May 2026 – Scene Writing & Structure Challenge – 40th Anniversary Series
June 9, 2026
May 2026
Scene Writing & Structure Challenge Honorees
The following writers were selected for recognition in
Scriptwriters Network’s May 2026 Scene Writing & Structure Challenge,
part of our 40 Years, 12 Months, 12 Ways We Give Back celebration.
Explore each writer’s profile, biography,
and recognized submission below.
🏆 Grand Prize Winners
Frank McEnaney & Gillian (Gil Lian)
Project Title: Missus Shakespeare
Bio:
Frank McEnaney & Gillian (Gil Lian), are a couple of Canadians who were also a couple. Frank began as a playwright and had Equity-produced plays on the main stages of the Vancouver Playhouse, Theater Aquarius, Factory Theater Lab, and Theater Passe Muraille. Gillian began as a young adult author and has had six novels published (under the pseudonym Mitzi Dale) by Groundwood Books and Nimbus in Canada, Kinderjury in the Netherlands, Puffin in the UK and Delacorte in the US.
They collaborated at close range on Luminosity (Random House, Canada, Vintage), Sea-Change (Mosaic Press, Ontario) and Xtro & Julie (New Ideas Festival, Toronto). In 2008 they turned their hands to writing filmscripts and honed their skills by entering the PAGE Awards contest. They have four comedy scripts on InkTip: the contained rom-com, MISSUS SHAKESPEARE (or alt title); the para-normal rom-com, DREAM ON; the ensemble rom-com, STRANGE THINGS DONE; and the family comedy, ALL HAPPY FAMILIES. All four scripts were Selections of the UK Film Festival Scriptwriting Competition 2024/25.
Submission:
ANNE SHAKESPEARE’S YOUNG HUSBAND,
AN AMBITIOUS PLAYWRIGHT, IS HOME
IN STRATFORD FOR A BRIEF VISIT
BEFORE THE LONDON THEATER SEASON
RESUMES. THE YEAR IS 1595.
INT. BEDROOM – PREDAWN
ANNE(37) and WILL SHAKESPEARE (29) lie in bed. She sleeps
on his chest. He’s awake. She rolls away, taking the cover.
He grabs and pulls his share over himself. He rolls in the
opposite direction taking the cover. In her sleep, she
pulls the cover. They each pull back and forth.
He’s awake, so he wins.
Ironically, she sleeps on while he tosses and turns. He
scrunches up his pillow.
Silence.
Anne goes deeper and deeper into sleep. She murmurs softly.
She hugs herself in her sleep. Will grows more and more
tense.
Outside, a DONKEY brays, softly.
DONKEY (O.S.)
Hee haw. Hee haw.
Anne’s breathing deepens. Donkey brays again.
DONKEY (O.S.) (CONT’D)
Hee haw.
Anne moans almost inaudibly. She rolls over onto her back.
She is deeply, pleasurably asleep now and Will is
maddeningly awake, eyes wide open. The donkey brays louder.
Anne moans. Will listens. She moans again; from his tight
little bundle, he turns to look at her.
DONKEY (O.S.) (CONT’D)
(louder still)
Hee haw. Hee haw. Hee haw.
Anne begins to gently undulate. Will scrunches down and
throws his arm over his exposed ear. As Anne moves and
moans, the donkey’s braying becomes louder. Anne is
excited. The donkey is loud. Finally, Will throws himself
on his stomach and lifts the pillow and mashes it over his
head and ears.
Silence.
Will removes the pillow from his head. He listens. He rolls
over onto his side. Then onto his back. Anne is fast asleep
beside him.
Dawn.
A cock CROWS.
Will throws his feet over the edge of the bed. He tugs on
britches then pulls off his nightshirt. He puts on a
billowy white shirt and, without a backward glance, climbs
up the steep, narrow stairs to the
GABLED LOFT
ducking to avoid a low beam as he enters.
The loft is small and contains a desk holding a bottle of
ink and quill pen and paper. On a nearby reading stand
rests an enormous book: HOLINSHED’S CHRONICLES. He opens it
and reads by the gray light of a small window.
BEDROOM
As the light grows brighter, Anne wakes up. She rolls over
to snuggle spoons with Will. She makes exploring pats with
her hand and it becomes increasingly apparent, though her
eyes are still closed, that he isn’t there.
GABLED LOFT
Will lifts his quill, dips it in the inkwell and starts
writing.
Scritch, scritch, scritch.
BEDROOM
Anne listens. In the morning stillness she hears the
scritch, scritch, scritch of Will’s quill pen. She groans.
She rolls back to her original position on her side of the
bed. As the scritching becomes more intense, she parallels
Will during the night. Arm over ear, pillow over head,
rolling onto tummy.
