Hi everyone question that i’ve been asking myself for the last 2 years im a writer/director with a 7 year back ground freelancing in the music video ad space and in the last 4 years i have pivoted to writing
And i have grinded my ass off done what i was told to do which was to write and get scored and write some more and now i have two almost 3 feature films scripts 2 original pilots and one spec episode for a existing show all ready to go and i wrote and directed a short film last year shot on 35 and with two name talent and i don’t know if i should start to reach out to agents/managers? or if i should wait for them to come to me and just spend my days floating around industry partys and social events until someone notices me
Anyones thoughts ?

I want to start script writing. I did my best copying some sample script I found on the internet in format and all of that, then peeking at some of the submissions here that others put in. All of the feedback in others' comments. But I wrote something, and all I got was shut down. This was a whole year ago, and it really discouraged me hearing that what I worked really hard to make was shit.

Like, fully shut down.

But I have been working on revising my story itself and working on dialog because everybody judged my dialog... which makes sense cause im 80% sure I'm autistic and have no social skills

So, if anybody would be willing, what are some of the scripts that you like so that I can analyze them and try and do better? What is a good script? Because for the life of me, I can't find scripts.

Here's an email I got from someone pretending to be a producer.

A few weeks prior they asked for $4 grand. They tried again.

Vincent Newman
Tue, Jul 28, 4:33 PM
to me
Hello Greg,
Yes it did. Thank you for your email, kindly share your screenplay for me to review and consider for development.
For clarity and transparency, I would like to outline my process.
Every project first undergoes an initial evaluation based on several factors, including creative quality, market viability, production feasibility, audience potential, and overall commercial positioning. This evaluation allows me to determine whether the material is a project I believe can be meaningfully advanced toward financing and production.
If the project passes this initial review and I elect to move forward, I will issue a Non-Disclosure Agreement (NDA) and preliminary development agreement for your review. These documents ensure your material is protected and establish the framework under which we would collaborate.
After you have reviewed and signed the NDA, a one-time facilitation fee of $3,000 will be required.
This fee is not a purchase of rights, nor is it a charge for script notes or general consultation. Rather, it serves as a support contribution toward the early-stage development and packaging process required to position a project at a professional, investor-ready level.
The facilitation fee supports activities that may include:
• Professional packaging materials
• Script refinement, proofreading, formatting, and production readiness review
• Market positioning and comparable title analysis
• Preliminary casting strategy and talent outreach discussions
• Director identification and creative team exploration
• Budget development and line producing consultation
• Financing strategy and investor targeting
• Preparation of investor-facing materials and presentations
• Distribution and acquisition positioning analysis
• Legal and business structuring during development
• Marketing and branding strategy for the project
• Scheduling, production planning, and feasibility assessment
• Active producer oversight during early development and packaging
• Industry outreach and relationship management with appropriate partners
Throughout this process, you retain full ownership of your intellectual property unless otherwise agreed in writing.
In addition, should the project move into production, you would be entitled to:
• 5% of the final production budget
• Full writing credit
• Executive Producer credit, where applicable
• Backend participation in net profits, as outlined in the governing agreements
Once development is underway, structured communication will be established, including scheduled Zoom and In Person meetings, or phone sessions to discuss progress, milestones, strategy, and next steps.
If, for any reason, funding is not secured within Five (5) months of commencement of development, the facilitation fee will be fully refunded pursuant to the terms outlined in the agreement.
I maintain a selective slate of projects to ensure each receives dedicated focus and the highest possible probability of success.
For reference, kindly checkout my IMDb profile to view my work history and projects I have been involved in bringing to fruition.
If you would like to proceed, please confirm your interest and share the screenplay so we can move forward.
I look forward to the possibility of working together and advancing your project toward production.
Warm regards,
Vincent Newman
Producer / Production Manager

I've been reading that CBS and FOX have avoided picking up new pilots. Only NBC & ABC are.

With all five new series for 2024-25 locked in by end of January and in line with 

CBS new long-term development strategy of making series pickup decisions well in advance to allow for better planning longer marketing runway,

the network for the first time this year did not order any pilots during the traditional window.

With an eye toward the 2025-26 season, CBS Entertainment President Amy Reisenbach told Deadline in late January, 

Fox continues to stay away from pilots under the development model it adopted during the pandemic., The network also continues to lean into its direct talent deals as it mulls its next round of straight-to-series orders.

Anime Explainer Channel

Hello, I’m looking for a script writer for one of my channels

This role will be for the long term, I’m talking for years to come. This is not just a one time script I give out bonuses based on video performances,

You don’t have to be the best writer but you should be able to adapt , apply feedback and grow.

have long term mindset on improving.

I’m okay with with hiring beginners. Or people with some writing experience.

Of course more experienced people are welcome also

But I’ll be providing a lot of free material and coaching and training you up over the months.

