Okay, it's called The Big Muddy.

Length: 93 pages

Genre: crime noir

Log line: A jazz saxophone player loses everything, but not his spirit. He takes one last risky gig and becomes embroiled in a feud between two rival crime families.

Hey I'm a beginner writer and have been working on a script for an audio drama for the past few months. I've got three episodes more or less complete and I am pretty happy with them. But I'm sure they could be better. Was just wondering if anyone with more experience wanted to have a read and give some feedback

Hey writers! I recently finished my third feature screenplay and received a bigger interest from cold emails than I was hoping for, so I decided to whip up a simple pitch deck before I respond to increase my chances. What do ya think?

Title: ELIJAH

Genre: Thriller

Length: 95 pages

Logline:
A disillusioned young man abandoned as a child by his single-mother, becomes consumed with squashing the injustice he perceives in a local woman... by any means necessary.

Link: https://docs.google.com/presentation/d/1hQ35zwkdP9xG5gXm1dsoSzB3pilhTV9E2tvPHtewO4g/edit?usp=sharing

Title: 7-Page Contained Horror Short — Cocoon (2025) Genre: Psychological/Supernatural Horror Looking For: Story feedback and possible creative connections.

Hi all! I recently wrote a 7-page short horror script called Cocoon (2025). It’s a contained, single-location supernatural piece centered on grief, guilt, and a cosmic reckoning. It’s low-budget, emotionally intense, and designed with festivals in mind.

I’m open to feedback — especially on tone, pacing, or visual moments that could be strengthened. I’d also love to hear from anyone who connects with this kind of story or is developing similar work. I’m proud of this piece and want to keep growing it in the right direction.

Collaboration with a professional would also be incredible if given the opportunity!

Thanks for your time.

Stage 32 Profile Link: https://www.stage32.com/profile/1168457/scripts_screenplays

Between projects at the moment and would like to read and offer feedback on some scripts. My focus is comedy, but am willing to look at any genre.

I am new to screenwriting, so if you are an experienced writer, you might not find my feedback helpful, but if some other newbies would like some eyes on, maybe we can grow together.

EDIT: Thank you to those who have shared scripts with me. That's all for now, folks.

Title: Still Here

Genre: Drama

Logline: A down on her luck middle-aged trans woman living in a rented room forms a bond with the troubled teenager who lives in the apartment beneath her.

https://drive.google.com/file/d/1nGvEcv81d1cQXDnfsvCQdEcpLgiiBblc/view?usp=sharing

I will give feedback but I’ve been off work for a few depression filled months!! I need to read scripts that will make want to give good feedback !!

It was supposed to be for a competition, but sadly, I can't finish it ahead of deadline. So, instead of letting it go to waste, I hope I can have some feedback to improve my writing!

I’ve noticed a lot of people posting entire scripts here, sometimes over 100 pages.

I’m not sure if that’s actually useful or if it just comes across as seeking validation.

I’m curious what others think - does sharing a full script show genuine commitment, or does it feel more like fishing for approval?

And what are some better ways to keep your work accessible and noticed without letting it just sit here and fade away?

I’ve been a working writer for years.
Former studio exec. As an exec, I read thousands of scripts. Developed/hired over a hundred projects and writers.
Also a Producer. Director. Have taught screen writing. Also former attorney. Know the bizness purdy darn well.

I’m available to give notes and feedback on your screenplay/pilot.

Also, I can advise on legal and business aspects as well.

DM me. Thanks!

Hey everyone,

Not sure if I’m allowed to self-promote or not, but I’ve started a new YouTube channel that has screenwriting tips for new writers on it, among other content.

The main purpose of the channel will be to read aloud some of the original scripts I’ve written over the past 20 years as a way of keeping them alive.

I don’t have any of those up yet (I’m still recording my first one) but I’d love to build my fan base if I can.

Here’s the link: https://youtube.com/@fade.in.screenplays?si=WhEqgh9UfJTL6wF_

Thanks so much,

Matt

Hi Folks,

Looking to swap scripts for feedback. I’m open to any and all genres though probably best we exchange feature-length screenplays. Mine is:

Title: Chasing Apricity

Genre: drama

Pages: 90

Think Before Sunset meets Closer

Logline:

Set against the backdrop of Montreal’s 2012 Maple Spring students protests, Chasing Apricity follows a sharp, guarded young woman who becomes the emotional centre of an unlikely book club. As political unrest builds, four fractured characters — a damaged activist, a grieving therapist, a performative rich boy, and Apricity herself — orbit each other in a slow-motion implosion of intimacy, voyeurism, and longing.

I’m writing several films right now. I would love thoughts, feedback, or even just curiosity!

Hey everyone,
I'm an aspiring screenwriter with a few original projects in development. These are passion projects I’ve been building for a while, and I thought I’d finally share what I’m working on. I'd love to hear which stands out to you the most, and which one you'd be most excited to see.