END.
🌟 Honorable Mention
Diana Stout
Project Title: Introduction of Vince
Bio:
Diana Stout is a multifaceted award-winner, screenwriter, author, blogger, writing coach, former English professor of writing classes, and an intuitive who travels with a crowd—characters clamoring their story be next and those who have crossed to the other side. Her ability to move seamlessly between creative and professional writing reflects both her versatility and deep understanding of the written word.
Among her proudest accomplishments is her novel Grendel’s Mother, an ambitious project that re-imagines a classic tale through a compelling new lens. The book showcases her skill at blending literary craft with emotional depth—a hallmark of her writing across all genres.
Submission:
EXT. CIRCUS – SMALL TOWN NEAR NEW YORK CITY – SUMMER – DAY
Montage of activity: setting up tent, handlers leading animals, feeding, watered, and washed. Various actors in costume.
Horses isolated from activity, housed in large tent. Nervous activity due to approaching handler, SOLLIE ROSSINI, slight build, wiry but strong. Doesn’t pet animals or make soothing noises. Growls instead. Staggers, still somewhat drunk from last night. Looks older than his 35 years.
VINCE ROSSINI, nine, small and thin for his age, struggles to move a bale of hay.
SOLLIE
Vince, get over here with that bridle.
Vince turns. Black eye. Looks frantic. Glances at Sollie. Gaze searches for bridle. Panic.
SOLLIE
What’s taking you so long, boy?
VINCE
(soft pleading-like)
It’s not here, Dad.
Sollie drops reins in his hand and is at Vince’s side in three steps. Vince cowers. Sollie backhands him hard.
SOLLIE
Do I have to do everything?
Sollie snatches the bridle out of sight, atop a huge pile of hay that’s taller than Vince. Sollie glares at Vince.
Vince shrinks, sniffs back any tears.
SOLLIE
Stop that balling! Now. You’re a man. Act like one.
Sollie hits him again. This time, Vince glares back.
LOUIS (O.S.)
Sollie.
Sollie freezes, spins around. Surprised. LOUIS MANITAVI, a big dark beefy man, stands in the tent’s doorway.
Sollie’s demeanor changes. He smiles but it’s not genuine. Nervous.
SOLLIE
Come to see the circus, Louis?
LOUIS
Among other things.
He sees Vince.
LOUIS
Come here, kid.
Vince approaches cautiously. Doesn’t look Louis in the eye. Stands in front of Louis, who cups Vince’s chin, forcing Vince to look up.
LOUIS
That’s quite a shiner. Hope the other guy looks worse.
VINCE
No, sir.
LOUIS
Too bad.
Louis reaches a hand into his pants pocket and pulls out a Tootsie Roll sucker.
LOUIS
Here. Now scram.
Vince takes the sucker, turns and disappears behind stacked bales of hay. Stops, leans against hay, and unwraps the sucker. He hears Sollie and Louis talk.
SOLLIE (O.S.)
I don’t have it, Louis.
LOUIS (O.S.)
Not here for your excuses, Sollie. Too bad you can’t bet on the horses as well as you care for them.
Vince, sucker in his mouth, peeks around the corner.
SOLLIE
I just need one more chance. Tell the boss I’ve got a new insider. I’ll have the money tomorrow.
LOUIS
That’s what you said yesterday and the day before. He’s tired of your promises.
He takes out a gun with a silencer, shoots Sollie in the head. Sollie collapses to the ground.
Vince jerks. Blinks.
His expression changes. Relief. He turns back around, resumes leaning against the bales, enjoying the sucker.
A shadow falls over him. Vince jumps so he’s standing. Sees gun at Louis’ side, the barrel pointing down. Panic flits across his face, but then disappears. He looks up at Louis.
VINCE
Are you going to kill me too?
LOUIS
Why shouldn’t I? You’ve got his seed.
VINCE
I can make your boss money.
Louis laughs.
LOUIS
How? You’re just a kid.
VINCE
I know horses.
LOUIS
That a fact?
(pause)
Boss has quite a few horses. Likes to bet on ’em, too. Sollie always said he knew how to pick a winner.
VINCE
(glancing at his dead father)
Doesn’t look like much of a winner to me. I told him to pick the other horse.
LOUIS
And, which one was that?
VINCE
The one that won.
He licks the sucker.
Louis snorts.
LOUIS
I like your style, kid.
Louis considers the boy carefully.
LOUIS
Wanna make some money?
VINCE
Sure.
LOUIS
Doing anything boss tells you?
VINCE
Does he hit kids?
LOUIS
Nah. He just shoots them.
Louis grins, ruffles Vince’s hair.