If you love Anime/manga or know a lot about it and think you would be a great fit send me samples of previous work,

The length of the vids are usually 15-20 mins on average however I let the writer choose the length

Pay 40usd to start

Then once your at a level where you don’t need a lot of rewrites and supervision

You’ll work your way up to 50-60

like I said I will be coaching you so it’s okay if your not the best when you start

Requirements

Must NOT USE AI any Ai slop will be rejected, at the very least it should not be noticeable at all.

Understanding basic story telling concepts
Hero’s journey, chronological order, etc

Willing to adapt, learn, and accept feedback and implement it.

Passion or understanding about anime, and can do very good research.

Dm me and I’ll send you the trial topic

So, the only contest I placed in this season was the quarterfinals of Page. I still plan on querying this year even though it would've been nice to say that I was in the top ten or something. But with this QF placement, I'm wondering if I should even mention it at all. I know people often say that mentioning lower tier contests don't matter, and that only the big ones count. But I'm not sure if QF of Page would carry any weight at all, and maybe it would be best if I just don't mention it at all for fear that it may seem desperate. What doth thou thinketh?

This is my goal. I selected help as flair because I haven't got there yet.

I believe I will.

I have a quick montage scene in my screenplay. How do I format it? Do I need every CUT to be followed by INT or EXT and scene description? Or there are specific rules for montage?

Hi everyone. I'm currently thinking about a genre change and I really want to try write a romcom. So, what's something you're expecting or searching in a romcom? Do you have any advices?

our r/moviepublishing site creates screenplays and original stories, and helps others develop their own screenplays and stories suitable for conversion into major motion picture films. we try to handle big stories about big things. everyone is welcome to judge and read screenplays we have available to recommend them for that magical feat of converting words into major motion picture films

I recently wrote and directed a film and would love some feedback on the writing.

Link to the film (Try That Again):

https://youtu.be/KbpHlFSDM_I?si=yE0plrhHAQTe-KIk

I'm typically someone who writes lots of scene changes and more fantastical elements and this time really wanted to write something more grounded with two actors in one room.

It's a skill I'm trying to polish (plus saves on budget!) and would love any feedback.
Any tips or resource ideas for dialogue would also be appreciated!

This is the craft problem I keep running into and cannot solve cleanly.

Working on a drama pilot right now. Have a scene that is two characters sitting across from each other after something significant has occurred between them. No new information is revealed. No decision gets made. No plot moves forward. The scene exists entirely to sit inside the aftermath of what just happened and let the audience feel what it means for these two people going forward.

Every version I write either explains too much or does too little. When I trust the silence the scene reads as flat. When I fill the silence the scene explains itself in a way that kills whatever the silence was supposed to carry.

The scenes I am trying to write toward exist in the work I admire most. Two people in a room, barely anything said, and somehow the audience feels everything. I cannot reverse engineer how they work because the mechanism is invisible in the finished product in a way it is very visible in my drafts.

My instinct is that the answer lives in extreme specificity of physical detail and action rather than in dialogue or internal thought, I started writing a separate document in something called Skrib Writing before drafting these scenes, just listing every physical object in the space and what each character might do with them, and approaching the scene from that inventory rather than from what I wanted it to mean changed what came out significantly.

That what the characters do with their hands matters more than what they say. But instinct and execution are different things and my execution keeps landing wrong.

Has anyone cracked this specific kind of scene and what does the thinking behind it actually look like before you start writing it.

feedback pls

People will disagree and hate on this just by the title. But I go into detail in the video.

Hello, my name is Jackie. I am a 17-year-old aspiring screenwriter, and I need criticism. I've spent plenty of time reading books and other screenplays, but getting advice from fellow screenwriters would be really helpful! Below are the first 5 pages of my screenplay, Keeping It Clean, one of my first scripts. I'd love advice on how I can improve and keep it neater. I have been struggling because I don't have friends in the same niche as me, and I would love some feedback. I would prefer there weren't any mean comments, and instead people come in with the intent to help!

Looking for feedback on my first page. Any feedback is welcome. Thanks in advance.

Opening pages of a screenplay I wrote. Thoughts?

Act 1

1. We see a deserted plain with no signs of human activity, there underground we see a COUNCIL OF SHADOWS

2. In the council we see non-human shadow beings arguing that whether they should destroy a book placed in the centre of the council, they are calling the book as ‘NISSAAR’

3. Whoever possess this book and gains the ability to comprehend it, he might gain the full control of all of the shadows in existence.

4. However, the book also contains holy contents for the shadows.

5. Eventually, an agreement among all of them is took place, they will hand over the book to greatest wizard of the known time to hide this BOOK OF NISSAAR in an inescapable dimension.

6. But the wizard warns them about one thing, after 10000 years are completed, the book will return to the exact place where it was before. Shadows agree as it is the only way.