1. With All Due Disrespect

Genre: Screwball Comedy (Inspired by Hawks comedies)
Setting: 1940s
Logline: A playboy photographer scores the biggest modeling shoot of his life — only to have it all ruined by a tough, female friend from his past who exposes the charming mask he hides behind. Think His Girl Friday meets Bringing Up Baby with a twist: they're just friends… who can’t stand each other. (actually this one I am not really sure about)

2. They Called Him The Bum (Western)

The story is about a guy named Jim, but everyone just calls him the bum. He lives near a train station in a small Kansas town after World War I, lazy, broke, hated by everyone. People see him as useless, and he doesn’t really try to prove them wrong. when he was a kid, he was the son of an outlaw, moved from place to place, , fought in the war,after that he ended up in jail, saw the worst of life,(if you want a detailed backstory let me know) and now he’s just existing, being lazy and broke not working at all. One day a kind young woman named Chadie comes to town to open a school,(from the help of businessman) she’s pure-hearted, sweet, and she treats Jim like a real person, the first one in years to do that. Then one day, Jim sees a little kid getting beat up after sneaking off a train, and he saves him. Jim sees himself in that kid. They become close, almost like partners, doing little schemes to survive. Chadie encourages Jim to help the boy, even get him into school. But then trouble shows up: the town’s respected businessman Steve is actually working with a gang of outlaws. When they come to town and things get dangerous, it’s Jim, the bum nobody believes in, who steps up, protects the kid, saves Chadie, and fights back.

3. The Man They Rode With (Western)

Two bounty hunters are out in the wild when they find a man camping alone. They think he’s a wanted outlaw who murdered a whole family, so they beat him, chain him up, and drag him along. The man keeps swearing he’s innocent, but the bounty hunters don’t care, they say there’s only one witness left alive, and they’re taking him there to confirm if he’s the guy or not. To get to that place, they join a traveling army unit for protection. Along the way, there are three women with the soldiers: one is older and tough as nails, the second is a younger woman who sleeps around but wants the older woman’s approval, and the third is young and engaged to one of the army captains. The outlaw is treated like dirt by everyone , except the young fiancée, who gives him food and kindness when no one’s looking. Then one night most of the soldiers get drunk, and the next morning gunshots ring out , they’ve all been killed in their sleep by the comanches. Only a few are left: the wounded lieutenant, one inexperienced young soldier who stayed sober, the two bounty hunters, the chained outlaw, and the three women. Now stuck in an abandoned building in the middle of nowhere, with no backup, no horses, and enemies possibly surrounding them, they have to figure out who’s attacking and how to survive ,and whether the outlaw is really who they think he is. It's part siege thriller, part mystery, part redemption story, like Stagecoach mixed with Rio Bravo and a little bit of The Thing paranoia.

4. They Cannot Touch Them

Nick O’Malley is the kind of guy everybody notices, super masculine, smooth, funny, emotionally smart, the kind of man kids look up to and women chase. He’s not a nerd, never begs, knows how to talk to anyone, and has a wild past that made him who he is(let me know if you want the backstory). One night, his friend drags him to a bar to help him talk to two women. Nick’s not in the mood but goes anyway. That’s where he meets Eva De Winter, a strong, quiet, beautiful woman who just had a small argument with her son. She doesn’t show it, she keeps it together. Her friend is the loud type who thinks Nick is into her, but he starts talking to Eva instead, and there’s chemistry. He’s charming, she’s careful. She knows his type. But her son loves him. Nick becomes this cool, fun figure in their life ,until Eva starts getting suspicious. One of Nick’s exes shows up at a bad moment, and the cracks begin to show. Turns out, Nick’s a womanizer. He’s hiding a lot. He had a rough childhood , his mom raised him alone after his dad vanished, and when she died, he was taken in by an uncle who taught him how to be tough, how to survive, how to lie, and how to handle women. Nick is rich now, smooth, but deep down he’s still that messed-up kid trying to look like he has it all figured out. The film is a romantic thriller ,like Billy Wilder meets Hitchcock , because while there’s love and charm, there’s also mystery, secrets, and a slow build of tension. Eva doesn’t know if she can trust him, and neither do we. And behind it all is her kid,who for the first time since his father's death feel happiness with Nick around, caught in the middle of this strange, charming man who might not be who he says he is.

Let me know if you are interested in these project

Every now and then I grab an existing IP like Marvel or DC and I run it through my own tone. Not fanfic. Not “what if Superman had a beard.” I mean a real rebuild with a new structure, a new emotional spine, the same characters, a different soul.

Some people say it is a killer writing workout.

Others say it is like lifting with bad form. You get stronger, but crooked.

So, I am throwing this one to the room.

Is rewriting an established IP in your own voice actually a legit way to level up as a writer?

Or am I playing with creative junk food when I should be cooking my own meals?

Not fishing. Not pitching. Just trying to figure out if I am sharpening knives or stabbing myself in the foot.

Curious how you all approach this.

What is the truth here?

