Diverse Voices is a dynamic virtual screenwriting lab with a proven track record of helping elevate stories that are told from perspectives that are often underrepresented in film and TV today. This includes writers of color, women writers, writers with disabilities, writers over 40, writers in the LGBTQ+ community, and any other voices that have historically been ignored by Hollywood.

6 Fellows will be selected to participate in this career-changing lab!

Plus, all entries receive one page of feedback from a professional reader from a diverse background.


The top 6 writers will be invited to WeScreenplay’s Diverse Voices Virtual Writing Lab! This multi-day lab will be PACKED with workshops to hone craft, mentorship calls with working writers, and general meetings with studio execs, literary reps, and more.

Winners will also receive:

- A copy of Final Draft screenwriting software
- Guidance for drafting query letters, research methods for finding the right representation, and insights for career next steps.


Keynote mentors will participate in the Diverse Voices Fall lab group sessions and select at least one writer for a one-on-one coaching session, tailored to the selected writer.

After growing up near China Lake Naval Weapons Center in the middle of the Mojave Desert, Niceole escaped to the bright lights of Los Angeles. While studying acting at the American Academy of Dramatic Arts, she realized her true love was writing stories, not playing them out. She worked as a police dispatcher to pay her way through USC undergrad and then completed the Master of Professional Writing program, also at USC. An alum of the CBS Writers Mentoring Program, NBC's Writers on the Verge, and the WGAW Showrunner Training Program, Niceole has written on “Ironside,” “Allegiance,” “The Mysteries of Laura,” “Shades of Blue,” "Cloak & Dagger," “Fate: the Winx Saga,” “S.W.A.T,” and “The Recruit.” She also co-wrote a feature, "The Banker," with former “Allegiance” showrunner and director George Nolfi, available on AppleTV+, and recently finished writing “Spark,” a film inspired by the life of Claudette Colvin. Niceole currently has several TV and feature projects in development. Her first book, “The Writers’ Room Survival Guide,” was released in October of 2022.

Prince Baggett leads the charge at Confluential Films & Black Love, steering a diverse film slate from development to production. In his role as Head of Film, he blends a discerning financial acumen with a dedication to inclusive storytelling, championing studio projects that amplify and support underrepresented voices. In January, his strategic efforts were instrumental in presenting three standout Sundance features, including Young. Wild. Free with Sanaa Lathan, and an acclaimed documentary, cementing the company's status as a powerhouse for diverse talent. Particularly noteworthy is "Going to Mars: The Nikki Giovanni Project," generating Oscar buzz and set to captivate HBO audiences post its theatrical run. Additionally, Confluential's production, "The Perfect Find," premiered on Netflix in 2023. Before joining Confluential, Prince held the reins at Genius Productions, overseeing Marsai Martin's first-look deal with Universal Pictures and playing a pivotal role in development on projects like "Little" “Saturdays” and "Amari and the Night Brothers." A fervent advocate for mentorship, Prince previously was a mentor in the Universal Pictures Writers and Director Programs and played a key role in co-founding the Diverse Representation Black Entertainment Executives Pipeline Program.


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

1. Screenplays entered must:

A. Be submitted in PDF form and must fit all standard screenplay format guidelines. Personal formatting conventions will be accepted but must not intentionally or accidentally alter the page count of the project as determined by the judges. Anything over 120 pages will cost $1 extra per page.

B. Be owned solely by the writer or writing team listed. It may be an adaptation or reimagining of true events or fictional stories.

C. Be written in English. However, scripts from anywhere in the world will be accepted.

D. Have pages numbered. Scripts of any length will be accepted for an additional fee, but we’d advise that scripts over 150 pages should be edited down before being submitted.

NOTE: WeScreenplay automatically removes the cover page before assigning scripts to readers, so writers may include any typical information on their cover page. Scripts are accepted with or without cover pages.

2. Writer must be 18 years of age or older at the time of the winner's announcement.

3. By entering this screenplay into the competition, you must have full permission from all co-writers and any attachments to the project.

4. WeScreenplay claims no ownership nor option on your work. All ownership and rights to the scripts submitted to this contest remain with the original rights holder(s).

5. Screenplays entered may be in any genre or combination of genres. All will be treated equally and read by an unbiased panel of readers and jury members.

6. The following formats will be accepted: Feature screenplay, TV pilot screenplay

7. Entrant’s total earnings for screenwriting for either film or tv, produced or unproduced, must not exceed $50,000 in the previous 18 months from submission or $250,000 lifetime earnings. This excludes any prize money from competitions or fellowships and only applies to fund or money transferred in exchange for an option or sale of a script, treatment, idea, intellectual property, or other writing for filming. Money earned from acting, directing, producing, or any other film work outside of writing is not included.

8. Screenplays submitted must not have been previously sold or produced unless said sale or production was completed with no financial gain to the writer.

9. Purchasing Additional feedback throughout the competition will in no way impact your standing or odds of advancement.

10. For a submission to be valid it must be accompanied with the appropriate payment based on the submission deadlines.

11. All deadlines are at 11:59pm PST on the date listed. Any deadline alteration or promotion of any kind does not make any entry valid for a refund of any kind.

12. RESUBMISSIONS will be accepted. Alterations can be re-uploaded via our submissions management platform at coverfly.com for $6. New drafts of an entry will be accepted at any time during the contest.

13. There are no refunds for any submitted screenplay. Coupons may not be applied to previously submitted scripts. Coupons deemed for WeScreenplay coverage may not be used for submission to the contest or addition of coverage to any submission unless explicitly stated or exempted on the coupon or by a WeScreenplay representative via e-mail communication only.

