Winning ½ Hour Pilot Script – Damian Barray – Living Between
Script Logline:
A dispirited loner moves in with her sister after a suicide attempt, only to discover she can now communicate with the dead. Can she confront her inner demons, navigate her family’s dysfunction and secretly help the departed find peace in the afterlife? If only she were better at multitasking.
What first got you interested in screenwriting? When did you start writing?
I initially got into the arts as a performer. I studied Musical Theatre in college and began working as an actor after that, and I remember a point in my career where I was starting to feel creatively limited by other’s (very narrow) perception of what roles I could play and stories I could tell. Around this time, I was discovering the works of Michaela Coel, Phoebe Waller-Bridge and Issa Rae– actors that crafted stories from their unique worldviews and ended up creating some of the most groundbreaking television of the 2010s. Writing was always a private passion of mine, but their work inspired me to actually use it as another professional storytelling outlet.
Is there anything you’d like to share about your writing routine? How do you find time to write?
I personally don’t have a regimented approach to writing. Some writers force themselves to sit at their desk every day, at the same time and write for X number of hours. I salute those writers and hope they’re happy.
I need flexibility within a structured framework and have found creating a 4-8 week writing plan works best for me. I’ll give myself assignments or tasks each week (i.e. create an outline, write scenes 1 and 3, read a script from a similar genre/tone, etc.), working toward an overall goal at the end of the process (typically a first draft or first half of a draft for longer projects). This gives me freedom to complete each week’s tasks whenever I can, without the pressure to adhere to a rigid schedule. “Write every day” is a directive new/early career writers are often given. I think “write with intention” is better advice.
What do you enjoy most about writing? What do you struggle with the most?
I actually love the re-writing process– implementing feedback, diagnosing what’s not working and why, etc. I HATE writing the first draft on a cellular level, probably because it’s so hard for me to turn off the part of my brain that wants to edit and analyze and diagnose. Unfortunately, it’s not a step I can skip, so I find a way somehow!
What gave you the inspiration for this winning Pilot Script?
I’d had the concept floating around in my head for a while, but I had no idea who the characters were or what the world of the story would be. Then one day on the subway I was listening to a screenwriting podcast (I’m pretty sure it was “The Screenwriting Life”, but can’t remember for sure!) where the guest speaker was talking about a writing exercise where you essentially place two characters who are in conflict with each other in a situation where they can’t openly address the conflict— so it’s all about subtext and behavior— and doing that exercise lead me to discover the characters and the dysfunctional family framework that the story now exists in.
How did you feel when your pilot script placed as a quarterfinalist, then semi-finalist and then ultimately as one of our mentorship program winners?
I’d submitted “Living Between” to many contests prior and had regularly gotten various finalist placements, but never won– so I was excited each time it advanced to the next round of the Shore Scripts program, but was fully prepared for things not to go my way. It was definitely a pleasant (and welcome) surprise when I found out it won!
How has your experience been as a participant in the 2025 Shore Scripts TV Writer Mentorship Program? Any key takeaways?
I can’t say enough good things about the Shore Scripts program! Not only did they assemble an incredible lineup of industry pros who were so generous with their time and the knowledge they shared— but the Shore Scripts team really took the time to get to know each writer, our work, broader artistry and career goals, and molded the program around us as individuals, rather than using a one-size-fits-all approach.
My biggest takeaway from the program has been that there is no singular path or way of doing things in this career— especially with the current state of the industry. All you need to do is write great scripts and be your authentic self!
How did you hear about Shore Scripts?
I discovered Shore Scripts through its contests on Coverfly– may it rest in peace. <3
What goals do you have for this script and your future career?
The blue sky goal for “Living Between” would be for it to eventually find its way to a network or production company interested in developing/producing it. Until then, I’m working on some new projects and continuing to expand my portfolio.
My blue sky career goal would be to balance a career that equally incorporates writing, acting, directing and producing both my own work and the work of others that I’m passionate about.
What advice do you have for up and coming screenwriters?
My advice to my fellow early-career writers is to follow your instincts and write whatever excites you. Most of the rules, standards and industry trends we obsess about getting right are arbitrary, and all anyone wants or cares about are well-crafted, interesting stories.
