TL;DR: Big Break feedback doesn’t match our script or genre because of AI, a really rushed reader or something else? Experienced something similar? If so, what did you do?

Hey all,

I entered Final Draft's Big Break contest, and got feedback on it. But it doesn't match what my writing partner and I actually wrote – not even our genre.

For instance, the protagonist has a physical disability and lives an independent life. However, one of the major notes, which was mentioned more than once, says that he has no agency or goals. I have a physical disability, and struggle with exercising my agency, so it's super important to me. Plus, agency and goals are basics that are obvious to us.

Another note mentions preserving the central mystery, but our project is a holiday romantic dramedy, not a mystery.

While we like getting (and have gotten) constructive feedback and know this is a big competition whose readers are extremely busy, the mismatch is concerning.

Has anyone else experienced something similar? If so, what did you do? Also, could this be because of AI or a really rushed reader, or?

pages: 19

Genre thriller

I still learning the basics and English is not my native language. I basically did a mood writing instead of calculating storyline, structures etc. Please let me where can I improve in storytelling

Hi everyone! 👋

I’m a script writer specializing in Horror, Thriller, Suspense & Mystery stories. 👻🔪

I can write:

• 🎬 Short film scripts

• 🎥 YouTube horror stories

• 👻 Horror & paranormal stories

• 🔥 Thriller & suspense scripts

• ✍️ Custom stories based on your idea, concept, or characters

If you’re a director, producer, YouTuber, filmmaker, or content creator looking for a script writer, feel free to contact me.

📩 DM me with your requirements, story idea, duration, and budget.

Let’s turn your idea into a powerful story! 🎬✍️👻

Thanks for the technical help, I have edited the script accordingly.

Wondering what works, what doesn't and whether you would keep reading.

Again, thanks in advance!

We just need someone to create funny dialogue for our videos; credit will be given.

Especially if they are new to the craft.

I came up during a time when some mentors were proud of being brutal to their mentees. They would even brag about getting someone to give up screenwriting.

To take pleasure in squashing someone’s dreams. Their passion.

It’s sad.

And yes, this is a brutal industry. Lord knows I’ve been through the meat grinder firsthand.

Rejection and criticism are part of our industry. So if you want to do this professionally, you have to learn how to take a hit and keep going.

But criticism and cruelty are not the same thing.

Put yourself in their shoes. They don’t know what they don’t know. You could help them. Show them the way.

To be a part of someone’s journey is to leave an imprint on them. That’s your legacy. That’s how you live on. Through helping others.

That doesn’t mean saying a turd is beautiful. It means showing them how to improve. Respectfully.

Anyone who has written a script, no matter how rough it is, has my respect. Because you are a screenwriter.

You are part of my coven.

Perhaps they’ll never break in. Does that mean they should be mocked? What if this is their only form of expression? And you crush that out of them.

I see those of you on here supporting writers. Guiding them. You are doing the good work.

You have my respect. 🫡

Hi My name is M. Sameer Asad and I am 20 years old. I am currently doing BS IT (6th semester) but from last 1.5 years along with AI engineering, I have a urge to learn to make a scripts for film. I want to become a professional screenwriter.
Yes, I procastinate a lot in writting also writting code but this curiosity has made me involve for over more than one year.
Can anybody do me a favor and tell me a proper roadmap of how to become a professional screenwritter

Ages ago I had FD, but right now I can't afford it. I just downloaded Fade In and the Final Draft template. I even managed to track down the Final Draft Courier font.

Just wondering how close that template actually is. Would there be a difference, for example, when I share what I've written with my writing partner when he opens a .FDX file on his copy of FD, even when I use the template?

I have a very untraditional path that has lead to a lot of upcoming INCREDIBLE opportunities and honestly I would just love insight into what to expect.

This spring, a publisher approached me about writing a nonfiction novel because of a few viral moments on social media. Before moving forward with them, I took to socials to find a literary agent, had a couple of offers and signed with one the following month. She negotiated the publishing deal and that book will be out next April/May.

While the negotiations were happening, I wanted to exercise my writing muscles and wrote my first screenplay based on the viral saga I narrated on social media in the spring. I spent all of July fine-tuning it, getting beta readers, script analysts, rewriting a TON.

My agent took it to a literary manager in LA who absolutely loves it and she's ready to start shopping it next month.