14. There is no limit on the number of scripts a writer or writing team may submit.

15. Prizes are awarded per script and teams of writers are expected to divide prizes on their own accord. WeScreenplay will send prizes to the writer who submits the project and will in no way be responsible for how the prizes are distributed among the writing teams.

16. The decision of the judges will be final and cannot be contested in any manner. There is no score on a scorecard that guarantees advancement to the next level as advancement will be based on all scores in the competition.

17. Scorecards can be accessed on the writer’s dashboard. Feedback will be delivered before the next announcement but usually sooner. Feedback for each round of the competition, whether it's the 1 page or 3 page option, will be returned before the next competition announcement.

18. WeScreenplay reserves the right to delay announcements for any reason. While we never anticipate any delays, such delays will not alter the standing of any screenplay entry and will not qualify an entry for a refund under any circumstance.

19. By entering a WeScreenplay competition every entrant is agreeing to all WeScreenplay Terms of Service listed on the website and additional terms agreed upon at checkout. If you disagree with any terms you may not submit to the contest.

20. By submitting to the contest you are releasing your script (but not it’s underlying rights) to WeScreenplay and holding harmless WeScreenplay or any affiliates from any claims, expenses, and liabilities, including but not limited to invasion of privacy, defamation, copyright, libel, trademark infringement, slander, personal property infringement, etc.

21. Any prize winners will be required to sign an affidavit validating their entry into the contest.

22. Any writer winning a cash prize of over $599 will be required to file the appropriate tax and legal documentation before the cash prize is distributed.

23. All prizes provided by sponsors or mentors are subject to said sponsor or mentor providing the prize. WeScreenplay will do everything in its power to collect the prize packages promised, but is not responsible for a sponsor’s failed delivery.

24. Former Grand Prize, Second Prize, and Third Prize Winners of the contest may enter so long as it is NOT the same script that won in a previous year. Any other placement in former years does not disqualify the script from being entered this year.

25. By entering the competition, entrants are acknowledging their eligibility for the competition. 99.9 % of entrants enter in good faith, and validating everyone at that stage would be inefficient and take away from efforts reading and finding the best scripts. We do check eligibility at the finalist stage before picking winners or distributing any prizes. We also advance a few additional scripts to ensure no one is missed by someone entering who is not eligible. We check all finalists and on a case by case basis in earlier rounds if something seems like it may not be eligible.

26. Void where prohibited.

27. Except where prohibited by law, participation in the contest constitutes each entrant’s consent to WeScreenplay and its agents’ and contest sponsor’s use of entrants’ names, likenesses, photographs, and/or personal information for promotional purposes in any media, worldwide, without further payment or consideration. All uses of a entrants’ information are in accordance with our Privacy Policy.

28. BY ENTERING THE CONTEST YOU ACKNOWLEDGE THAT YOU HAVE READ AND AGREE TO THESE CONDITIONS. You agree to release and hold harmless WeScreenplay, Red Ampersand, Inc., Industry Arts, LLC., WeScreenplay.com, its subsidiary, parent and affiliated companies, Prize contributors, judges, screenplay readers, Sponsors, and any other organizations responsible for administering, advertising or promoting the Contest, and every one of their respective members, directors, employees, agents and representatives (collectively, the “Released Parties”) past and present from and against any and all claims, expenses, and liability, including but not limited to damages and negligence to property and persons, including but not limited to invasion of privacy, defamation, slander, libel, violation of right of publicity, copyright, infringement of trademark or other intellectual property rights relating to a participant’s Entry, participation in the Contest and/or acceptance or use or misuse of Prize; provided however, that such release will not apply to any commercial exploitation of the script by a Released Party in violation of your rights under applicable copyright law; and (c) indemnify, defend and hold harmless the WeScreenplay.org and its Sponsor, agents and employees from and against any and all claims, expenses, and liabilities (including reasonable attorney’s fees) relating to an entrant’s participation in the Contest and/or entrant’s use or misuse of Prize. Employees of WeScreenplay and their immediate families are ineligible to participate in this contest. Any such submission will be immediately disqualified. ENTRY TO THIS CONTEST IS VOID WHERE PROHIBITED or restricted by any Federal, State or Local law. Voided entries will be refunded. Recipients’ eligibility will be verified before the grant is awarded and the winner may be required to sign an affidavit of eligibility.

Overall Rating
  • I am really happy that my first completed feature screenplay, ever, placed in this great contest. I also found the coverage very professional and helpful. Totally recommended.

    November 2022
  • Tonia Davidson

    Loved working with Diverse Voices! Great communication and constructive feedback from the judges that really helped take my script to the next level. It was an honor to be one of their finalists.

    March 2019
  • Louisa de Cossy

    Excellent and timely communication. Great experience all around.

    January 2019
  • Jack Steeley

    Excellent organization with great communication.

    January 2019
  • Brooke Purdy

    My writing partner, Colette Freedman & I cannot say ENOUGH about this contest. Our screenplay "The Last Bookstore" was the grand prize winner and we have been overjoyed at their treatment, respect and care every step of the way - especially the involvement of Mark Stasenko. Brilliant communication and hands on. We worked extensively with Mitchell Olsen on our rewrites and he was a DREAM- we both feel like he helped us to the tightest, strongest draft of our script possible. We have been shopped around by Mark - who has championed us and our script since we were notified. Truly- a writer's dream contest.

    June 2017