Top Fan Fiction Festival Screenplays of 2019

Watch the winning readings performed by professional actors. 7 screenplays in total.

TV SPEC Screenplay Reading: Family Guy – “Road to the Internet”, by Brian Michael McDevitt Jr.

FAN FICTION Best Scene Reading: The Vicar’s Daughter, by Robert L. Thompsett

FAN FICTION Screenplay Reading: BATMAN: Beyond the Cowl, by Reginald Johnson

TV SPEC Screenplay Reading: Westworld, by Brenda Holiday

MASTER OF NONE Winning TV Spec Screenplay, by Jackson Chow

FAN FICTION 1st Scene Screenplay Reading: Star Trek: Quicksilver. by Mary Blakney

TV SPEC Screenplay Reading of THE OFFICE, by Vanessa Shealy

FAN FICTION Festival Testimonial – September 28 2018

Mike Meade
Mike Meade

Out of all the festivals I’ve submitted to this was by far one of the best and most unique. It was an all around great experience and the feedback was excellent. HIGHLY Recommended!!!

5 Star Review

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    • WATCH past and recent script winning readings! See what happens when your script wins. At least two winners a month.


Best Scene Reading of FIELD OF BLOOD, by Mike Meade


Genre: Horror, Thriller

Continuing horror story by Mike Meade. From the Nightmare on Elm Street series.


Scott: Russell Batcher
Narrator: Hugh Ritchie
Nicki: Pearl Ho
Mabel: Sylvia Normandeau


Producer: Matthew Toffolo

Director: Kierston Drier

Casting Director: Sean Ballantyne

Editor: Kimberly Villarruel

Camera Op: Mary Cox

Watch QUESTIONS – A DC Comics Fan Film

QUESTIONS played at the FAN FICTION Film Festival in 2017.


  MOVIE POSTERQUESTIONS, 6min, USA, Fan Fiction/Action
Directed by Zack Russell Bartlett

Based on “Question” DC Comics. Two faceless vigilantes search for answers as they take on a dangerous criminal.

Film Type:Short, Student, Web / New Media

Genres:Superhero, Action, Fan Film

Runtime:6 minutes 28 seconds

Completion Date:June 30, 2016

Production Budget:600 USD

Country of Origin:United States

Country of Filming:United States

Film Language:English

Shooting Format:Digital

Aspect Ratio:16:9

Film Color:Color


Producer: Natalia Hernandez

Director of Photography: Otto Gaiser

Key Cast: Melissa Roxburgh

Key Cast: Nolan Sullivan

Key Cast: Lynn Twarowski

Production Designer: Andrea Besch


Fan Fiction Screenplay: Star Trek Deep Space Nine: Power Loss by Jennifer Renner

Watch the July 2016 Winning Fan Fiction Screenplay.

Star Trek Deep Space Nine: Power Loss by Jennifer Renner


Genre: Sci-Fi, Adventure, Action, Fantasy

Synopsis: Episode 32.5 of the TV series Star Trek: Deep Space Nine. The station welcomes visitors from a planet in the Gamma Quadrant that allows only women to hold positions of authority.


NARRATOR – Brandon Knox
BENNI – Susan Wilson
SORYA/KIRA – Meghan Allen
DAX/LELA – Courtney Keir
ODO – Julian Ford
BASHIR/QUARK – David Guthrie
SISKO/RISHTA – Sean Ballantyne

Get to know the winning writer Jennifer Renner

1. What is your TV Fan Fiction screenplay about?

Deep Space 9 welcomes visitors from a planet in the Gamma Quadrant that only allows women to hold positions of authority.

2. Why does this episode fit into the context of the show?

The episode uses a futuristic setting and the unique perspectives of the characters to discuss a social issue. One of my favorite things about the whole Star Trek phenomenon was the ability to look at potentially controversial issues under a new and intriguing light.

3. How would you describe this script in two words?

Existential exploration.

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

Star Trek: TNG

5. How long have you been working on this screenplay?

I worked on this screenplay for about three months.

6. How many stories have you written?

I’ve written many short screenplays and three feature length screenplays.

7. What motivated you to write this screenplay?

I love the different personalities in DS9. The topic of gender has been in the spotlight recently and using the voices of DS9 seemed a good way to explore this issue.

8. What obstacles did you face to finish this screenplay?

I don’t have much experience writing for TV, so that was fairly new to me. I also wanted to do justice to the Star Trek universe and it is a complex place to navigate. Use the term “warp coil” when you specifically mean “warp nacelle” and you’ve lost all credibility.

9. Apart from writing, what else are you passionate about?

All things film! From theory to shooting and editing, to just a lot of viewing, I enjoy it all.

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

I was excited about the prospect of receiving feedback to improve my writing. The feedback I received offered many helpful suggestions, both in terms of my writing in general and as a piece in the DS9 universe. I’m definitely glad I entered this festival.

