Test challenge



i Active Since 2019

All Writers Receive 50 Points of Analysis – At NO ADDITIONAL COST. All Entries Receive a Full Read by Save the Cat! Master Cat Readers. Feedback is Grounded in Story Structure—Not Subjective Opinion.

Currently Closed. Subscribe to receive a notification when the next season opens.


Our approach is simple: a screenplay competition that provides actionable feedback grounded in the Save the Cat! Methodology – the same method used by working writers, readers, and decision makers.

Our focus is on the beats of your story with an aim to help tighten the spine of your screenplay. You make the character, dialogue, and subject matter fly and we’ll serve as your co-pilot guiding your story’s structure through compelling character transformation from the Opening Image to the Final Image.

You have challenged yourself to start, finish, and enter a screenplay competition – let us deliver the Save the Cat! 50 points of analysis to help you achieve your story’s potential.

***Now accepting screenplays for feature films and 60-minute and 30-minute TV pilots.


Jan 31st
Feb 26th
Mar 26th
TV Pilot$129.00$136.00$144.00


All entrants to receive:

  • 50 points of analysis report adapted from the Save the Cat! Greenlight Checklist (Save the Cat! Strikes Back — pages 104-108)
  • A review by readers and judges trained in the Save the Cat! Methodology
  • Feedback grounded in structure and marketability and consistently applied to all screenplays

A group of Feature and TV script winners will be awarded the following:

Grand Prize Winner(s)

  • Flight to LA ($600)
  • 3-night hotel stay ($1200)
  • Live table read to bring your work to life
  • Save the Cat! Software – 12 Month Subscription

Top 5 Finalists

  • Meeting with one of the judges
  • Save the Cat! Software – 12 Month Subscription


Jul 14th Top 5s
Jul 17th Top 25s
Aug 18th Grand Prize Winners


At the program’s request, Coverfly will automatically remove your title page for you if you include one when submitting to this program.

All writers from all countries are welcome to submit; however, all screenplays must be submitted in English, and application fees must be paid in U.S. dollars.

Writers under the age of 18 years old must have parent or legal guardian’s permission to participate.

Script must be the original work of the submitting writer and may not be encumbered by any third party.

Screenplays adapted from the submitting writer’s own self-published books, plays, or other source materials are eligible if the writer retains all rights to the work.

Scripts that have been sold, produced for a profit, or are currently under option are not eligible.

Prior contest-winning scripts from other contests are acceptable.

Original full-length* feature screenplays only are accepted. Anything else, including but not limited to short scripts or web series, novels, short stories, stage plays, musicals, treatments, synopses, reality show concepts, documentaries, and/or spec scripts for existing TV series are not eligible.*

Length requirements for full-length features: 70-130 pages. No exceptions.

Script must be in industry standard format. Formatting is taken into consideration in judging.

Standard title pages should be included: listing the script title, name of author(s), telephone number, and email address.

Applicants will not be disqualified if these elements are not included.

Under no circumstances should the writer include name or contact information within the body of the script.

Adaptations from other works are permissible provided the writer has written permission by the owner to adapt the material.

Adaptations of works in the public domain are permissible.

Multiple authorship is acceptable.

If the screenplay wins an award, that award will be divided among the writers, by the writers.

Multiple submissions by one writer are accepted; however, if one or more screenplays by the same writer tie, only one screenplay (the decided “best”) will be selected to determine the winner.

The writer understands that script feedback can take up to 90-days turn-around time and may not be received before the end of the final application deadline.

Applicants must submit materials and payment online only.

Once a script has been submitted, substitutions of new drafts or corrections may only be accepted within 24 hours of the original application.

A revised draft of a script may be accepted after 24 hours if it is entered as a new application with the appropriate fee.

Promotional discounts or waivers offered may only be utilized at the time of submission. Promotional discounts or waivers offered may not apply on all submission platforms (i.e., FilmFreeway).

Applicants must accept without reservation the decisions rendered by the judges.

The writer understands that it is his/her sole responsibility to register material to be submitted with the U.S. Copyright Office and/or with the Writer’s Guild of America or the appropriate agency in his/her country.

