September 2017 TV Pilot/Spec Screenplay Winners

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

Watch the 4 TV Screenplay Winners for September 2017:

September 2017 Reading
by Leslie Lyshkob

September 2017 Reading
by Cameron Chapman

ACTORTV 1st Scene Screenplay – KODAK MOMENT
September 2017 Reading
by John Cruz Alarid

ACTORTV 1st Scene Screenplay – CELTIC BLOOD
September 2017 Reading
by Richard William Masterson


Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox


Can You Only Write in One Genre?

A Writer's Path

by Michael Cristiano

As a writer, the last thing I want to do is restrict myself. Yes, it’s true, there are genres that I will never write (erotica, true crime, nonfiction textbooks on astrophysics), but other than that, I’m open to pretty much anything. I love straddling the line between genres, often bridging fantasy, science fiction, and paranormal and then throwing in some literary flair.

So, imagine my surprise when I was told that I should pick and stick to one genre. My conversation went something like this:

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How To Treat Your Inner Writer

A Writer's Path

by Melanie Mole

We probably all know what our everyday values are. But do you know what your writing values are? Some of us might never have thought about them, simply just writing when we can. But not thinking about them could be quite an expensive mistake. The reality is that we need to care about them.

By caring about them we should have better results. Do you want to look back and think of a job well done, where your writing values are listened to, or of them being ignored? Caring about your writing values will hopefully make it much more likely that we put them into practice.

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Let’s Have More Writer Love

A Writer's Path

by Melanie Mole

Writing can be a lonely business. By its very nature it is often a solitary existence. As a writer I have often thought how sad it is that some writers don’t support each other more. We are probably all after the same goal. We all want to write, and most to be heard. Some do write for pleasure only which is great, because to write just for the pleasure of it is a lovely thing. But whatever the reason, writing is our aim.

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Part 2: 2017 – Best of DRAMA TV Show Pitches and Loglines

Browse the best of DRAMA Television show loglines and story pitches from around the world. 


THORNS ON A VINE, by Brianna Smith

XO10, by Barry English

THE JUSTICE CLUB, by Jennifer Lang

MULLIGANS, by Chris Jacobs

HACKERS LAMENT, by Douglas G Cala

THE LAST SUPPER, by Giovani Ginnetti & Garry Hicks

HARCO, by Frank Reynolds

THE E2’s, by Ade Craig

HOTEL CARTEL, by Courtney Michael

RESTART, by Sunday Banks

BLIND WORLD, by Dayna Vonthaer

ABSYNTHIA, by Seregon O’Dassey

LEGION 16, by LIndsey M. Foulkes

EARTH NOW INC, by Wendy Henson

TWENTYSOMETHING, by Hannah Grombol

DMITRY, by Mark Nadratowski

IRON SEEDS, by Tesh Hitman

LONEWOLF, by Amity Poglajen

THE FIFTH POSTULATE, by Leonardo Valenti Filippo Kalomenidis

AXIOM, by Rochelle Blissett-Miller

SPEAK, by Cosmo Iannopollo

REVERSE CITY, by Annaluisa De Socchieri

BALANCE, by Margaret Walton

HAIL MARY, by Stan Williamson

SUFFRAGETTES, by Christina Klessig


SUNSET, by Valerio Carta

RAIN ON THE BRIDGE, by Ivana Tucak

THE HURLANT STRAND, by William L. Glover

NATIVE SONG, by Naomi S. Burell

LASSITER, by Walter Harris

HENRY, by Frank Muisenga

AGE OF SILENCE, by Vasileio Papatheocharis

DRUID, by Michael David Layne

SOURCE, by Jessica Waters

HANDS OF THE BAYOU, by Nichelle Walker

ENFORCEMENT, by Kevin Cantor

SAVE FACE, by Cameron McAtasney

WHEN THE WORLD WAS SQUARE, by Irwin Greenstein

BRUTA, by Eric Irizarry

CRAZY DESPERATION, by Curtis Ellison

ASAP, by Leon E. Connell

SEXY VEGAN FREAK, by Racine Hiet

TRAPPED, by Rachel Kantor

WE’RE ALL A LIL MAD, by Kamala Thompson

LIFE OF LIE, by Ankana Joshi


SUITE U, by Matthew Lazin & Kelli Allan

CITY NIGHTS, by Antonio Brewer

2017 – Best of DRAMA TV Show Pitches and Loglines

Browse the best of DRAMA Television show loglines and story pitches from around the world. 

LOOSE THREADS, by Celeste Martinez



THE CRUCIFIX, by Rhys Comerford


CASTLE ROCK, by Crystal Melville

BABYLON, by Mariah Robinson

JUST A FEW, by Ford Jones

LASSITER, by Walker Gavin

TOWN OF SECRETS, by Ernest Connell



ORACLES, by JD Epstein

RENTAL, by Adam Beal

MIAMI NIGHTS, by Kevin Goodson

THE GOLDEN AGE, by Jon Davis

GOD SPEED, by Mary Seroczynski

BENJAMIN HALL, by Denise Wax



PRICE, by E.E.