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

Although I don’t feel qualified to give advice, I would say to try writing as many different types of works as you can. From one-act plays to feature screenplays to poetry to just a really well-written email, there are so many ways to express yourself well through writing.


Director/Producer: Matthew Toffolo

Editor: John Johnson

Casting Director: Sean Ballantyne

DOCTOR WHO “The Time Cuckoo” by David Gilbank & Paul Renhard

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Watch the Fan Fiction Table Reading “The Time Cuckoo”


NARRATOR – Amaka Umeh
DOCTOR – Hugh Ritchie
AMY – Victoria Urquhart
NELSON – Julian Ford
VENTRILLIS – Sean Ballantyne
REGAZZA – Mohogany Brown
HARDY – Isaac Alfie

Get to know writers David Gilbank & Paul Renhard:

Matthew Toffolo: What is your Doctor Who screenplay about? 

David Gilbank & Paul Renhard: The Doctor is forced to kidnap Lord Nelson by an alien race who believe Nelson’s battle skills will help them win a war that has been raging for centuries.

Matthew: Where does this episode fit into the context of the series? 

David & Paul: It was written for Matt Smith and Karen Gillan. Although I’m pretty sure with a bit of tinkering, we could adjust to suit Doctors past and present.

Matthew: Your screenplay ends with a twist and a setup to a future conflict with the Doctor. Do you have episode 2 and beyond of your Doctor Who universe written or outlined? 

David & Paul: Not yet but it’s on our list of ‘things to do’. We’re currently in pre-production on a screenplay that we wrote about sport and love. That’s right a love story mixed up in a sport story. Think Rocky meets Pretty Woman and Love Actually. Or Slapshot in Love. Or something like that. We did it for the money.

Matthew: Who is your all-time favorite actor who played Doctor Who? 

David & Paul: Tough one – it would come down to Tom Baker or Jon Pertwee and we’d probably for Baker just because of The Seeds of Doom! Or Pertwee in the Planet of the Spiders. We did like Davis Tennant too.

Matthew: Who is your favorite non-Doctor character in the series? 

David & Paul: The Daleks. Every hero has to have his or her antagonists and the Daleks are just the best bad guys in fiction. Also liked Mike Yates, Sgt Benton and The Master (particularly Roger Delgado – Moriarty Deluxe). Also have to say I (Dave) loved the Tomb of the Cybermen. A beautifully written adventure with a claustrophobia akin to Alien (made some 10 years later). I love the way the old series (60’s and 70’s in particular) had to rely on storytelling to make up for the sparse FX and miniscule budgets.

Matthew: What TV show do you keep watching over and over again…besides Doctor Who?

David & Paul: The Tinker Tailor Soldier Spy TV mini-series – Alec Guinness as George Smiley. Perfect telly. I also loved Callan. Edward Woodward as a deadeye killer with a whiff of conscience was mesmerising. Loved the rebooted Battlestar Galactica. That story deserved to be re-made and those guys did it. Spectacularly written and wonderful acting. One of the best TV series ever made, scifi or other. I’m also re-watching The West Wing again. It’s like revisiting old friends. Aaron Sorkin has the IQ of Skynet.

Matthew: How long have you been working on this screenplay?  

David & Paul: About three months.

Matthew: How many stories have you written? 

David & Paul: Loads. We wrote a SciFi horror screenplay in 2010 called ‘Cull’ that won several screenwriting awards around the world. Think Soylent Green meets Alien. Its horrifying but a wild ride. We’ve also written several TV series, usually involving gangsters and aliens. We’ve just made a short film that is being well received. We’ve also written a ghost/horror screenplay which is currently doing well on the festival circuit.

Matthew: What motivated you to write this screenplay? 

David & Paul: We just love Doctor Who and the creative possibilities are infinite! We are ambitious writers and thought we could write something pretty exciting.

Matthew: What obstacles did you face to finish this screenplay? 

David & Paul: A 9 to 5 job and, clashing personalities. Fortunately Dave is pretty obsessive and is pretty driven to complete projects. Dave finishes. Paul rewrites. Dave changes it back. They argue. They don’t talk for a week. Paul changes it back, Dave sulks. Paul thinks he’s got his own way. Dave sneakily changes it without Paul knowing…and voila a perfect writing team.(I didn’t know you did that!) (Just joking) (Really?) (of course) (I knew it!) (here’s a bottle of Johnny Walker. Drink it now) (Ok, but I will be checking in future) (sure you will, Drink…drink…driiiiink) (I love you) (shut up).

Matthew: Apart from writing, what else are you passionate about?

David & Paul: We both love making films! So far we’ve only had the resources to make short films, but watch this space! Dave loves cricket, physics, Rugby League (Brisbane Broncos), Evolutionary archeology, history, carnivorous plants, digging holes and road rage. Paul likes writing and nothing else.