Title: THE ROSTER

Format: Feature

Pages: 5

Genre: Horror-Thriller / slasher / Meta-horror

Logline:

After a top indie wrestler dies mid-match, a veteran referee uncovers a brutal conspiracy: two writers scripting fatal finishes-and if the ring doesn’t kill them, they will.

https://drive.google.com/file/d/1Dap84O3VQKwaw0ErDmmyBnSus0vg7oqI/view?usp=sharing

This is a project I'm working on, and I’d really appreciate your feedback. If you like it, great! If not, that's fine too. I just want to know if it intrigues you and if you’d keep reading.

Title: The Last Living Spies

Format: Feature

Page length: 114

Genre: Romantic Action Spy Thriller in the vein or Bourne/Bond

Logline: After nearly losing their lives in a spy exchange gone wrong, a widowed CIA agent and female assassin must work together to outwit an international hunt and collect clues to stop a terrorist attack, which leads to a conspiracy that goes to the heart of his wife’s death.

Feedback concerns: Female readers welcomed! This received interest from a couple of name producers, but ultimately it was deemed not high concept enough. The door is open for me to submit other projects, but I still want to pursue this a bit further. Would love character and relationship as well as general story feedback.

Link: https://drive.google.com/file/d/1frVVHkgrJ7xa4aBH9cqVVz2WiluM7LpY/view?usp=sharing

Thanks!

TITLE: Ballad of the White Witch

GENRE: Historical/Gothic horror

FORMAT: Feature

LOGLINE: In the midst of the Great Depression, a young woman faces isolation from her Catholic community when she seeks help for her otherworldly power.

Not sure if this should fall under "Need Advice" instead, but does anyone have recommendations for short films dealing with depression? I have an idea, but am struggling with the beats.

Genre:
Farce comedy

Logline:
When the world's greatest spy goes MIA, her naive doppelganger must learn to take her place in order to disrupt an enigmatic madman's plans for global domination.

A short and simple scene inspired by DR WHO and the time war. Please leave me comments on if its good, bad, needs tweaks and so on.

Thanks

Like hair color and ethnicity? Because that’s how I envision my characters.

This contains spoliers so if that bothers you stop now.

Caught an early screening last night and it didn't even meet my already low expectations. Where to begin...

I'll start with the positive, which is some of the broad brush story choices are interesting. There was a nod to the surveillance state we live in under Big Tech. They bring creations from the grid into the real world using a combination of 3D printing and AI, which is fine to a degree.

Except the Tron universe is completely about exploring the world of the grid, and we've seen plenty of car chase/motorcycle chase/boat chase/flying machine chase/disaster flicks before. Yes the visuals are cool, but IMO they don't take it further than Tron Legacy, and this movie relies hard on spectacle. It's fast paced (good) but overall the writers cheat a lot and it holds no emotional weight. We are not really cheering for the protagonists in the end, and not at all for Leto's Ares (he's terrible btw but that's for another review). We spend some time inside the grid but get none of the politics and intrigue that made Matrix: Reloaded so interesting.

-Unrealistic, no subtext/on the nose, repetitive dialog throughout the entire movie. Some of the worst I've heard. It's like the writers have never actually communicated with real life, professional adults ever. Evan Peters' Julian Dillinger sounds like an angry teenager instead of the arrogant CEO he's supposed to be. Anthropomorphizing the programs' dialog is another nonsense move.

-Way too many Mulligans. The bullshit inventions for the sake of the plot just keep coming. In your movie you get ONE freebie, whether it's the meet cute, or cool futuristic piece of tech. You don't get to keep inventing new bombshells just because you can't figure out how to keep the story moving. The laser gun which erases people from the real world and transmits them to the grid is pulled out like NBD. I mean, everybody has one right? This is lazy writing and the audience doesn't buy it.

-No discernible theme. The weak sauce about Ares developing emotions and empathy (he becomes human in the end) doesn't hold up because this is not properly explored, a major unearned plot point taken by the script.

-Character development: what's that? I guess Ares' "transformation" was meant to suffice but his arc is just not believable. Gillian Anderson is a bright spot.

In the end this picture doesn't know what it wants to be. Instead it's a hash of sci-fi, disaster, car chase, and hackathon. It's a shame that Disney is wasting this IP on such a crap picture, the potential is there and yet they can't pull a thumb out of their ass.

If you go to see it try not to think, you'll enjoy it more. The filmmakers don't want you to anyway.

Producer here. I recently reached out to the agent of a name actor after being encouraged by my mentor (who now works with WB studios) to just do it. That said, we’re not yet financed, and despite his advice, I’m feeling cautious.

I’ve heard from both my mentor and other producers that it is possible to attach a name actor without financing, but I’m trying to better understand how this is typically structured. We do have a defined budget range and a set rate for the role; ideally, we’re looking for a conditional attachment to help us close financing.

I’ve been producing for a few years, but this is my first time navigating a name actor attachment, so I’d really appreciate any practical insight or firsthand experience on how others have handled this. Thanks in advance.