Vince follows Louis and pauses at father’s body. Without any expression on Vince’s face, he tosses the sucker to the ground. It lands in front of Sollie’s open eyes. Then Vince kicks him and follows Louis.
END.
🌟 Honorable Mention
Annette Marie Barsellotti
Project Title: Paulina
Bio:
Annette Marie Barsellotti writes:
“I started writing (not so great) scripts when I was 12. I can’t tell you why; I just had to type the dialogue on the page and see where it would take me. I am amazed by today’s screenwriters and just how compelling they can make a story.
As an actress and a writer, it is always my goal to make the reader or audience feel something. The truth of a scene is found in that compelling moment, and without it, all is lost. I have miles to go, but hopefully I can create many more characters in search of their truth.”
Submission:
PAULINA TASSIO, 38, sits in the chair, nervous, twisting her fingers. HUGH SAGER, 53, the dark suited, “dutiful” lawyer look, stands before her, his grooming exemplary.
The last time you saw your friend was that evening, at what time?
We had dinner, went to her apartment, afterwards, around 7:00. She had baked a dessert for me.
Really? What kind?
Your Honor, really. We are not here to discuss dessert.
Mr. Sager, let’s move on.
Of course, your Honor. After your delicious dessert, then what happened?
We talked for awhile, then I left.
You talked about what?
She was going to leave Dustin. It wasn’t working out.
Dustin, being her “present” boyfriend?
Objection, your Honor. Present is irrelevant.
Your Honor, I’m merely trying to be clear about who Dustin is.
You’re trying to lead the jury to believe that she, as well as Paulina, used questionable judgment in their relationships.
Wow, all that. You said it, not me.
Cat and mouse games, Mr. Sager. She had a boyfriend. That is not a crime. Continue.
Yes, of course. Paulina, you discussed Dustin, and then you left.
Yes.
At 3:00 in the morning, Ms. Empey’s body was found in the park across the street from her apartment. Not a mark on her, and yet she was dead. Do you know anything about that?
Your Honor, the Prosecutor has just accused my client of murder, without any evidence whatsoever.
Your Honor, I simply said, “Do you know anything about that?”
That is what he said. I’ll allow it. Careful, Mr. Sager, careful.
When did you receive the call from her mother?
I…I think it was the next morning.
You don’t know?
I overslept. I was tired.
Your friend had just died, and you were sleeping.
Mr. Sager, I gave you an inch, not a foot.
Yes, your Honor. I apologize.
Ms. Tassio, I am sorry for your loss. Please tell the court what you did after you left her apartment.
I went home. I watched a little television and fell asleep on the couch. The next day, I got the call from her mother. She was hysterical, and my friend was — dead.
Your Honor, these documents have been obtained from the insurance company that handled Ms. Empey’s death.
Ms. Tassio, I just have a few more questions.
Good, because after that, we are going to adjourn for the day. Be brief, Mr. Sager.
Ms. Tassio,
(pauses)
you suffer from a rare blood disorder, do you not?
(hesitates)
Yes.
And you are currently receiving treatments — to enhance recovery?
Yes.
I would imagine that these treatments can become very expensive.
At times.
Do you have health insurance?
No.
How do you pay for these treatments, Ms. Tassio?
Your Honor, this is a private matter between Ms. Tassio and her doctor. It really doesn’t concern…
(snaps gently)
Overruled. I am interested to know the answer to this question.
Do you make payments?
I do.
Are you in debt, because of these payments?
I’ll re-phrase. Do you have help? Does your family, or your company help with these payments?
No.
You are a full-time employee?
I am a contract employee.
So you do not receive benefits?
No.
Your Honor, this is ridiculous. The Prosecutor seems to be more interested in Ms. Tassio’s company benefits. We are way off base.
Mr. Sager, you better make a connection quickly. My gavel is about to drop.
Ms. Tassio, isn’t it true that nine months prior to her death, Ms. Empey turned everything over to you?
I don’t know what you mean.
Ms. Tassio, I think you do. You became the primary beneficiary to her assets.
I didn’t…I don’t know anything about that.
(cuts her off)
In fact, we are not talking “primary.” We are talking, “only” beneficiary.
Just — you.
Can you explain that, Ms. Tassio?
I swear, I didn’t know.
Toxicology report says her body was pumped full of drugs.
No…no, she didn’t believe in drugs.
Somebody did. Perhaps the person who killed her.
And then there is the Affidavit of Heirship. Not related to the deceased, and yet, there it is. Paulina’s signature to obtain property inherited by Ms. Empey.
“What webs we weave, when we practice to deceive.”
Speculation can be dangerous. We are dealing with people’s lives, here. Ms. Zuberk and Mr. Sager, you are strongly advised to make damn sure you remember that.
(under her breath)
I can’t believe I slept with that jerk.
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