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WeScreenplay Diverse Voices Lab
Fall 2023
Reads in Coverfly
Active Since 2016
WeScreenplay is looking for stories from writers with underrepresented backgrounds. A minimum of 4 winners will be selected to participate in a career-changing lab!
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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.


4 winners will be selected to participate in this career-changing lab!


All readers for this lab come from diverse backgrounds, and all entrants will receive a page of FREE written feedback on their script from their first round’s judge.


Over a dozen past winners have been signed, staffed, and optioned as a direct result of their Diverse Voices Lab meetings. Past finalists and winners have signed with companies including Heroes & Villains Entertainment, 3Arts, Zero Gravity, APA, ColorCreative, and more.


Plus, since it started in 2015, Diverse Voices has raised over $45,000 for various nonprofit organizations. What’s not to love?



The Diverse Voices Virtual Lab is a one-of-a-kind experienceA minimum of 4 winners will be selected. 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
- Ongoing mentorship from WeScreenplay team including an initial phone call, guidance for drafting query letters, research methods for finding the right representation, prep before big meetings, and strategic planning for career next steps


- Finalists will also be invited to a special virtual group mentor session with an industry professional!
- Select finalists will have a 1:1 virtual meeting with a member of the WeScreenplay Writer Development Team to discuss personalized career guidance for you and your work.


MILAN AGARWAL - Head of International Content, Tulsea
Milan Agarwal is the head of international content at Tulsea, a strategic media and content management company which represents and advises various entities, including leading creative talent, production companies, and gaming, animation, and media startups.  Milan works closely with clients to develop their projects and focuses on international opportunities bridging content and storytellers in India, Africa and Southeast Asia with the U.S. and Europe - including English and local language projects in feature film, television and digital media. Previously, Milan was a Director in Universal Pictures’ Film Strategy & Operations group. During his tenure, Milan managed the greenlighting process and supported executives during key negotiations.  Milan was involved with several key financing, content and distribution deals, including partnerships with Blumhouse, Legendary, Perfect World, and Amblin Partners as well as the acquisition of Dreamworks Animation.

JAY FRANCIS - Vice President, Content & Inclusion, Disney Television Animation
Jay Francis is vice president, Content & Inclusion, Disney Television Animation (DTVA). He is responsible for the creation of key initiatives, strategies and training programs to produce a diverse, creative and inclusive workforce across TVA. Francis joined Disney TVA in 2007. During his tenure, he has overseen creative direction on a multitude of original animated series including Disney’s five-time Emmy® Awardwinning "Phineas and Ferb," Emmy Award-nominated "Big City Greens," "Amphibia," and most recently the Disney+ original animated adventure movie "Phineas and Ferb The Movie: Candace Against the Universe." In his most recent role, Francis has created the highly successful DTVA Writing Program, the DTVA Original Shorts Lab and The Apprentice Songwriter Program. For his work in the Diversity, Equity and Inclusion space, Francis has been honored by Variety Magazine’s Inclusion Impact Report 2022, Black Woman Animate’s Trailblazer Award 2021, and one of Cablefax’s Most Influential Multi-Ethnic Executives 2020.

KYLE CASTELLANET - Director, Development & Production, Echo Lake Entertainment
After receiving his BFA in Film Production from Chapman University, Kyle started his career at Paradigm Talent Agency. Kyle joined Echo Lake in 2016 and has worked in both the talent and production departments. As the Director of Development and Production, Kyle manages the company's development and production efforts in both film and television. He also works directly with clients including Forbes Magazine and Spycraft Entertainment to help develop and produce projects. 

BECCA RODRIGUEZ - Literary Manager, Curate Management
Rebecca Rodriguez joins Curate from The Gotham Group where she was a manager in the book department. Her clients include distinctive storytellers such as National Book Award and PEN/Faulkner Award finalist Emily St. John Mandel, National Bestselling author and podcaster Nora McInerny, #1 Amazon bestselling author Elyssa Friedland, New York Times bestselling author Cassy Joy Garcia, and many others. Rodriguez is drawn to material across genre and is particularly drawn to character driven literary fiction, narrative nonfiction, investigative journalism, social criticism, stories that are darkly humorous or satirical and slightly absurdist in tone, book club and upmarket women’s fiction, intergenerational family dramas, stories that examine identity (in however one defines the term), stories that examine complex female relationships and friendships, fiction with a genre bent that is still grounded in characters, a world that is slightly askew or has elements of magical realism or rooted in cultural folklore, elevated horror and psychological thrillers, working with debut and emerging voices, and championing voices who have been traditionally underrepresented both on and off the page. 

MICHAEL ALLEN - VP of Television, Blackmaled Productions
Michael Scott Allen currently serves as Vice President, Television for Malcolm D. Lee's Blackmaled Productions where he oversees the company's television slate under their first look deal at UTV. Prior to BMP, he served as Director of Development at That’s Wonderful Productions (Jim Parsons) under the company’s overall deal at Warner Bros.Television. At TWP, he served as a Co-Producer on Special (Netflix), an Associate Producer on Spoiler Alert (Focus Features), and oversaw production on behalf of the company for seasons 2 and 3 of Call Me Kat (FOX). He also worked on Equal (HBO Max), A Kid Like Jake (IFC Films), and more. Allen began his career in entertainment as an actor before transitioning into development after executive producing the documentary feature Twinsters which premiered at SXSW and sold to Netflix and Freeform.

MARC MANUS - Partner & Literary Manager, World Builder Entertainment
Marc Manus is a former award-winning photojournalist who attended USC film school before entering the field of artist representation.  His first job was with manager Cathryn Jaymes, who represented Academy Award-winning writer/director Quentin Tarantino, among others. Over the last fifteen years, 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.

Writer Success

Spring 2023 Winners on Coverfly

See Other Placements


Jun 23rd
Aug 1st
Sep 1st


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

Screenplays entered must:

    1. 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.

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

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

    4. 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.

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

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

  3. 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).

  4. 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.

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

  6. 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.

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

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

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

  10. 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.

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

  12. 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.

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

  14. Prizes are awarded per script and teams of writers are expected to divide prizes on their own accord. If the lab is in-person, WeScreenplay will provide flights and hot

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Fall 2023