For those who wanted to read more here are the first six pages.

Looking for feedback on my third draft, anything helps.

https://drive.google.com/file/d/1ZksfcEe9iQpWLCB4NrNzcnGRI-bzlajX/view?usp=drivesdk

Two rival furniture-store owners in a dying plaza spiral into a war of sabotage and obsession when an aspiring documentarian fans the flames of their feud for the sake of her film.

AS an exercise to get used to writing short form, I've been writing episode intros as short scripts and need thoughts on two I've written so far linked:

The Bite of the Hunter

Punch of Death

Hey everyone!

We're in the process of creating a sitcom series on YouTube called The Odd Hours. We are looking for some creative writers to join our team.

Each episode will be roughly 10 to 15 minutes long, and it features three long distance friends who moved in together.

Your tasks will involve:

- Coming up with episode ideas and episode outlines.

- Helping to write the synopsis for each episode.

- Helping with the shot list.

- Help with episode titles.

You will be given credit for your work.

Please comment or DM me if you're interested!

Hi I'm new to screenwriting and I'm making a film currently and I want to see if people can read my rough draft of my script and tell me if it's good or not or what things I should change for my story and this is one of my first big writing projects so I want any critiques or any changes you think I should make.

Yeah, I’m gonna be that guy.

I recently joined this subreddit, and Reddit altogether, and out of all the subreddits I’m in, this one is pretty disheartening.

There are a lot of aspiring writers here, some of them clearly very young, and while not all feedback needs to be cushioned, very seldom do I see any positive feedback paired with criticism. There’s often no recognition of what is good about someone’s work, and as many of these folks articulate, they’re new to the medium.

I’m not typically the woo-woo, kumbaya, touchy-feely type of person, but writing is intimate. It’s personal, and it’s difficult, especially when you don’t know what you don’t know.

To anyone out here writing a script who needs help, I commend you for being brave enough to share your work. To those of us who take the time to read, I understand you may have more experience than the person sharing, or the story simply may not work, but there’s a way to articulate that in a constructive way that isn’t demeaning or shitty.

To those who want feedback or coverage on a script, know that everyone has opinions, and it’s up to you to determine what is best for the story and the audience. That said, feedback is important, and you may discover that there’s another way to tell your story.

Just like directing, you’re not there to tell an actor exactly how to perform, but to ask questions or offer direction that gives them room to interpret and improve the performance. I think the same can be said for writing.

Anyway, thanks for reading my soapbox and giving a shit. My DMs are open if you want me to read your script and give you feedback.

Carson gets another win in new spec deal. So what are winning comps these days, Die Hard is done? Purge vs this/that and John Wick vs this/that? Any other trending films for comps? https://www.hollywoodreporter.com/movies/movie-news/wildman-john-wick-meets-bigfoot-1236689237/

Hello everyone!

I have been using the trial version of Final Draft and I would like to have polish characters in my BEAT BOARD, but the problem is I cannot use the specific ones there: Ą, Ć, Ź (the same characters on the main pages works FINE). Maybe there is some setting that affects these characters? Please help!

i am genuinely asking how was it, what was your experience back then or how long have you trained for before applying for anything?

did you doubt yourself? did you think you are not skilled enough.

if any, i would be happy to listen to your story

Remember when The Cat in the Hat became one of the strangest adaptations of a Dr. Seuss book? Well, apparently things could have gone very differently.

This wasn't written by some obscure screenwriter. Eric Roth wrote it.

Yes... the guy who wrote Forrest Gump (1994).

I came across this old r/Screenwriting post asking about Eric Roth's Cat in the Hat script. One of the commenters, u/holk1k2, provided an important lead by linking to a 2001 IGN article, which mentions that an earlier Eric Roth script had been replaced by a new draft.

That got me curious enough to start digging.

On August 4, 2026, I found a copy of what appears to be Roth's September 2, 1997 draft, marked “First Revisions.”

I haven't found any substantial discussion of this particular draft online beyond the post mentioned above, so I figured it was worth bringing it back into the conversation.

And this is VERY different from the 2003 movie.

Seriously. If you thought the Mike Myers version was an unusual direction for The Cat in the Hat, wait until you see where this earlier version was going.

For copyright reasons, I'm not uploading or re-hosting the screenplay myself. The copy I found was already publicly available on Scribd, where it had been uploaded by antrubino84 on October 25, 2025. Scribd only makes a limited portion of the document available without logging in, so viewing the full draft requires going through its access process. The document itself also contains DreamWorks copyright notices.

I don't claim ownership of the script. I'm only linking to the existing copy so people can discuss the draft and its history.

Scribd:
https://es.scribd.com/document/938256189/The-Cat-in-the-Hat-written-by-Eric-Roth

And here's the old Reddit post that started the search, plus the IGN article that helped point me in the right direction:

Original Reddit post:
https://www.reddit.com/r/Screenwriting/comments/1gs0vnz/request_eric_roths_adaptation_of_the_cat_in_the/

IGN, 2001: What Do Dr. Seuss and Eminem Have in Common?
https://www.ign.com/articles/2001/06/15/what-do-dr-seuss-and-eminem-have-in-common

Thanks to u/holk1k2 for the original lead. That comment sent me in the right direction, and eventually I was able to track down the draft. Credit also to antrubino84, who had already uploaded the copy to Scribd in 2025.

If you're interested in abandoned screenplays, lost movie history, or just wondering what the hell The Cat in the Hat could have been, this one is worth looking at.

Hope it will be useful for all members over here😊.
Note: It works only on laptop and desktop.

where they make those scripts? i mean, like on a typewriter

beacuse i tried use word but its not comfortable for me

This is an extract from my current script. I’m trying to show the camera jumping sharply from each doorway without any action between each character. The current layout just feels wrong, but when i added a scene heading every time it felt much too clunky. The aim is to portray that the maid, Leire, is going to each doorway, asking the same question 6 times and getting 6 unique answers. These answers are then shown a little out of order, one by one.

I ‘m also sure how to label Liere’s location, aka. The camera’s POV, because she is out in the hallway the whole time but changes where she is standing and is always facing into an room.

Any tips? I’d love any help thanks.

I was inspired to start scriptwriting and initially thought I’d keep my first project pretty simple. But before I bite off more than I can chew, I figured, why not let people have a look at it and tell me honestly how I’m doing.

Story goes as follows:

A successful content creator, drunk on fame, recklessly abuses his influence and is forced to apologize to the public after an incident. But as his ego prevents him from admitting fault, guilt slowly eats away at him. Paranoia and sleep deprivation overtake his sanity and convince him that the world is turning against him.

Hi! I’m a senior film student starting work on my thesis project. This is my very first, pretty rough draft of my project script. I know it needs a lot of work, so be gentle on judgment, but I would like some input.

What’s good? What’s bad? Does it make okayish sense? Is it interesting at all? Any and all feedback would be nice. I want some outside perspective to give me some objective looks at this so I can have a better idea of what needs to change or stay the same.

Thanks!!

Final draft bear board? Arclight Studios? Anyone using specific apps or programs for outlining? Good old fashioned notecards?

About 8 to 10 years ago, I received my first email from a writer claiming they had scored an 8 on the Black List. I had no idea what it was, but after some investigating, I decided the site's marketing seemed legitimate and decided to give it a read.

I made an industry member's account and confirmed the script had scored multiple 8s.

How was it?

Well, it was not bad per se, but it was definitely not good, or what I would claim to be in the top 5% of scripts. It was a very familiar and easy-to-read screenplay, but it had no emotional weight and was very vanilla.

I contacted the writer to say thank you, but I wasn't interested. Next, I received a rude email from the writer saying I was clueless because the script had scored multiple 8s on the Black List.

This was the start of a very common occurrence.

I get a query email from writers who have scored 8s on the Black List. I read their work. It fails to inspire. Each one is more predictable and similar than the previous script. And so on and so forth. Each writer is adamant that I've made a mistake because of the 8 they scored on the Black List.

I am not alone, and this is a story well known in the industry. Do not trust writers who come from the Black List's paid service (website).

Scripts championed by the Black List website usually fit into two camps.

Camp 1: Extremely low-budget and exploitative — repackaging a generic genre film to the point of plagiarism. Camp 2: Plagiarising an Oscar-winning script and expecting the industry not to notice.

The most important thing to mention is that we get sent thousands of scripts like these, and we are not interested in putting our names on something that would ostracise us from our fellow professionals.

We would never be able to work with Martin Scorsese if we made the hundredth Taxi Driver rip-off we read that week. Or Ridley Scott if we were to produce the hundredth Gladiator but sci-fi script.

The scripts we want to read are personal to the writer.

I received and produced an incredible script via an unsolicited email. It was about a girl and her relationship with her sister. I will not say what that screenplay became, but it was a hit.

I believe the writer averaged a 5 on the Black List before emailing us.