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

David & Paul: We’re always on the lookout for festivals to enter and this is the only one we know of that would let us enter a script based on an existing TV franchise. It’s always great to receive constructive criticism of your work, it’s the only way to make your writing better.

We accept we probably tried to cram too much into the episode, but we just couldn’t help it!

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

David & Paul: We’re really not in a position to offer advice, as we’ve never had anything made, barring our own short films, which are of varying quality. However, the only sage advice is to write! Just start writing, anything. The more you write the better you get at it. We’re both advertising copywriters during the day and we’ve learned that anything down on the laptop screen is better than nothing at all. Also listening to music and listening to the voices in your head is good. Unless they tell you to rob a bank or overthrow the government.

Producer/Director – Matthew Toffolo
Casting Director – Sean Ballantyne
Editor – John Johnson






Movie Review: BATMAN (1966)

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Batman 1966
Classic Movie Review
Directed by Leslie H. Martinson
Starring: Adam West, Burt Ward
Review by Anthony Acri


The Dynamic Duo faces four super-villains who plan to hold the world for ransom with the help of a secret invention that instantly dehydrates people.



One thing I learned from dealing with comic books aficionados is that the more incongruously serious they take the books, the less they like the Batman film and tv show of the sixties, seeing it , as one personal actually called it in a blog, a ‘heresy’.

But, as a kid, me and my friends all loved that Batman, as in those pre ADD days, even a kid could get a joke. Not now, god knows, a satirical mind lends you to being given a time out, and in our serious self important days of now, satire is dead, empire is here and self righteousness is our only sacrament. Yet, back when, we adored Adam West since he was the perfect hero. He was part square and yet, with enough self awareness and enough of a sly grin that he was eminently more acceptable than the wholly Ernest Captain Kirk, who seemed his equally psychedelically colored yang, whose desperate needs and wacko undercurrent of devotion mad him the perfect symbol of parody by SNL in its first great season. That sketch has the resonance, to this day, and certain candidates for president seem as unwilling to move on as did Shatner in that sketch, I think because it was a nearly prefect manifestation of the Square stature, comic book jawed, rather loopy and by the book Call me Bill Shatner. But our true hero, his strange blood brother, Adam West, as amplified in this movie, was already a parody, he was already a joke, and from their his humanity grew outwards whereas Shatner was just the lug in the center of the cardboard playacting, and seemingly believed as real painted starry night. room.

The film is a basic comic book come to life. For all the wailing of fan boys about how insidious that great TV show and its subsequent film were, actually, most of the plots came ready-made and were taken out of the old Carmine Infantino books, anyway.

This was the era of batman things made famous on the internet like “the Jokers big boner”, and such like classics, as it was a day and an age when superman, that dick, tried all manner of things to never have top kiss Lois, but that is another story, or part of the same story. The film then could be more than a usual two parter, and gains a rolling of these collected stories, like those 100 page comic giants dc sold when I was a kid. And, the cliffhangers, as would be in later Indiana Jones, just flow right into the next scene, like a serial all pasted tighter, like that of a dickens novel with actually less homo erotic variants.

Now, here, as opposed to the innocent….?…DC comics books, the homo- erotic undercurrent to the material was its creed, as how could a story about a man dressed in tights with a circus boy near him not have loads of homo erotic intentions…? And, thank fully, to the chagrin of the fan boys yet unborn then, it was all played for laughs, as back then, adults were adults andcomic books were not seen as literature, but then, Tennessee Williams wrote plays back then, and others of his ilk wrote often, so why would anyone have to see dc cosmic as a font of literature…? .

The four master criminals of the series are united together in a brilliantly satirical waterfront dive where even the floors are crooked, and they plot and scheme incessantly away, below a giant octopus icon as owners of the earth something which would later be done, without the laughs, at the offices of the vice president. But, since this was done when America was still a republic, Bruce Wayne—batman , whose inner demons in a more innocent time are not worn on his sleeve, but occasionally seep out in a way which is actually more adult and more thoughtful than the now constant mudslides of tempestuous fraught emotions, is hot on the trail of the four fiends. He is out to capture them before and lest they try that most unthinkable of things, to take over the entire world, and thus make littering and nuclear proliferations, gum disease and weather machines possible in every corner of the earth. One or two or even three of the greatest criminals of earth might be after just the city of Gothem,– yet to become a hell hole waiting for its black and gray Giuliani to clean things up,–or even the good old usa, but all four, …they are after that world which beguiles these men in colorful clothing as nothing else does.