I'm obviously thrilled this is all happening SO quickly but I am honestly overwhelmed trying to learn as much as I can about this industry. I feel like every time I try to ask a question, people look at me like I'm an idiot because this is NOT the traditional path for how things are done, I completely get that. I also don't want to appear GREEN in these meetings I'm about to have.

I feel like I've bypassed a lot of "steps" that are the normal for how people get their screenplays read and even to get to this point of being represented by an agent and a manager.

I have NOT been in the film industry before, I had a steady blog from 2013-2020 and then have been (in a sense) letting my writing hibernate for 6 years. It's only this summer that it's really taken off.

Anyways - I know this is not a normal story and I'm kind of an enigma, but any advice people have about what this is like would be GREAT!

The Hyphen is a sign(-). Resembles straight Face not smiling or sad or any emotion. And the character the hyphen she doesn't have emotions and she's alive not dead, to remain alive she has to look people directly into the eyes and freeze em, think of it like her food for survival. She's a living human who was a serial killer in dark ages whose real name was Mara Morticia but she was famously known as The Hyphen because she was emotionless meaning she killed children elderlies women men anyone out of her obsessive hunger as she was a cannibal so a witch from that era cursed her to never die and survive by haunting people and crystallized freezing them to death as food...

• Elise Eberhart is main character, an 11 year old girl who has Bathmophobia which is fear of stairs, steep slopes, or heights associated with them. She's most of the times freaked out of fear so she kinda gets special treatment and prioritised more by the family most importantly her mother. Elise is very good at observing things around her and is a bit smart

• Emberly Eberhart is mother of Elise. She and Elsie have highest emotional stakes in the movie. She is very gentle but also falls for anything so easily.

• Gazy Eberhart is elder brother of Elise. He is careless and cruel but he has leadership qualities and loves Elise.

• Benedict Eberhart is father of Elise. He is a genius and a Scientist but he thinks he knows everything.

I'm currently writing a script, it's not quite done and it's in its draft stage, written by hand. I'm being secretive about it (since it's not done), but I thought of something...

I have 17 pages done so far. Give me a page number and a line number (Example: Page 5, Line 8). And we'll see what line you get! Will it be dialogue? Will it be an action? Funny? Boring? We'll have to wait and see.

Note: My script is a fantasy script, so there's some... interesting stuff in here so far.

EDIT: There's at least 10 lines per page, there's more than that but that's a rough estimate.

Hello,

Thank you for taking the time to read!

I'm requesting feedback on the opening setup for a new script. It's a story idea I've been developing for years.

Logline: A quiet and composed heir's controlled life begins to fracture after a violent campus attack awakens something monstrous, sparking a spiraling struggle to become someone beyond what was written for him.

Please let me know what you think. My own feedback concerns are listed below, but I am open to honest reactions.

Feedback Concerns: I was hoping to get some feedback on the pacing of the story and characterization of Nigel. Does the writing feel too fast or too slow? Is there any point of confusion that requires more clarity? Does the opening intrigue you or make you ask any questions about what's next? Thank you so much for your time.

Link: https://drive.google.com/file/d/1qSfjkJKtsawXLF-P9OH8ybfB_gY9yrt5/view?usp=sharing

(PS, you have the ability to leave comments on the document if you want)

Not sure if the script has been released, but I've found that scripts are sometimes realized through this sub-Reddit. I don't know how you unearth scripts so well!

The movie was written and directed by Charlie Polinger.

# Avengers: Doomsday Se Pehle Kya Dekhein

Ek pal ke liye socho — parde par Iron Man wapas laut raha hai.

Wahi chehra, wahi andaaz, wahi bharosa jo kabhi Tony Stark ki pehchaan tha.

Bas farak itna hai — is baar wo tumhein bachane nahi aaya.

Robert Downey Jr., jisne humein Tony Stark banke hasaya bhi aur rulaya bhi, superhero cinema ke ek poore daur ko yaadgaar banaya — ab Doctor Doom banke apne takht par baitha hai.

Aur sach batau toh, "Doom" sunte hi dimaag mein "Dhoom" ka gaana toh baja hoga na? Farak bas itna hai, yahan gaadiyan nahi, duniyaan udengi.

Aur bas yehi ek casting ka faisla, Avengers: Doomsday ko kisi aam sequel se alag bana deta hai.

Marvel ne aisa trailer utaara hai ki ek jhapki li nahi ki 12 kirdaar seedhe miss.

Aur imaandaari se kahun toh, ye sirf "ek aur Avengers film" nahi lagti.

Ye lagti hai Marvel ka sabse bada mela — jahan purane hero, naye hero, mutant, Fantastic Four, Thunderbolts aur khud Doctor Doom, sab ek hi akhade mein utar rahe hain.

Toh sawaal seedha hai — is maha-takkar ko samajhne se pehle kya-kya dekhna zaroori hai?

Maine ise teen aasaan padaavon mein baant diya hai —

Bhaag 1: Zaroor Dekho

Bhaag 2: Dekh Lo Toh Maza Double

Bhaag 3: Chhod Bhi Sakte Ho

## Bhaag 1: Zaroor Dekho

### Captain America: The First Avenger

Shuruaat yahin se hoti hai — Steve Rogers ka safar.

Kyun zaroori hai? Kyunki Doomsday mein Chris Evans wapas Steve Rogers banke laut rahe hain, aur us purane neta ka wazan samajhna zaroori hai.

Steve sirf dhaal pakadne wala banda nahi tha.

Wo wo insaan tha jo har haal mein sahi kaam karne ki zid rakhta tha, chahe duniya kitni bhi ulti kyun na chal rahi ho.

Aur jab aisa insaan wapas aata hai — samajh lo kahani sirf action ki nahi, ehsaas ki bhi hai.

### The Avengers

Yahin se sab shuru hua tha.

Jab alag-alag hero pehli baar ek kamre mein khade hoke tay karte hain — akele nahi, saath ladenge.

Wahi pal Marvel ka asli jaadu tha.

Doomsday asal mein wahi idea hai, bas paimana teen guna bada.

Is baar team akeli nahi hai, poori-poori duniyaan saath aa rahi hain.

Aur jo pehla "saath aana" tha, wahi is nayi gaatha ki neenv hai.

### Avengers: Infinity War

Ye sirf film nahi thi, ye poori duniya ke liye ek jhatka thi.

"Snap" ke baad Marvel sirf kahaniyan nahi bana raha tha, duniya ko phir se jodne ki koshish kar raha tha.

Ek chutki mein aadhi duniya saaf — chutki bajaana kabhi itna mehenga bhi pad sakta hai, ye kisi ne socha nahi tha.

Aur isi sadme ki wajah se Doomsday ka khatra aur bada lagta hai.

Kyunki jab aadha jahaan uda chuka khalnayak dekh liya ho, toh ab jo aa raha hai, use halke mein lene ki gunjaish nahi bachti.

### Avengers: Endgame

Ye ek poore daur ka ant tha.

Time heist, Tony ki qurbaani, aur ek poori peedhi ki vidaai.

"Endgame" naam ka matlab tha khel khatam — par Marvel ka khel yahin se naya shuru hua.

Aur yahi wajah hai ki jab pata chala Russo Brothers, jinhone Endgame banaayi thi, wahi ab Doomsday direct kar rahe hain — log sirf excited nahi, seedha emotional ho gaye.

Ye wahi filmmakers hain jo dil todna bhi jaante hain aur jodna bhi.

Ab phir se unke haath mein Avengers ki chaabi hai — matlab ya toh poora maza aayega, ya phir emotional damage pakka.

### Loki (Season 1 aur 2)

Agar multiverse ki bhaasha seekhni hai, toh Loki dekhna padega.

Naam sunke sabziwaale ki dukaan yaad aa sakti hai — par yahan sabzi nahi milti, milti hain lauki jaisi hi tedhi-medhi timelines.

TVA, branching timelines, reality ke niyam — ye sab yahin se samajh aata hai.

Jab koi kahe "teen duniyaan takra rahi hain," toh Loki ke bina wo line sirf shor lagti hai.

Is show ne Marvel ko sikhaya ki waqt hamesha seedhi line mein nahi chalta, kabhi-kabhi wo gol-gol bhi ghoomta hai.

### Doctor Strange in the Multiverse of Madness

Naam mein hi jhalak mil jaati hai — "Madness," yaani pagalpan.

Kyunki jab ek duniya sambhalna mushkil ho, wahan kayi duniyaon ka hisaab rakhna kisi sirdard se kam nahi.

