward.

  

  From my profile at NetworkISA.com

• New Contest Hubs: As mentioned, it's certain that new ventures will attempt to fill the Coverfly void. In fact, Stage 32 has already introduced what they call a Global Screenwriting Contest Hub that aims to replace some of Coverfly’s functionality. It’s early days, but it allows writers to submit to a slate of notable contests through one site and then track all your entries and placements on your Stage 32 profile – very similar to what ISA offers, and with possible additional features that mirror what Coverfly could do. They even brought on former Coverfly staff to run it. I have yet to explore this platform for future contest submissions, but if it does recreate some of Coverfly's script-ranking functionality, it could fill a need that none of my other tools can fill. For now, I’ll still update my own website and ISA profile with results, but I'll be keeping an eye on Stage32 to see what they end up building. (No doubt, we’ll have to see if agents and managers flock to Stage 32 the way they did to Coverfly – even a ranking system won't make the service useful if the decisionmakers don't use it.)

• Old-School Networking: Beyond websites, I’m also falling back on traditional networking a bit more. When I get a notable contest placement now, I’ll mention it on social media, in queries, or in general conversations. For example, instead of saying “My script is Top 1% on Coverfly,” I might say “My sci-fi feature was a Finalist in the 2022 PAGE Awards and made the Launch Pad Top 50.” It’s not as succinct as a percentile, and only a select few contests seem to impress Hollywood (whereas the percentile allowed lower-ranked contests to nudge the needle a bit). The key is I still have bragging points to help pitch my screenplay, even if the single Coverfly metric is gone.

• 
  

Putting the Strategy Together

Here’s how the entire strategy now comes together in this post-Coverfly landscape:

1. Start with Coverage (outside Coverfly): I no longer upload new scripts to Coverfly (for obvious reasons). Instead, I begin with the script itself – polishing it and then sending it directly to coverage services for notes. I still aim for that one RECOMMEND and one CONSIDER minimum before I proceed. This step ensures I’m investing contest fees only when the script is truly ready to stand out.

2. Select and Submit to Contests: Once I have the green light from coverage, I create a plan for contests. I choose reputable competitions that fit my script’s genre and track record (using the guidelines from Which Contests above: who’s reading, and what support is offered). Without Coverfly, I submit either through the contests’ own websites or via a new aggregator like NetworkISA, Film Freeway, or (perhaps, soon) the new Stage32 offering. I keep spreadsheets for each project to track where I’ve submitted and when results are expected – a habit that became even more important now that I can’t rely on Coverfly’s portal to list all my active submissions.

3. Track Results and Update My Profiles: As contest results roll in, I manually update my Awards page on my website with each quarterfinalist, semifinalist, finalist, or win. This running list keeps me organized and also acts as a public showcase. I likewise update my ISA profile with these placements so that my industry-facing resume stays current. The moment a script achieves something notable (a finalist placement or a win), I use that as an opportunity to gently spread the word – maybe a Facebook or Instagram post, maybe a mention on LinkedIn, etc., all while adding it to my permanent records.

4. Leverage Achievements in Pitches: Just as before, contest achievements are a talking point when I pitch or query. In the Coverfly days, I would have said something like: “Out of the Sky is a Top 1% script on Coverfly.” Now I might say: “Out of the Sky is a PAGE, Launch Pad, and Vail Finalist, with several other notable contest placements,” and then note that it’s gotten strong coverage evaluations. The absence of a Coverfly ranking just means I emphasize the contests themselves and the consistency of the script’s performance. A strong contest track record still goes a long way in showing that a story has been vetted and appreciated by professionals.