FROM HELL AND BACK, by Brandon Cline


VERSES AND RHYMES, by Nicky Osivwemu

ZERO TOLERANCE, by Marcela Tingle

ACEWATER, by Christian Chedrawi


PUT IT WRITE, by Yael Maurer

AMERICAN INN, by Stefano Labbia Manfredi

REBEL DOVE, by Linda Daly


Original Script Reading of BOJACK HORSEMAN TV Show, by Cameron Chapman

Set at the end of Season Three, BoJack takes his new philosophy of isolation literally when he’s accidentally kidnapped by a health and wellness cult.

Genre: Comedy, Animation


Narrator: Laura Kyswaty
BoJack: Rob Notman
Kevin Spacey: James Boutcher
Buzz: Luke Robinson
Ethan: Brandon Knox
Olivia: Lindsay Rolland Mills
Sabrina: Premika Leo
Lizzie: Julie McCarthy

 Get to know the writer:

What is your screenplay based on the TV show about?

This BoJack Horseman Spec Script picks up right at the end of Season Three when BoJack is accidentally kidnapped by a health and wellness cult and their charismatic leader, Kevin Spacey. While unknowingly trapped in their desert compound he explores his newfound philosophy of isolation while deep-diving into an old episode of his former sitcom “Horsin’ Around”.

I tried to connect BoJack closer with his character from “Horsin’ Around” through the idea that they both manage to surround themselves with a supporting cast, mainly, to not allow themselves to be truly alone. When he flees to the desert at the end of the third season I think there’s this notion that BoJack needs to work on breaking down all the emotional barriers he’s built up over the years but I liked the idea that, in true BoJack self destructive style, he decides what he needs is the opposite. That he needs the isolation and maybe in his own BoJack way, he’s not wrong?

How does this screenplay fit into the context of the TV series?

When I wrote this I envisioned it as essentially Episode 13 of Season 3 of the series, picking up right where we left off, BoJack in the desert, alone, watching the herd of wild horses running off in the distance. Of course since then Season 4 has been released so I would have assumed it’s context within the full arc of the series would be obliterated, however with a couple tiny tweaks I can still see it slipping in quite nicely between the first and second episodes of Season 4 which starts off with BoJack still AWOL.

How would you describe this script in two words?

Alone together, (question mark)…

What TV show do you keep watching over and over again?

Obviously BoJack Horseman, I usually crush it in a hurry the day it’s released but they created such a rich, fast paced show and it’s wall to wall jokes so it’s always worth going back over again and again to pick up more details. I also love Man Seeking Woman, Rick & Morty and Silicon Valley. This past year Search Party, Fleabag and Catastrophe were especially great. There’s so much great TV on right now in all genres, on so many platforms, I’m just devouring it all!

How long have you been working on this screenplay?

I wrote this in 14 days, start to finish. Hahaha! I received an email about applying to a writing program at an animation studio and part of the application process was to write a Spec Script off their list of approved shows. I saw BoJack on there and thought, yup, this is happening! Unfortunately the deadline to apply was in 14 days but somehow I finished and submitted in time. It was the first Spec I’ve ever written but it all came together fairly quickly.

How many stories have you written?

I’ve written several short and full length screenplays and am currently about six episodes into a Series that, I suppose, would fall into the 1 hour drama category. I work full time in the Film Industry mainly as a Production Coordinator so I try to write as much as I can. Of course, anyone familiar with the hours we work in film might question my sanity but this is why we do it. Right?! We’re here to tell stories no matter how self destructive, Hahaha!

What is your favorite song? (Or, what song have you listened to the most times in your life?)

I’ve always said that “Rainbow Connection” by Kermit the Frog is my favourite song of all time. There’s a beautiful cover by Willie Nelson too.

What obstacles did you face to finish this screenplay?

Well as I said above, I was working full time, 12-14 hour days on a Series for SyFy called Wynonna Earp when I wrote this and I remember being on the ice at hockey one night thinking, “Oh what if this happened in BoJack or what if that happened” or whatever. Hahaha! I also have an amazing Wife and two incredible Children so I would say the hardest part was not sleeping for two weeks.

Apart from writing, what else are you passionate about?

I’m Canadian so naturally I’m a huge Hockey fan but I love Baseball, Music and Film, anything Star Wars… I love Comedy and Animation. My Family is the most important thing in the world to me so every chance I get to share one of my passions, including my writing, with them is very special.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I had entered this same Spec Script into a different contest and it luckily performed quite well, making it to the semi-finals. There was only one other Spec in that group of scripts and I noticed it was one that had previously won this Festival. When I saw that the reward for winning was a live reading I couldn’t not enter it. The value as a writer of hearing your script read aloud in the hands of professional actors is too immense and can’t be overstated. It was a no brainer. Plus I was really looking forward to seeing who got cast as a man with the head of a horse.

The feedback was unexpectedly thoughtful. I was bracing to get raked a bit for writing such a BoJack-centric BoJack episode which I assume is not the best way to tackle a Spec Script but I feel like the feedback I received understood most of the themes and what I was going for. That was a pleasant surprise which really helped me to push forward on some other projects I’m working on and to trust myself going forward.

Any advice or tips you’d like to pass on to other writers?

Share! Don’t be overprotective of your ideas or your writing. You’re not alone in the universe, you’re not the only one scratching out crappy dialogue at 3:00am on a Sunday. Find like minded people either in your hometown or online and share, work together, go away and write, come back together and give feedback. Talk about it, work it, be open, make it better.


Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox