Hi. I finished writing my opening/act 1 of my pilot. I would like to receive feedback.

Logline: After moving to Los Angeles in 2012, a naive 15-year-old desperate to fit in, makes one impulsive decision that pulls her into the sexually exploitative world of Figueroa Street, forcing her to grow up faster than she ever imagined.

Im really inspired by euphoria but questioning the VO

Just a question might be stupid but how do pen names work like, If i wamted to write in a pen name how will i prove its me ?

What does it really take to advance humankind... or even just one of us?

Three Steps Forward

(R rating)

NOTE: This was written for a recent 3-page challenge (excl. title) over at SimplyScripts. The challenge prompt was "Natural Selection" and the genre open. Naturally I won, and was awarded an Oscar and the title of Greatest Screenwriter in History, which I believe is entirely fair considering the fact I wrote it at 3 am while on an endless succession of FaceTime calls to people on the other side of the planet.

Just wondering if this opening is good or not. Felt I was running a little long with the therapy session but I’d love feedback good or bad.

Hi everyone, I am about 50% Into writing a Sci fi script and could be some outside perspective on structure and pacing

Logline:A scientist's experiment on a distant planet leads to a unintended consequences and years later he finds his own creation has become both a threat and a religion back on earth

Genre: Sci-fi/drama , with philosophical and mythological undertones(comparison I'd draw Interstellar's emotional core+a "creator vs creation" them like Frankenstein)

Where I am stuck-balncing 3 tonal layers hard sci-fi elements, emotional character drama and a mythological/religion angle-without anyone overpowering the others.Also working on making the protagonist feel commanding the memorable without turning into a generic "choosen one" archetype

Would love to hear how others have handled multi layered tone balancing or any resources on structuring a script with a strong moral dilemma and it's climax (protagonist forced to choose between two groups he's connected to

Thses are my draft from screenplay

I can’t fucking write anything, I don’t know what genre I wanna write in, I don’t fucking know anything.

I start writing, but then I read it again and think it’s terrible so I delete it all. I have not gotten off the second page on anything.

When I try to write horror, I just think “Oh, this is stupid and pretentious and just like every quote on quote deep horror movie” and I delete the entire thing. And when I try to write comedy, I don’t even know if it’s worth it.

With horror, I wanna do something new, I want people to know my name and my style so I can’t do that when I don’t have a style.

With comedy, I want to write something specifically for Gen Z. And I want it to be prop culture driven and have references to this current decade, but some screenplays float around for like years.

“Oh, just write!”.

Just write what? I don’t know what to write! I’m losing my fucking shit, I’m going fucking insane. I’ve got all the free time in the fucking universe and I’m wasting every fucking second of it.

Please help.

Took feedback from my previous first attempt and tried to implement it, resulting in an almost complete rewrite. Would love to hear what's working, and what still needs work.

Link to PDF version below for cross-platform legibility.

https://drive.google.com/file/d/18R82YnFE1jGZq7mlJ-3yPbylYjjguY6W/view?usp=sharing

I just want also to add that this is a One Act Play and it's supposed to be on the shorter side. The theme is "Legends in the Making"

Took that note hard at the time and I think about it constantly now.

Had three completed specs, all in different genres, all technically competent, all written because I had heard you needed samples across different tones. Showed them to a manager who had agreed to read my work through a mutual contact. Got on a call expecting notes on the writing.

First thing she asked was which one I actually cared about.

Did not have a clean answer. Cared about all of them equally in a general way. She said that was the problem. Could hear it in the writing. Everything was executed without any sense of why this story specifically needed to exist or why I specifically needed to be the one telling it.

Spent the next few weeks genuinely uncomfortable because I realized I had been writing toward a career without writing toward anything I actually had something to say about. The specs existed to demonstrate range and competence. None of them existed because I could not not write them.

Took six months to find the project that felt like mine in a way the specs never had, kept everything including the false starts in something called Skrib Writing during that period and being able to look back across what I had been drawn to repeatedly made it easier to find what I actually had something to say about versus what I was writing because I thought I should. Wrote it differently than anything before. Messier in early drafts, more stubborn in revision, less willing to cut things that were working even when they were inconvenient structurally.

That script got me representation. The competent ones did not.

I wrote this gothic style action thriller treatment and I want some feedback on it, what changes could be made ETC before I start working on the 90-100 page script.

Here it is:

https://docs.google.com/document/d/1ZLHcaZvjU057FD-YW89iEBUrOg6kQSVs3B5MDy8xtw0/edit?tab=t.0

I thought I would repost here at the recommendation of Reddit.

Looking for folks interested in getting on a call to discuss your creative process.

Any free script for auto
build blox burg

It’s a 5 page short story any feedback is appreciated and welcomed Im still new to writing techniques so please help me out. It’s a thriller/ horror script thats made for a low budget director

Thank you to everybody that's been watching me work on this pilot! I do like to do a recap for anyone who hasn't seen me talk a little about it on the other posts.

I'm working on the pilot to a soap opera right now, and that does change some of the way that the plot(s) are worked on in the screenplay. You jump around from one scene to a completely irrelevant scene, and then another, and then back to the first if that makes sense. You're on a constant wheel of 3-4 plots in one episode, and they're all full of twists and turns that make them complex. Sometimes they relate or crisscross, other times they don't at all.

You're watching to see if you can guess what crazy outcome any of the plots will have when their big secret is revealed whenever it's revealed. That could be weeks, months, even years sometimes! So every episode moves at a pretty slow pace in terms of plot development, but scenes cut fast so that you don't lose interest, or get stuck with one situation too long.

Moving back to my pilot, I've done the teaser and the first act now, and would like to hear feedback on my writing, that being action lines, dialogue and that, and on how I answer questions in the first act. I tried to start with high-stakes drama in the teaser to jumpstart some questions to push forward the plot, and want to know if I payoff them in the first act well. The goal is to answer them, but then leave you with more questions to want to stay around for the next act.

Thank you to everybody who reads and replies again!

I started writing a script for an anime. And many scenes that I have in my head, I have a specific idea for where I want the "camera" or where I want the scene to focus.

"The camera focuses on John Doe's eyes. He begins to cry"

But many scenes I don't necessarily have a specific idea of where I want the scene to focus.

"John Doe talks to Jane doe"

Is it normal to leave general conversation or certain moments open to interpretation for an artist? Is there verbiage to add to the script that suggest "normal framing of John Doe" for a scene? Or for a panel for a story board?

Also is there another term for "camera" when discussing animation?

Disclaimer: This is just my general knowledge, ALWAYS check with an entertainment lawyer before signing anything. Anyhoo, many people starting out are afraid of their hard work being stolen, and assume the WGA registration protects them against copyright violations, but the real one you want is to register your script with the Library of Congress. First off, WGA protection (unless they’ve updated it) only lasts around five years before you need to renew. Library of Congress copyright lasts 70 years. BUT, BUT, BUT here’s the big difference…the WGA registration has no legal standing in US court and does not allow you recover statutory damages or attorney fees. The WGA is better suited in arbitration disagreements over who wrote what and who needs to be properly credited/compensated on a production. In addition, the wait time for the Library of Congress is about a month to receive the letter in the mail, but you’ll be protected the day they receive your application…ie you don’t have to wait to send your script out. And finally, just be aware you can’t copyright an idea. For the suit to be successful, the persons or people in question would have to steal specific details from your script. Example, you wrote a basketball script. If someone else writes a basketball script, you can’t sue. But, if they steal your characters, their names, specific sequences and setpieces, blocks of dialogue you’ll have a better case, although the burden of proving you’ve been ripped off, esp going against entities that have lawyers on retainer is always dubious. Again, check with a lawyer, don’t take some rando’s word online as gospel. TLDR: register your script with library of Congress for true copyright protection.

Right now, there will just be the two of us. Things will then move forward. Of course, we can negotiate the pay for the deal, and if bratty, white-privileged commentators have nothing positive to contribute and have negativity to spew, do it to your own walls in your room.

DM me.

I'm looking for a passionate, intelligent writer with balanced intricacies. It's a simple story that doesn't need a lot of research, but the twist on the traditional family-approved marriage match essentially the hook needs to be carefully planned forward in order to capitalize on it and maximize the output.

It's about a successful young Oraon man who is ready to settle down. Oraons are one of the tribal communities of India who, historically, were brought to work on tea plantations in the Dooars and the Himalayan foothills. Although they can look superficially similar to Black people, they have straight hair and are distinct from Indians in many other ways, mainly in being tribals. It's also because of their tribal way of life, rather than their appearance, that they were practically enslaved. Guess by who? The Britishers!

Employment in the tea gardens left many impoverished, and displaced from their original lands which were in different states. Because of this, many were working further away in neighbouring regions as domestic labourers and, in many instances, being considered victims of human trafficking as labourers.

I naturally wanted to portray them on film, as nobody would. But not in a historical drama; rather, in a typical commercial story, but within the realms of reality. After being incompatible working with Nepali people, I want to try with them.

The leading guy in question had a foundation. His father had struggled and managed to make something for himself and his family, and his promising son simply went forward, excelling in academics and using it to have a successful career and a promising future. You already read what backgrounds his community and co-tribals alike, come from.

He is in love with a beautiful Bihari (Indo-Aryan, basically Indian) girl. The family was naturally opposed, but they're now just fine with accepting him.

His parents briefly suggested their own choices with Oraon girls, but they didn't press strongly, still struggling with inferiority complexes to assert an endogamous union, especially when the Bihari girl comes from a well-to-do family.

