Note: structured reader feedback of the first 10 pages will be passed on to writers for all scripts entered into the LSC.

Just how do you get an agent in the competitive world of screenwriting? Two key methods are: (i) give your screenplays a compelling opening; (ii) build a CV with screenwriting competition wins.

"Screenplays have to be read by somebody, and in most cases the reader...knows whether the screenplay is of any worth within those first pages...At the beginning of a screenplay, you’ve only got about 10 pages..." (Michael Schilf of TheScriptLab.com). Here are more links to expert comments on how important the first 10 pages are: http://www.londonswc.com/?page_id=77

“There is a lot of luck in this business, but there is plenty you can do to increase the possibilities of your luck, which is being in the right place at the right time, getting involved in competitions...” (Jean Kitson, agent, MBA)

The London International Screenwriting Competition is a regular event that focuses on what gets your scripts read by agents in Hollywood or Soho: the first 10 pages. Winning the LSC is about making an impact FAST with your opening. If you think your script can catch the attention of the pros (who regularly have to deal with hundreds of scripts), then you've got a good chance of winning LSC, and vice versa. All you need to submit is the first 10 pages of your feature or TV script (or in the case of a short script, a maximum of 10 pages). They will be evaluated by, amongst others, professional readers and award-winning screenwriters.

“What a great competition and so so valuable to hone those first ten pages. I've already had a surge of new followers on Twitter...winning this has already helped me with spec emails and garnering more interest when networking.”

LSC has teamed up with Artificial Intelligence experts in the U.K. For a slightly higher entry fee you can request an additional - cutting-edge Artificial Intelligence - analysis of your screenplay's text, benchmarking it to the writing style of the prestigious Hollywood Black List. This includes recommendations on how to make your writing style compete with that of those top paid screenwriters!

NOTE: You can submit feature, TV or short scripts of any length, but only the first 10 pages will be judged.

Precise prize levels will be based around number of entries each month, so may go up and down:

Winner: £100 / $120
Finalists: Names announced on londonswc.com
Semi-Finalists: Names announced on londonswc.com

All of the above have the option of having their script hosted on londonswc.com

Note: Winners and Finalists are entitled to a 10% discount on LSC's full script coverage service, semi-finalists and selected writers to a 5% discount (see here for more details: http://www.londonswc.com/?page_id=81).

Screenwriters retain all control and copyright over submitted material. Scripts must be submitted in standard screenplay format and font (small fonts and margins will be disqualified). Entry fees are non-refundable. Entrants may submit more than one script but must pay a separate entrance fee for each.

NOTE: You can submit scripts of any length, but only the first 10 pages will be judged.

Overall Rating
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  • Jeffrey Milne

    I was thrilled to be named a recent quart finalist for Millions in Manila. Thank you.

    April 2022
  • Extremely proud to have made the quarter-finals--thank you LISC!

    April 2022
  • kathrine pearson

    A great end to 2021 for me and first ever competition I have got involved in for my writing. Feel eternally grateful for my semi finalist position !

    January 2022
  • Christopher Lutzow

    Competitions that are affordable and with a fast turn around are few and far between. This is one of them. The idea that this competition focuses on just the first ten pages is a great idea. Time and again hopeful screenwriters hear that readers decide to keep reading only if the first 10-15 pages grab them, and here is a great opportunity to see where your screenplay stands.

    I will add a caveat that I strung for the blacklist ai screenplay review. It offered an interesting analytical breakdown of my screenplay: my percent of noun and adjective usage compared to those in blacklist screenplays, for example. While interesting, I find the applicability of this particular aspect to be minimal. Over time, however, this may improve.

    January 2022
  • Carla Pekander

    Thanks for organizing. Great experience.

    January 2022