Applicants awarded a place in the Top 50 or chosen understand and accept that SAVE THE CAT! will be free to use his/her name and likeness for advertising or promotional purposes without additional consideration.

Writers retain the rights to their screenplay.

Applicants are non-exclusive and may submit their screenplay to any other person, competition, producer, agent, publisher, and/or organization.

No transfer, substitution, or cash equivalent for prizes is allowed.SAVE THE CAT! is not responsible for any applicant errors or omissions on any submitted application materials.

Synopses, casting suggestions, letters, resumes and photos will not be considered.

Applicant accepts without reservation that the submitted screenplay will be reviewed by SAVE THE CAT! staff and/or panel of Industry Judges for evaluation and that any one of these employees or judges may have been or may be exploring ideas similar to the submitted material, and the applicant hereby waives any claim that the staff or judges may have misappropriated any ideas or portions of the submission, logline or screenplay.

There are no refunds for any reason after 24 hours from submission.

You should retain master copies of the submitted material.

Any material we receive cannot and will not be returned under any circumstances.

To submit your materials and be considered, you must agree to these Rules and Terms.



Sheila Hanahan Taylor founded Practical Pictures in 2004 with Craig Perry. Past projects include Universal’s American Pie franchise, New Line Cinema’s Final Destination franchise, Warner Bros’ Cats & Dogs franchise, Universal’s Breaking In, Village Roadshow’s Oddball, Sony Pictures’ Little Black Book and The Big Hit, and Helkon Media’s RepliKate. Worldwide, they have grossed over $2 billion. Upcoming projects include a sixth installment in the Final Destination franchise, vampire thriller Nightfall, and the high-tech thriller Entry Level.


As Head of Development at Treehouse Pictures, Juliet Berman oversees the development and packaging of the Treehouse Pictures’ slate. Her credits at Treehouse include Producer of Set It Up, Executive Producer on Sand Castle (both for Netflix), and Co-producer on Mediterranea.


Zachary Levine is a Creative Executive at Gilbert Films, a Los Angeles-based production and finance company known for La La Land, The Kids Are All Right, and Garden State. He oversees the development slate, tracks and ideates projects for financing and development, and scouts talent.


The author of Save the Cat! Writes For TV: The Last Book on Creating Binge-Worthy Content You’ll Ever Need is a working and accomplished screenwriter. Jamie Nash has written and sold almost every type of story under the sun, including horror films like Exists, V/H/S/2, The Night Watchmen, Altered, and Lovely Molly, and family films like Santa Hunters and Tiny Christmas. He teaches screenwriting at MICA and Johns Hopkins and co-hosts the podcast Writers/Blockbusters.


Bobby Hoppey is VP (Production and Development) at Complementary Colors. A seasoned story analyst and independent producer, Bobby was a founding member and ran development for Valparaiso Pictures, where his projects included Straight Up and the upcoming Pig with Nicolas Cage. Prior to Valparaiso, Bobby spent 5 years at Echo Lake Entertainment, where he managed projects across the film and television divisions.


Diana Mendez wrote her first episode of television as a writers’ assistant on Rizzoli & Isles. She continued to hone her crime writing chops on Fox’s Rosewood, Charter’s L.A.’s Finest, and most recently as a co-producer on ABC’s The Rookie. Diana is an alum of the National Hispanic Media Coalition’s (NHMC) TV Writers Program and the Fox Writers Intensive.


Chris Bythewood, a film and television writer based in LA, worked as an executive at Fox Network Group and co-created the Fox Writers Initiative (FWI). He also ran TV development at Confluential Films, where he developed with the team the HBO documentary 40 Years a Prisoner, and was in the writer’s room for The Chicago Code and Shots Fired series.


As head of production for American High—a studio with recent releases including Big Time Adolescence, The Binge, The Ultimate Playlist of Noise, and Plan B—Will Phelps oversees all development, packaging, and production.


Marc Manus is a former award-winning photojournalist who attended USC film school before entering the field of artist representation. Marc has held positions at various management companies including, most recently, Zero Gravity (Netflix’s Ozark). Now at World Builder Entertainment, Marc continues to guide a select roster of filmmakers from around the globe who have film and television projects at the major studios, TV networks, and streamers.


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