Shakespearean actors like Burgess Meredith and Vincent Price, and Victor Buono , an aging Latino mgm swashbuckler , and a pretty , sensual brunette in spandex and cat ears, to me , always lent a satirical heft either lost on the fan men of perpetual boyhood, or was a satire they didn’t want to see. Frankly, having flipped through a Batman essential collection when he was at his most Capoteasque, the TV show and film cleaned it all up a bit, and made the humor at easy, at least knowingly, homophobic. The show and film, especially, was where the gay stuff was toned down in exchange for Adam west and a feline brunette—no longer seen in blond America– and so didn’t rely on the odd unintended gay knock knock joke which have made their famous way to the internet, like thought balloons about Robin and the famous bat touch. Here batman is played as farce, god forbid among the comics as art crowd, but it is Art too, in ways that that crew never knows. It is pop art, a Warhol spasm, a four color illuminated manuscript come to life, like a fresco of purple and red and blue and green, made out of in within a plaster which never dried completely, thus always allowing it to shine. Batman is that hero of the dying republic then, half rko and half Castro street, part Carmine Infantino, part Furlinghheti, too, and is a delightful remixture and reinterpretation of both. He is Dick Tracy meets easy rider, and wholly American and thankfully, the result isn’t like later heinous exemplars like Joe or Archie Bunker, for batman is above all things here decent and honest and a true boy scout which is why even sissyes want to be included., deep down. HE IS HERE THE AMERICAN HERO, an outgrowth of MARSHALL DILLON, A LONE RANGER AMID INDIAN HATERS AND RACISTS WHODESPITE THAT OR BECAUSE OF IT, BELIVES IN TRUTH, and he is always sobered ,and yet always funny, but decent too. And, when the black suited cat suit wearing woman is revealed as the woman he started to love, the actual second of his disillusion is priceless and touching too, and is better than a thousand different throughly ungay and purposefully made ungay in the atomic age of will and grace as less than Virgil gay clowns, black and un-purple batmen falling from crushed skylights. It is a farce, to be sure, but never becomes the mere pie fight of silliness, though I think they may have had a few pie fights actually, and always returns back to him as good and decent American.

He doesn’t, as the caricature later would, become a suit of armor or a knight errand amid a city of squalor , and eschews that most favorite pejorative of the lost boys era, post Lucas crowd, Dark, whhhhhhheoooooooooo. Batman 1966 as It is referred almost derisively, was as America once was itself, played for laughs, as things were in the republic of Jack Webb –who ironically as violence teems on the screens of the age of mommies boys and hectoring nannies, never fired a gun. The last third is the weakest part, and the ending is too farcical even for it, and the old actor’s creek and punch off a suberine, as the act is getting old in this extended form and things have to be quickly tied up. But there is a scene in the brilliant middle, before the obligatory fight scene and its splats and pow sound effects, which gives away its heart. At the docks, Batman, the real batman, yes the only real batman all you other batmen are just imitating, … is confronted by a giant carton bomb, complete with a a black ball and fuse, which was expressly put in to lampoon the parent company about to destroy it as a passé Phenom, ABC. Batman takes the bomb and runs around madly looking for a place to dispose of it, but cant let himself just hurl it at the jetsam of the docks and the waterfront, since he cant just indiscriminately kill ore maim these miscreants, as they all had mudders too as the Lenny the Penguin,– tell me about the penguins George– would surmise, and that they were human beings too. Not even baby ducks in the river can he hurt, for still within him is the early version of American resolve, not to get even with the nuclear fact which made him, the killing of his parents , or to elicit others pain, but to never reach that heinous level himself, and to never be a miscreant himself. This is underhandedly brilliant, and is a subtlety lost on the fan boys who like things ‘Blewed yup reeel good’ by men in tights. It is a kind of oath of the purple tighted centurion. As a moment, it is sweetly conceived of and played . The set piece is a gem of a frame in a sweet Mod movie, and it is last glimmer of a decent America before Lyndon, Richard, Jimmy and the rest of the fools of power would themselves regretfully go against the ethics and the oaths taught to them as kids in an America, which would no longer be there. Then, the Shakespearean demise of Richard would be sadly replaced by a dim wit actor , a corpus in rouge, whose indecency and cruelty, like Nero say, was the closet thing he had to a thought process or a belief system. Moreover, batman was finally blown to bits.

And now, the darkeners have won this civil war and another, incessant, perpetual batman appears on the scene. This time with a clown fag villain who went made himself a strange martyr before it opened wide, thus robbing Flattop—I mean Joker, of any playfulness or joy, not that he or our latest Toxic avenger selling popcorn as a true ethic, the now national lampoon re casted and re created Batfart was going to have any, anyways. In Batman 1966, film came as close to pop art and to a Lichtenshien verve, as they were even going to come, and now, Guarnicas of plaster and bad lighting and explosions and mayhem, with strangely more exceedingly silly rubber nippled black hooded vigilantes, seen spinning through the rubble skipping un gay men seem everywhere.

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