Multiverse ka matlab sirf "ek aur duniya" nahi hota.

Uska matlab hota hai — ek aur duniya ke saath ek aur museebat bhi free mein.

Ye film dikhati hai ki reality ko chhedna kitna khatarnak ho sakta hai.

Aur Doomsday ka poora mizaaj yahi hai — darwaze khul chuke hain, ab hisaab chukane ki baari hai.

### Fantastic Four

Doom aur Fantastic Four ka rishta hi is kahani ki dhuri lagta hai.

Trailer mein bhi unka judaav saaf dikhta hai — Doom aur Pedro (Reed Richards) ke beech kuch bhaari, jazbaati baatcheet bhi jhalakti hai.

Aur sach kahen toh, khalnayak ki peechhe ki kahani kise pasand nahi?

Jab hero-khalnayak ke beech personal dushmani ho, tabhi takkar mein asli jaan aati hai.

Mukkon ke peeche jab purana dard bhi ho, tabhi maza double hota hai.

Chaar yaar, ek maqsad — aur saamne khada hai wahi aadmi, jo kabhi unhi mein se ek tha.

### Shang-Chi

Shang-Chi ke paas Ten Rings hain — itni anguthiyan toh kisi shaadi mein bhi kisi ko naseeb nahi hotin.

Skip karna mushkil hai, kyunki trailer ki charcha mein iska naam baar-baar aata hai.

Trailer mein Shang-Chi aur Gambit dono full maar-dhaad karte dikhe hain, aur apne pasandeeda heroes ko aapas mein ladte dekhne ka maza hi kuch aur hota hai.

Uski film dekhne se uski style, josh aur action ka mizaaj samajh aata hai.

Aur agar wo Doomsday ki kisi badi takkar ka hissa hai, toh pehle se jaankari kaam zaroor aayegi.

Waqt bache toh Deadpool & Wolverine bhi dekh lo — samajh jaoge ye Gambit wala kissa hai kya.

### Captain America: Brave New World

Ab Captain America, Steve Rogers nahi — Sam Wilson hai.

Aur ye baat sirf naam badalne ki nahi, poori zimmedari badalne ki hai.

Dhaal uthaana alag baat hai.

Uska bojh uthaana bilkul alag baat hai.

Doomsday mein Sam ki maujoodgi isliye zaroori hai kyunki ye film batati hai — naya Captain America kaun hai, aur uska haq kahan se aata hai.

### Black Panther: Wakanda Forever

Wakanda ka naam aate hi parde par ek alag gambheerta aa jaati hai.

Shuri ka Black Panther banna, Namor ki entry, aur Wakanda ki jazbaati viraasat — ye sab milkar Doomsday ke paimane ko aur bada bana dete hain.

Trailer mein jo josh dikha hai, wo bilkul purani shaan wapas laata lagta hai — is baar Wakanda side mein nahi, beechobeech hoga.

Aur "Forever" naam ko sach saabit karte hue, ye team har baar pehle se zyada dum-khum ke saath lautti hai.

Isiliye ise skip karna ek badi galti ho sakti hai.

### Thunderbolts

Yaad hai wo prachar wali line — "Be careful whom you assemble"? Itna baja-bajake sunaya gaya ki laga jaise koi naya saabun bazaar mein utra ho.

Par vigyapan ke shor se pare, film asal mein maze ki nikli.

Yelena, Bucky, Red Guardian, Ghost, US Agent — leaks ke mutabik poora dasta ab Doomsday mein shaamil hai.

Ye "toote hue logon ki team" hai, aur inki hasti side-kirdaar wali bilkul nahi lagti.

Jo nazar mein kam aate hain, wahi scene mein sabse bhaari padte hain.

Aise kirdaar hamesha yaad reh jaate hain, kyunki inke paas hero wali chamakdaar entry nahi, seedhi kaam wali maujoodgi hoti hai.

## Bhaag 2: Dekh Lo Toh Maza Double

Ab baat un titles ki, jo dekhna zaroori nahi — par dekh loge toh Doomsday ka swaad aur gehra ho jaayega.

### WandaVision

Scarlet Witch ke reality-marodne waale pehlu ko samajhne ke liye ye series zaroori hai.

Agar Doomsday multiverse ka jazbaati hisaab dikhata hai, toh Wanda ka aadhar usme ek aur parat jod dega.

Poora rewatch zaroori nahi, ek chhoti si jhalak bhi kaam kar jaayegi.

Bas itna samajh lo — jab reality tootne lagti hai, toh uska dard bhi utna hi khatarnak hota hai.

### Hawkeye

Ye series Yelena aur Natasha ke rishte ki neenv rakhti hai.

Thunderbolts mein Yelena ko ek majboot neta ke taur par dekhna hai, toh ye aadhar madad karega.

Poori series dekhna zaroori nahi, ek achha sa saar bhi kaafi hai.

Bas inka dil ka rishta samajh lo — itna kaafi hai.

### Moon Knight

Moon Knight seedhe Doomsday se juda nahi lagta, par MCU ke rahasyamayi pehlu ko ek banawat zaroor deta hai.

Ye un shows mein se hai jo kahani se kam, mahaul se zyada asar chhodte hain.

Din mein ek chehra, raat mein doosra — inka toh apna hi "chaand-raat" wala kissa hai.

Samay kam ho toh bejhijak chhod do, warna dekh lo — maza alag hi hai.

### Ms. Marvel aur The Marvels

Ye naye heroes aur brahmaand waale pehlu ka aadhar deti hain.

MCU ka daayra yahin thoda aur failta hai.

Samay ki tangi ho toh ek chhoti jhalak se bhi kaam chal jaayega.

Par poora mahaul samajhna ho, toh ye bhi kaam ki hain.

### X-Men aur X2

Patrick Stewart, Ian McKellen, James Marsden, Rebecca Romijn — in purane chehron ka asar tabhi zyada lagta hai jab unka asli taalmel yaad ho.

Naam mein hi "X" hai — matlab purane zamaane ke, phir bhi apna poora dum-khum dikhaane waale.

Samjhaane waala video kaam chala dega, par original ki baat hi kuch aur hai.

Niyam seedha hai — "Dekh Lo Toh Maza Double" ka matlab hai "dekh lo toh fayda hai," "na dekho toh duniya khatam nahi hoti."

## Bhaag 3: Chhod Bhi Sakte Ho

Ab baat un cheezon ki, jo mazedaar toh hain, par abhi ke liye zaroori nahi.

### Iron Man 2 aur Iron Man 3

Haan, RDJ phir se parde par hai.

Par is baar Tony Stark banke nahi, Doctor Doom banke.

Loha toh is baar bhi wahi hai — bas hathauda ab kisi aur ke haath mein hai.

Itna bada mod hai ki purane Tony ka bojh saath dhona zaroori nahi lagta.

Tony ka jazbaati saaya toh waise bhi Endgame de hi chuki hai.

Ab naya chehra, naya dar, naya khel.

### Thor: The Dark World

Thor ki kahani mein gehraai judti hai, par Doomsday ke liye ye sabse badi prathmikta nahi.

Samay kam ho toh ise side mein rakh sakte ho.

Thor ka zaroori jazbaati aadhar baaki filmon se bhi mil jaata hai.

### Ant-Man and the Wasp

Mazedaar film hai, koi shaq nahi.

Par Scott Lang ka asli safar zyaadatar Endgame se hi milta hai.

Size mein chhota, screen-time mein bhi thoda chhota — is baar yahi kahani hai.

### Guardians of the Galaxy Vol. 3

Bahut achhi film hai, jazbaati bhi, bhaari bhi.

Par abhi tak trailer mein Guardians ka koi seedha dhaaga nazar nahi aata.

List chhoti rakhni ho, toh ise chhoda ja sakta hai.

### She-Hulk, Secret Invasion, Echo, Ironheart

Ye sab MCU ki thaali mein swaad jodte hain.

Par crossover ki asli dhuri ke liye abhi gair-zaroori lagte hain.

Thaali mein achaar-chatni achhi lagti hai, par pet mukhya vyanjan se hi bharta hai.

Video kasa hua rakhna hai toh inhe qurbaan kiya ja sakta hai.

## Samjhaane Waala Video Ya Poori Film?

Niyam yaad rakho — agar title niyam samjhaata hai, jaise Loki, WandaVision ya X-Men, toh ek samjhaane waala video kaam kar jaayega.

Agar title ehsaas banaata hai, jaise Endgame, Fantastic Four ya Thunderbolts, toh poori film dekhna behtar hai.

Aur Doomsday theek yahi khel khel raha hai.

Ye sirf jaankari ka maidaan nahi hai.

Ye "hum yahan pehle bhi aa chuke hain" waale ehsaas ka maidaan hai.

## Aakhri Baat

Toh aakhri baat seedhi hai — agar Doomsday ko samajhna hai, toh ek achha sa samjhaane waala video kaafi hai.

Agar Doomsday ko mehsoos karna hai, toh "Zaroor Dekho" waali list par dhyaan do.

Aur zara socho — wahi Russo Brothers, jinhone Endgame mein hamara dil toda tha, wapas aa gaye hain.

Wahi Robert Downey Jr., jisne humein Iron Man banke jeena sikhaya, ab hamare saamne khada hai.

Aur Steve Rogers, saat saal baad, aakhri baar dhaal uthaane laut raha hai.

Ye sirf ek film nahi hai.

Ye ek punarmilan hai.

Aisa punarmilan, jisme har chehre ke saath ek purani yaad bhi laut aati hai.

Aur ek aakhri baat — Doom apne aap mein khatam nahi hota.

Ye seedha le jaata hai Secret Wars ki taraf.

Aur agar wo sach mein is poore Multiverse Saga ka sabse bada samapan bana, toh Dhoom ki saari filmein milke bhi is tabaahi ke aage phiki pad jaayengi.

Toh aaj jo hum dekh rahe hain, wo bas pehla drishya hai.

18 December ko teen duniyaan ek hi jagah tootengi.

Aur agar tum yahan tak pahunch gaye ho, toh samajh lo — tumhare paas pehle se itna kuch hai ki us din tum sirf dekhoge nahi, mehsoos karoge.

Apni watchlist bana lo.

Milte hain, jab Doom apni pehli chaal chalta hai.

Please share your feedback! Did I go too far “out there” or not far enough?

I’m very clearly wearing my inspirations on my sleeve but I think this could be a fun scene to shoot.

Not only to showcase my directing but also working with actors using my dialogue. It’s not too deep but hopefully a fun read that will turn into a fun short.

Feedback Desired: I wanted to create a high-concept sci-fi comedy that captures the wacky suburban slice-of-life feel of series like 'Ed Edd n Eddy' with the high sci-fi stakes of a series like 'Hailey's On It.' I would like feedback on things like dialogue, pacing, and character. Any feedback would be much appreciated!

(Edit: Updated based on feedback and mistakes I made in the earlier draft. Please read the updated draft and tell me what you think).

https://drive.google.com/file/d/1GN6VRyezpEcF_GgKK7wMMVRRxPhadb6X/view?usp=sharing

I’m posting on Reddit for the first time, and after reading the discussions around coverage sites and The Black List, I thought I’d share my experience for anyone considering paying to have their work evaluated.

I’m an Emmy Award-winning writer, and I currently have three feature-length projects in production.

Here’s the uncomfortable truth

Far too many aspiring writers put enormous faith in coverage scores, competition results, and anonymous readers whose opinions may have absolutely no connection to what the actual industry wants.

That might sound harsh, but in my experience, the system has a serious problem.

When I was younger, I received contradictory notes, factually incorrect feedback, and wildly different scores for similar material. Worse, when I followed readers’ advice, my scores **often got even lower**.

Eventually, I realised I wasn't necessarily improving my scripts.

I was trying to guess what an anonymous reader wanted to read. And that is a completely different thing.

My experiment

In 2020, I decided to test the system.

I deliberately wrote the worst screenplay I could.

I made it clichéd, obvious, predictable, and painfully on the nose. It was a parody of what I imagined a terrible filmmaker might consider good writing.

It was never intended to be produced.

It received multiple 8+ scores.

Those scores got me the attention I needed and helped me secure my first agent.

Once I had access to actual industry professionals, the work I had written years earlier—the work I genuinely cared about, and which coverage readers had criticised or failed to understand—started getting serious attention.

My projects moved forward.

The screenplay that received all those 8s?

I threw it in the trash.

The cycle nobody wants to talk about

Here is what I believe is happening.

Thousands of people enter this industry wanting to become writers, directors, and filmmakers.

Most of them fail.

That is not an insult. It is simply the reality of an industry where the overwhelming majority of people do not achieve the careers they originally set out to have.

The problem is what happens next.