Also, when the time comes to meet with reps, producers, development execs, etc.–
just relax. It’s great if you’re excited and it’s normal if you’re nervous, but in reality, all you’re doing is having a conversation with another human being and hoping to make a genuine connection. Just be prepared, be curious and be authentic!
Winning ½-Hour Pilot Script – Sierra DuCharme-Hansen – The Book of Bourbon
Script Logline:
After being blindsided by a marriage proposal, Mickey hides from her Mormon family in a local Salt Lake City dive bar, where she is confronted with a whole world she’s never seen and a chance to discover who she is outside of the church.
What first got you interested in screenwriting? When did you start writing?
I can’t remember a time that I didn’t love writing. My mom still has boxes full of old journals full of the half written stories of my childhood. In fifth grade, I wrote a short story for class assignment and it was 90% dialogue. My teacher came over to me and asked me if I knew what a script was and that changed everything.
I first fell in love with TV when I binged my first show back in middle school – Buffy the Vampire Slayer. After rewatching the show for at least the third time, I was looking at the credits and saw that there were writers. That was the first time that it occurred to me that writing TV was a job and it set my whole life in motion. I’ve never looked back.
Is there anything you’d like to share about your writing routine? How do you find time to write?
The reason I love television writing over other forms of writing is the collaboration. It’s a team sport and that is integral to my writing routine. I take classes and have writer friends that I meet with regularly. This not only keeps me on schedule but keeps me reading other scripts and discussing new ideas.
I like to write in the mornings before the day because if I wait until after work, I’ll always find an excuse to not do it.
What do you enjoy most about writing? What do you struggle with the most?
I love the community that comes with writing. I love the challenge that comes from figuring out the puzzle of a story. I love the creation of layered characters.
I struggle with the subjective nature and knowing when a script is done. Early in my writing career, I had to learn the lesson of taking every note I was given the hard way. Over time though I was able to learn the balance of receiving notes and using my own discernment on if they fit what story I was trying to tell.
What gave you the inspiration for this winning Pilot Script?
I first came up with this idea for my winning pilot back in 2018 after moving from Salt Lake City to Los Angeles. The culture shock was extreme and gave me the idea to combine two worlds and see the chaos that unfolds. I realized that the time I spent in Utah gave me a unique insight into a world most people have never seen and I had the opportunity to write about it in a nuanced (and funny) way.
How did you feel when your pilot script placed as a quarterfinalist, then semi-finalist and then ultimately as one of our mentorship program winners?
I was so excited when I moved forward in this competition and thrilled when I was selected as a winner! This script had gotten some traction in other contests previously, but this is its first win and that is so exciting. I have been working on this script on-and-off since 2018 and I’m glad I never gave up on it.
How has your experience been as a participant in the 2025 Shore Scripts TV Writer Mentorship Program? Any key takeaways?
I cannot say enough how amazing my experience has been as a winner of the 2025 Shore Scripts TV Writer Mentorship Program! It has been incredibly valuable from the programming to the community to the opportunities.I am walking away from this program with a much clearer idea on how to market myself and my writing. I also learned a lot about what representation looks like and how to maneuver through my career in staffing and development. I feel much more prepared for the life of a professional television writer. The support from Shore Scripts has been much deeper and personalized than I ever could have imagined.
How did you hear about Shore Scripts?
I first found out about Shore Scripts on Coverfly when I applied for this competition.
What goals do you have for this script and your future career?
My goal is to have a long career as a television writer. I hope my first staff writing job is around the corner and to continue to work on shows with great people about interesting characters.
What advice do you have for up and coming screenwriters?
Don’t give up on old scripts! I first wrote my winning script back in 2018 and it got very little traction. I picked it back out of the drawer in 2023 and when I reread it, I realized while I didn’t stand behind the execution anymore, I still very much stood by the core idea. I did a page one rewrite and that new script was placed in multiple contests, and it won me a spot in this program. Sometimes old ideas are worth revisiting when you level up as a writer.
Winning 1 -Hour Pilot Script – Joanna Dack – How To Sell Sex
Script Logline:
An abused housewife battles to revolutionize the world of lingerie in the throes of London’s sexual revolution, locked in a fierce rivalry with a conservative businesswoman determined to maintain the status quo.