5. Stay Open to New Opportunities: The industry is in flux with Coverfly’s end. I’m keeping an eye out for any new platforms or opportunities that can fill the gap. For example, I’ll see how Stage 32’s hub evolves – if down the line they introduce a public ranking or “Red List” equivalent, I’ll certainly want to capitalize on that. I’m also watching to see if ISA or others bolster their services to offer comparative rankings and other Coverfly-like services. I should note that Coverfly did officially "hand off their writers" to the excellent professional development service, Roadmap Writers (of which I am a Top Tier writer already). What does this handoff mean? What will Roadmap offer to these writers? It seems too early to know. Regardless, the screenplay contest strategy is not set in stone; it can (and must!) adapt as new tools emerge.

Through all these steps, the foundation remains steady: write the best script I can, test it with coverage, enter top contests (when it's ready), and then showcase those placements and wins to the world. The tools and sites I use to showcase have changed, but the overarching game plan – using contests and feedback as a ladder upward – is very much intact.

How Much Does All of This Cost?

Fortunately, browsing platforms like Coverfly (and the new Stage 32 hub) has been free for writers, and the ISA’s basic profile is free as well. But everything else in this strategy does add up:

• Coverage Services: Expect to spend around $100 to $300 (or more) for each round of professional coverage. I often use two different services, so this could be roughly $200–$600 per script in the early phase.

• Screenwriting Contest Fees: Most screenwriting competitions charge entry fees. Some are free, but the notable ones typically range from about $35 to $80+ per entry (with early-bird deadlines on the cheaper end and late deadlines on the pricier end). A handful of contests might charge closer to $100 - but be cautious with these. Make sure they offer real value to highly-ranked screenplays that do not win their grand prize. I budget for several contest submissions per project, so this can come out to a few hundred dollars per script.

• Miscellaneous/Platform Costs: Coverfly didn’t charge writers to use the platform (they made money from contest and coverage partnerships). Stage 32’s contest hub appears similar in that you pay the contest fees, not the platform. The ISA offers a paid tier called ISA Connect which provides extra services and access (as well as discounts on some contest submissions), but you can list basic info for free. Depending on how deep one goes (for instance, if you purchase an ISA membership or pay for special services like their development evals), that could be another couple hundred annually. Personally, I’ve spent money primarily on the core needs: coverage and contest fees, and I do pay for the ISA Connect membership, which pays for itself with the contest discounts that it provides.

All told, I typically spend on the order of $1,000 (give or take) on this process per screenplay over the course of about 6 months. That breaks down to roughly $400–$600 on coverage services (multiple rounds until the script is in great shape), and the rest on contest entry fees. If a screenplay is knocking it out of the park and racking up placements, I might invest a bit more to enter a few extra competitions or to capitalize on momentum. Conversely, if a script isn’t advancing anywhere, I’ll pause and not keep throwing money at entries – instead, I’ll regroup and revise the material before trying more contests.

Yes, it’s a lot of money. But I view it as an investment in my writing career. If even one of these screenplays leads to a sale or an option, the payout could cover all the contest and coverage fees I’ve ever spent (and then some). Compared to something like film school or an MFA program, this route is also much cheaper and directly focused on getting my work out there. By being strategic about where I spend – and tracking it carefully – I try to ensure I’m putting money behind scripts that are ready, and not chasing every contest under the sun.

More Than One Way to Skin a Cat…

I’m sure there are many ways to approach the early-career screenwriting hustle, especially now in this evolving landscape. I won’t pretend that my approach is the one-size-fits-all solution for every writer. In fact, you might be doing things very differently – maybe you focus on querying managers directly, or you’ve found success through networking in a writers’ group, or perhaps you’re trying a new platform that I haven’t delved into yet. If you have a contest strategy or career-building approach that works for you, I’d love to hear about it. The end of Coverfly marks a change for all of us, and comparing notes on what’s next can only help.

For me, the backbone remains: write, revise, test, revise again, compete, and then promote your wins. It kept me sane before, and with some adjustments, it’s keeping me sane now. The tools may change – websites come and go – but the drive to get your script noticed is constant. Keep writing, stay savvy about where you spend your time and money, and adapt as the industry shifts. If you have thoughts or questions about this updated strategy, feel free to share in the comments below.

Happy writing!