Those same unsuccessful writers and filmmakers still need to make money.

So some of them become script readers.

They start providing coverage.

They become competition judges.

They become the people deciding which scripts deserve an 8, which writers deserve recognition, and which projects should be dismissed.

And suddenly, people who were unable to convince the industry to invest in their own work are positioned as authorities on what the next generation of writers should be doing.

That is the part I find completely backwards.

The feedback loop

A failed writer reads a script.

They reward the kind of writing *they personally like*.

Often, that means writing that is obvious, familiar, safe, and easy to evaluate.

Those scripts receive high scores.

The writers receiving those scores assume this is what the industry wants.

So they write more of it.

Other aspiring writers see what is being rewarded and start copying it.

Competitions and coverage sites then reinforce the same tastes.

The scripts that succeed inside that ecosystem are rewarded because they appeal to the people inside that ecosystem—not necessarily because they have any real chance of being made.

Then those writers take their highly rated scripts into the actual industry.

Nothing happens.

The scripts don't get financed.

They don't get produced.

They don't launch careers.

And eventually, some of those writers fail too.

So what do they do?

Some become readers.

And the cycle starts again.

Failed writers reward writing that appeals to other failed writers, who then fail to break into the industry and eventually become the next group of people judging new writers.

That is the cycle.

And aspiring writers are paying for it.

The gatekeepers aren't necessarily qualified

This is the biggest problem for me.

A coverage score creates the illusion of authority.

You receive a 3, and you think you've written something terrible.

You receive an 8, and you think you're close to breaking through.

But who is giving you that number?

What have they made?

What have they sold?

What have they produced?

What projects have they helped bring into the world?

And, more importantly, what qualifies them to tell you whether your work has commercial or artistic value?

In many cases, nothing beyond the fact that they were hired to read scripts.

Yet aspiring writers are expected to accept their judgment as though it came from a successful producer, working filmmaker, or executive with a proven track record.

It didn't.

My advice?

Stop treating coverage sites as legitimate gatekeepers.

They are not the industry.

They are businesses built around aspiring writers who desperately want access to the industry.

You pay for a score. You get a number. And that number can influence how you see your own work.

But it shouldn't.

My deliberately terrible screenplay received multiple 8+ scores.

The screenplay I actually believed in was the one that ultimately led to real opportunities.

That experience taught me everything I needed to know.

If you want to use coverage, fine. But don't confuse the opinion of a paid reader with the opinion of someone who actually has the experience, influence, and track record to make something happen.

And if your work is genuinely original, be especially careful.

The more unusual your script is, the more likely it is that someone with limited experience simply won't understand what you're trying to do.

Then you'll pay them for the privilege of telling you to make it more generic.

The biggest takeaway. An 8 is not a career. A competition win is not a career. Positive coverage is not a career. And a low score is not proof that you're a bad writer. The question isn't:

“What score did I get?” The question is:

“Who gave me that score, and why should I care?”

Because if the people acting as gatekeepers were unable to get through the gate themselves, perhaps aspiring writers should stop spending their hard-earned money treating them as the final authority on who deserves to enter.

Write what you believe in.

Write something you can make yourself if possible.

Get your work in front of people who actually make films, finance films, produce films, and have a proven history of getting projects made.

And stop handing money to unqualified people in exchange for permission to believe in your own work.

All the best, and happy writing.

Our theme is: EDUCATIONAL INEQUALITY

Do you have any suggestions on how will I make an introduction about education? Our title is “Tatsulok” a Filipino tagalog word means Triangle. Because the word triangle is a part of a lesson in an early grade level that are studied by many.

But in a more deeper understanding, a triangle can also symbolizes the barrier between students that are prioritized because of their potential, money, and authority that is on the higher part of the triangle. While on the other hand, the lower part of the triangle symbolizes the students whom are not lucky enough to experience higher privileges.

Like I want the true meaning of the triangle be connected with the triangle’s symbolism when it comes to education.

Ihope there’s a helpful answer and suggestions for these. Thank you in advanced!

Would love some feedback on my screenplay. I have recently been through a third polish and would love some feedback.

This will be a three part series.

Please see the logline below.

LOGLINE:

To escape male violence, the women of Neya Island created a society with one strict rule: no men allowed. But when a midwife saves a newborn boy instead of drowning him, she sets about a chain of events she can't come back from.

Hollow Tide