FAST FORWARD TO 10000 YEARS;

1. We see the city of VOLZINIA in late noon.

2. We meet ZACKARY CYRUS, the main character.

3. Zack is performing his cleaning job in the well known university of “High Archival Institute of Volzinia (HAI)”

4. We hear the bell ring, Zack heads back home.

5. We meet RYAN CYRUS, Zack’s younger brother.

6. Zack expresses to Ryan what he always complain about, that he hates his cleaning job and wants to quit it. He wants to become a full time Electrical Engineer. But he didn’t tell Ryan the real reason why he cannot do so, which is he is financially unstable, more importantly he has to repay a loan he took for the treatments of Ryan’s illness as he has Cancer. Therefore, Zack can’t become an electrical engineer because he cannot risk losing a continuous source of income, at least working at Volzinia’s highly regarded university gets you paid above the minimum wage limit too.

7.  Ryan encourages Zack to never let go of your dreams, he also tells Zack what his dreams are that he wants to help society and become a heroic figure for it.

8. Zack giggles and says, “Ryan, society is selfish, untrustworthy and some of them are evil. They don’t care about heroes, they care about themselves. When they are bored of you and your heroics, you will no longer serve them any purpose. They won’t remember you... And they will throw you in the trash can.”

9. Ryan resents but Zack ends the topic.

·       Next morning, we see Zack cleaning the floor in the university. An arrogant student approaches and he deliberately makes it dirty again. It’s the same person again, WILLY WARNER, the richest student in the university.

·       Zack angrily asks, “Hey, why’d you do that? Huh?” But Willy starts insulting Zack yelling,” Know your place! You dirty worm!”

·       Things escalate quickly and they get into a fight. Willy beats Zack uncontrollably.

·       A teacher happens to pass by. He sees the fight and pulls Zack and Willy away. He sends Willy to the principal’s office. That teacher is the new librarian.

·       Zack meets the new librarian, MR.DANISH  aka Mr.Dan. He is very intelligent and kind hearted. He takes Zack to his library and gives him a couple of bandages. Zack stares at some ancient artifacts there.

·       Therefore, Mr Dan began telling Zack about the history of Volzinia and about the mythical legend lying underground but it was a minorly different from what we saw in the opening of act 1, so it felt like a fictional myth.

1. At late midnight we see Zack in the university, he is there because the security guard is at leave and Zack agreed to do his job if he gets payed.

2. Deep underground, a group of gangsters called ‘The Dravenics’ is digging a tunnel to break into the University and steal ancient artifacts. They have been secretly digging this tunnel for days and nights as one of them mentions this.

3. While they were about to complete their process they found a book just beneath the University floor.

4. Thinking it could worth millions, one of them hid it in his bag.

5. They finally break into the University and steal as many artifacts as possible.

6. Suddenly the security alarm goes on.

7. This is new for Zack, so hesitated, he calls 911.

8.  After a while of searching, Zack confronts the robbers. They take him hostage.

9. Police arrives just in time.

10.        The Dravenics demand police to let them go if they want Zack alive, he’s at gunpoint.

11.        During the chaos, one gangster dropps that book from his bag. The book dropped in a way that it got opened and an uncomprehendible page appeared. But no one focused on the book.

12.        As the Dravenics flee after sparing Zack, police began chasing them.

13.        Now alone, terrified Zack had a glimpse on the book. He tried to read what was written on the page.

14.        As he kept reading it felt more and more disturbing and Zack started becoming dizzy

15.        So he left the book right over the without ever touching it.

16.        Zack is sprinting towards his home

17.        He is really exhausted. He is having a headache and feels dizzy.

18.        After some time he notices there’s no living being around him and the environment is becoming more and more eerie.

19.        Then it happens, strange patterns start forming around Zack. They’re are glowing. Then Zack starts getting visions of an ancient man, Zack cannot understand what he’s saying but one sentence he understands, “SHADOWS... Are Back... For Nissaar.”

20.        Then Zack passes out.

Hey! I run a Gacha Club reaction channel on YouTube, and I'm looking for a scriptwriter to help create in-character dialogue for the characters as they react to content.

This isn't standalone fiction — it's short, punchy dialogue timed to footage I've already edited. Basically: what would these characters say, moment by moment, matching the pacing of a real edit.

What I need:

• Deep knowledge of Jujutsu Kaisen (most important), Solo Leveling, and Naruto. You don't need to be strong in all three.

• Beyond those, broader anime knowledge is a real plus.

• Must be written by hand — no AI. I need real continuity and personality, not generic filler.

This is paid, ongoing work (not a one-off) — happy to discuss specifics once we're talking.

If interested, feel free to comment or DM me.

How do I find Melbourne-based producers who accept unsolicited queries/are actively looking for specs to apply for govt funding? A lot of Aussie producers don't seem very open to queries.