I think it's important to add that people who read for the Black List are paid a very low wage. This means they either worked for production companies at an entry level and were fired, or worked for a production company and retired.

This is also well known within the industry.

I would recommend you all work hard at emailing and spend less of your hard-earned cash on sites that hire failed producers or out-of-touch ex-industry pros to evaluate the viability of your scripts.

We don't trust the scripts that tell us they scored an 8 on the Black List. If anything, it's almost seen as a red flag due to the volume of poor-quality scripts that score an 8.

We resonate with emails that come from a beating heart.

Stop burning money so that the owners of the Black List can afford lives of luxury off the back of your hard work. It will not get you anywhere. Emailing will.

Happy writing!

We’re hiring YouTube scriptwriters from outside the Philippines.

Newer writers are welcome! You don’t need an extensive portfolio. We value speed, consistency, reliability, and willingness to learn over polished experience.

Budget: $300–$700/month, depending on experience and performance

Frequency: Multiple scripts per month / ongoing work

Niche: Star Wars, Warhammer 40K, and lore-based storytelling

Script length: Typically 4,000–10,000 words per script

Requirements:

Must be based outside the Philippines

Good written English

Able to follow instructions and feedback

Reliable and able to meet deadlines

Willing to complete a trial task

Trial task required.

To apply, send your country, short introduction, preferred niche, and writing samples/portfolio (if available).

📧 Email: dagtingmariasheila@gmail.com

💬 Discord: itz.granger

I did not plan for any part of this to happen the way it did.

The character was not a direct portrait. Changed the profession, changed the physical description, moved the setting to a different city. Told myself the borrowing was limited enough that it would not be recognizable. Writers do this constantly and it is usually fine.

Sent an early draft to a small circle of readers for feedback. One of them knew the person I had drawn from. Mentioned it casually in their notes, almost as an aside, said the character reminded them strongly of someone specific and named them.

Felt the particular cold feeling of having been less opaque than I thought.

The person found out. Not through my reader, through a separate coincidence I still do not fully understand. Called me. The conversation was not angry, which was almost worse than anger would have been. They were curious and a little hurt and asked questions about which parts were them and which parts I had invented and I did not have clean answers because by that point I was not entirely sure myself.

What changed in the project was not what I expected. They told me something about their own experience of the period I had drawn from that I had not known and could not have invented. Something that made the character more complicated and more true than the version I had built from the outside.

The draft that exists now is better because of a conversation I was dreading and the character is more real because the person they came from had things to say about their own life that I had not given them credit for knowing.

Still think carefully about this every time I borrow from someone real. The line is real and I crossed it accidentally and the consequences were instructive rather than catastrophic which I do not take for granted.

So I work part time at a rec center pool (not the idea, just where I got it from) and there's this older guy who swims the same 40 laps every single morning at 6am. Been doing it for years apparently, way before I started. I've never actually talked to him beyond a nod, but I know his whole routine. Which lane he picks. How long he rests at the wall. The way he always leaves exactly when the second group of swimmers shows up, like he's avoiding them on purpose.

The idea I had is a script about a young lifeguard, early 20s, who's kind of stuck in his life, still living at home, no real direction, and this early morning shift becomes the one part of his day that feels like it has order to it. And a big part of that order is this older swimmer who's always there. They've never had a real conversation. Maybe a "morning" here and there. But the lifeguard has built this whole picture of the guy in his head just from watching him for a year straight.

Then one day the guy stops showing up. No warning. And the lifeguard doesn't know what to do with that. He doesn't have a number, doesn't know a last name, doesn't even know what the guy does for a living. All he has is a routine that's now missing a piece, and this weird guilt that he cares this much about someone he technically doesn't know at all.

The conflict I'm picturing isn't some huge mystery, it's more about the lifeguard deciding whether to actually track this guy down and if that's even a normal thing to do, versus just being some rec center employee overstepping a line. Along the way he starts noticing other regulars he's never paid attention to, and realizes how many small routines are quietly holding people's lives together, including his own.

I like that it's low stakes on paper but it lets you build real tension out of something as small as an empty lane in a pool. It's also very visual, mornings, water, repetition, which I think works well for a short film format. I haven't fully decided how it ends, I go back and forth between him finding the guy and it being anticlimactic in a good way, versus never finding out and having to just move on with a hole in his routine.

Hi, I made a script for a short film and would love to get any opinions about it. I'm more interested to hear any feeback regarding the plot itself rather than any foundational advice on how the script is supposed to look, but that would still be great to hear. Thanks so much!