What first got you interested in screenwriting? When did you start writing?
I started writing around the age of thirteen, longing for an escape from the dreary seaside town and rewatching episodes of my favourite American teen dramas. The first script I wrote was a rewrite of Pretty Little Liars, and, once I started, I couldn’t stop. I’ve always been both a storyteller and a television lover. Screenwriting is the perfect marriage of those two worlds.
Is there anything you’d like to share about your writing routine? How do you find time to write?
I’m fortunate to have a flexible work schedule, mostly working evenings, which helps me dedicate time in the day for my writing. My writing routine is ever evolving. For a long time, I felt guilty for not writing enough, but I’ve come to realise that ‘writing time’ also includes thinking, discussing ideas, and even watching similar content. Once I accepted that, the pressure eased and my scripts improved. I’ve also learned to recognise when to push forward and when to step back. I like to keep generating new ideas as I write so if I hit a roadblock, I’ll spend a bit of time on another project that I’m not as invested in yet. It’s like the pickled ginger on the side of the sushi platter, a great palate cleanser.
What do you enjoy most about writing? What do you struggle with the most?
I love creating characters and seeing how they interact. Many of my stories start with the characters and grow from there, including How To Sell Sex. Writing also lets me explore worlds far beyond my British seaside town, which feels liberating as a working-class writer.
What I struggle with most is self-doubt and isolation. There’s so much advice out there, often contradictory. The best thing I’ve learned is that there’s no single path, every writer’s journey is unique. It’s also important to consider where advice comes from. Early screenwriting communities can sometimes feel discouraging because everyone’s struggling together. That’s why I value programs Shore Scripts as it provides positivity and motivation, which is rare. Ultimately, passion for my stories is what keeps me going when external motivation isn’t there.
What gave you the inspiration for this winning Pilot Script?
Years ago, I picked up Jon Ronson’s The Psychopath Test from a book swap. In it, Ronson discusses how many CEOs exhibit psychopathic traits, an idea that fascinated me, especially given my love for complex female antagonists. Years later, those two interests fused into the creation of Madeline Earnshaw.
I wanted to explore a female CEO whose success depends on assimilating into the psychopathic, toxic-masculine corporate world, despite being the picture of femininity. That tension allowed me to explore themes of internalised misogyny and repressed sexuality, drawing inspiration from Mrs. America, Ladies in Black, and, of course, Margaret Thatcher. I then built the rest of the story around her, trying different time periods and protagonists until I found her perfect antheses in Janet and the rivalry-driven plot was born.
How did you feel when your pilot script placed as a quarterfinalist, then semi-finalist and then ultimately as one of our mentorship program winners?
How To Sell Sex has gone through many versions and getting it to a place where I saw potential was tough. By then I’d lost all objectivity. I started submitting it to a few programs, and when it reached the Quarterfinals, I was thrilled. Semi-Finalist felt huge, it was the furthest I’d ever gone. I didn’t expect anything more.
When I got the mentorship news, I was in a hotel room in Amsterdam. I deliberately waited until I was home to let it sink in. Seeing my face among the other winners was humbling and it’s given me a rush of motivation I plan to ride through the rest of the year and beyond.
How has your experience been as a participant in the 2025 Shore Scripts TV Writer Mentorship Program? Any key takeaways?
This experience has been incredible. It’s allowed me to focus deeply on my writing career, like a little thumbs-up saying, ‘You’re on the right path.’ The best part has been connecting with the other writers, sharing experiences, and supporting one another. It’s also been wonderful to feel the Shore Scripts team’s genuine enthusiasm for my work.
My biggest takeaway is confidence, in both my writing and my next steps. That confidence is already helping as I take meetings with reps and producers. I’ve never felt more motivated, and I’m already brainstorming my next ten scripts.
How did you hear about Shore Scripts?
I can’t remember exactly when I first came across Shore Scripts, but I attended one of their public Q&As with working writers and signed up for updates. Ever since, the reminder emails kept me in the loop, and as I was writing a TV pilot, it felt like the perfect fit.
What goals do you have for this script and your future career?