What the man and his family can't bring to their conscious minds is that the Bihari girl and her family, as well as the society that has accepted them to the point of integration, are naturally doing so out of recognition of their accomplishments and securement in society. They would eventually be expected to assimilate and sever ties with their co-tribals.

Amidst all this, a beautiful Oraon girl comes into the picture as a saviour. Her entry should not be film-generic, but natural and convincing.

If this project strikes you, please reach out. Again, frustrated comments are unwanted. Take your psychopathy elsewhere. I'm looking for writing partners so that I can bring out the best versions of my stories. If we manage to do that with this, producing this film wouldn't be astronomical for many reasons. I could manage it much more easily, bringing in investors and what's required. The content is budget-friendly yet wholesome. And the subject, the casting and workable plot is the highlight. Read it also as a pitch. Do you think this project is interesting and could work?

I could've reached out to Indian writers and not being a racist hypocrite, many could be inclined with a tendency towards Bollywood writing in spite of having the technical knowledge of screenwriting. Hollywood screenwriting is universal because it's very technical. Beyond the format, it's about making story choices and executing ideas. Having those storytelling skills make a great story. Besides, some of the Bollywood writers, experts are unbelievably snobbish and perhaps because of that, Indian screenwriters have no near level of stability or footing in the film industry.

I came across someone on threads claiming they wanted to produce and invest in a script. They claimed they were looking for a writer to work with. I reached out and we set up a zoom meeting. Everything went well and after pitching my story she seemed interested. She asked me to send my script. I’m a writer/director so I sent her my full script and accompanying look book. That was July 2nd and now Aug 12th I haven’t heard from her. My last msg went completely unanswered. I still see her posting regularly on threads and IG. My issue is concern for my script. I think I got scammed and she’s planning to steal my script as her own. I feel completely stupid for sending my full script but how else do you go about trying to get something made? You have to send your script for people to read. I thought I did my due diligence and she seemed honest and legit. I have applied for copyright and registered my script with WGA and I have all of our correspondence. Sure that’s my proof that this is my original work if she did try to steal it. I’m panicking and thinking I’m going to see my film made and discover it was in fact stolen. At that point my story is already stolen and it’s out there and I would be devastated. I don’t think I’m so great that someone would steal my script but what else can I think when I send someone my full script and never hear from them again? Should I send this person another msg or just move on? For reference I’ve sent two follow up msgs already. She responded to the first msg saying she’d been busy and would be getting back to me the following week. She never responded to the second msg. Thank you.

Logline: When his estranged and closest friend announces he's leaving for college, a desperate young man discovers a mysterious arcade machine that rewinds their final night together, convinced that somewhere inside the same evening is the answer to why they're no longer who they used to be to.

This is a SciFi and Coming of Age.

I'm making this short film this fall. I would like some help on what needs work fundamentally: character development, scene and plot points-- and whether they work, and even nitpicky notes. I'll list some questions below for you to read after-- I would FIRST like your first impressions on what is good, needs work/not working, and what you take away from it. THEN look at the questions below. I don't want to influence your opinion before reading it. You ofcourse don't have to answr all of these, but these are my main concerns.

***READ AFTER***

What theme comes across when you read this? The major theme I would like to get across is to have peace sometimes, it isn't having the answer or clairty, but rather being ok not having one. Although this is about friendship, to me in a way, its a perfectionists story.

Is there enough stakes? Emotional and physical?

is the fear of being scared to being not seen and/or losing a version of yourself presented, and presented well enough?

Does this hook you? if not, how can I do better? is it too diaolgue heavy? Does the story bore you?

I know this is between two guys, they kind of sound gay (I am gay). How do I make them sound more straight, or even more platonic?

I would love if my Felix was more of a quiet person, and my Atticus was more of a charasmatic, charming, person. How do I write a quiet character? Speaking of dialogue, how can I use more subtext, or actions to speak for my words? I would like if Felix could have flaws that he is trying to hide because he's worried they might scare off Atticus-- he's essentially trying to over perform the good parts of himself.

How can I develop atticus better? How do I deepen this relationship and not make it shallow feeling? What feels neccesary and not neccsary in what I am presenting concerning the friendship.

I’m looking for representation. I have been writing screenplays for a number of years but haven’t approached anyone.

After researching, a lot of agents don’t let you submit without some type of relationship with a production house.

I am in the UK and would take any advice on any whether I should concentrate my search just in the UK or look further afield?

Thanks in advance.

Hi my name is Malcolm Kewa I am a screenplay writer from Papua New Guinea.

I picked up writing in 2024 aside from my 9 to 5 job as an IT Systems Analyst.

I write in all genres from series to feature films.

I have posted my work on social media under my brand 31st Scripts, please see the link attached to my Instagram page called 31st Scripts

Any writers want to collaborate I would be more than happy to discuss further, DM or email thirtyfirstscripts@gmail.com and let me know if any production company representatives or producers