Like any writer, my dream is to see my pilot produced. That once felt far off, but the mentorship made it feel closer than ever. I’m excited to keep shaping and developing the script with feedback from fellow writers, mentors, and the actors from the table read.
Career-wise, my next steps are to continue querying and seeking representation. My work is currently being read by several people Shore Scripts connected me with and now I also feel equipped to approach others myself.
What advice do you have for up and coming screenwriters?
Take in all the advice you hear, store it away, then just write. There are countless ways into the industry, but the key is always your writing. Take the time to find your voice and focus on the stories you truly want to tell, because that’s what you can control. Try not to obsess over what you can’t. You can’t control contest readers, competition, or the mood of the agent’s assistant reading your query letter. What you can do is craft a story you’re passionate about and send it into the world, trusting it will find someone who shares that passion.
Winning 1-Hour Pilot Script – Ryan R. Cunningham – The Young Ones
Script Logline:
A team of rebels fight to expose the corporation that determines life and death, in a world where immortality can be found in the medicine cabinet. THE BOYS meets SUCCESSION.
What first got you interested in screenwriting? When did you start writing?
First grade. My best friend growing up was also my nextdoor neighbor, and for years he and I would stay up late writing scripts, stories, comicbooks, game ideas, etc.
Is there anything you’d like to share about your writing routine? How do you find time to write?
I try to carve out at least a couple hours every day, but it’s not always easy. On days where I may be struggling to find the time or the motivation, I like to tell myself to just write for 10-minutes. Because more often than not, those 10 minutes turn into 20, then 30, and so on.
What do you enjoy most about writing? What do you struggle with the most?
The part I enjoy the most is when everything starts to click. You have all these story elements that for a while are sort of scattered all over the place, and you don’t always know how it all fits together. But after chiseling away at it, you start hitting some breakthroughs, and eventually you can see the story unfold, and that’s just an incredible feeling. The part I struggle with the most is when you love a scene that you know you have to cut. And you’ve tried every which way to leave it in there but deep down you know it just can’t stay. That’s tough. That, and starting a new script. The blank page is exciting but equally terrifying.
What gave you the inspiration for this winning Pilot Script?
I had been toying with this idea about a world where we cured aging, and everyone could just continue to live in their 20s. And then one day I stumbled on a few scientific papers, basically saying that not only is it theoretically possible, but that there is also a considerable amount of work being done in that field to make it a reality. But the moment when I finally put pen to paper, is when I saw a photo of two mice, one old, one young, and both were the same age. A scientist at Harvard had successfully de-aged one of them. And that was when I thought, “okay, I better write this pilot idea while it’s still considered science fiction.”
How did you feel when your pilot script placed as a quarterfinalist, then semi-finalist and then ultimately as one of our mentorship program winners?
I had always heard great things about Shore Scripts so I was very excited when I heard about the quarter and semifinalist placements. There were plenty of moments while writing this one when I just didn’t think it was going to work. Several times I really wanted to close my laptop, give up, and just pivot to the next script. So sticking it out, finishing it, and then being named one of the winners in this year’s program was a very rewarding moment for me.
How has your experience been as a participant in the 2025 Shore Scripts TV Writer Mentorship Program? Any key takeaways?
It has truly been a phenomenal experience. Sarah, Brandon, and the entire team at Shore Scripts have been so great to work with and it’s obvious that they really care about each of our careers. Whether it’s facilitating meetings with industry execs, reaching out to managers and production companies on our behalf, or providing regular office hours for any questions, we are all in very good hands with them and I could not be more grateful!
How did you hear about Shore Scripts?
I had been on the ShoreScripts email newsletter for quite some time, and also follow their social media pages. I can’t remember where I first heard about Shore, but it may have been Coverfly (back when that was still around.)
What goals do you have for this script and your future career?
I had so much fun building out the world in The Young Ones, but there was only so much I could fit into the pilot episode, so my goal is to continue expanding that world in some medium, whether that be a television show, a book series, comicbook, etc. My future career goal is to sell a television pilot and serve as the EP. I’m also currently writing a novel that I’ll be taking out to publishers, and hopefully turn that into a television series as well.
What advice do you have for up and coming screenwriters?
