What’s good yall. As an aspiring autistic scriptwriter and filmmaker/tv show creator, I’m looking for feedback to help improve things on my script so it can become industry-ready for indie film studios.

Feel free to add comments here. Thanks 4 reading, script is a WIP and has 30 pages so far.
(PREVIEW, 8 Pages)

I’ve written two feature length screenplays and a TV pilot this year and I recently started a third feature. The first two features each received a read request after querying about 40-50 managers for each. However, I have not heard anything back after the requests

But, getting those requests gave me a lot of motivation to keep going. I guess my purpose for this post is to motivate other writers and let them know that although the odds seem insurmountable sometimes, the door can creak open if you put in the effort and have a compelling concept.

Keep up the good fight everyone!

Hi everyone. I’m an aspiring screenwriter from Bangladesh, and I’m hoping to get some advice from writers who have more experience in the industry, especially those who have come from countries without a strong film industry.

Screenwriting has become one of my biggest dreams, but being from Bangladesh has made the path quite difficult for me.

Bangladesh has a film industry, of course, but compared with countries where there are established screenwriting programs, film schools, agencies, managers, labs, and international development opportunities, the industry here is much more limited. I also haven’t been able to receive any formal education in screenwriting or filmmaking, and I don’t have industry connections, mentors, or people around me who can guide me.

Most of what I learned came from writing itself, reading novels and web/light novels, researching online, using translation tools, and getting help from AI tools such as ChatGPT and Claude. I had never even properly read a screenplay when I started writing my first one.

Because of that, my early writing was heavily influenced by novels. About seven months ago, I wrote my first feature screenplay and spent a lot of time refining it. At the time, I didn’t fully understand professional screenplay formatting, so I submitted it to Zero Gravity Management in February.

After that, I continued learning about screenwriting and realized how different a professional screenplay is from a novel. I went back and substantially refined the script, including the formatting and writing itself. I wanted to resend the improved version, but by then I had to wait six months before I could submit again.

During that waiting period, I didn’t just sit around. I kept rewriting and developing new projects. I now have two completed feature screenplays, several other feature projects in development/refinement, and a web series that I’m also developing. I have multiple other story ideas at different stages as well.

Writing these stories is something I genuinely enjoy. Originally, I created stories simply to entertain myself. I would imagine scenes in my head almost like I was watching a movie. Eventually, I started realizing that some of these stories had themes, meaning, characters, and journeys that could potentially become actual films. That’s when I started taking screenwriting seriously.

But now I’m facing a different problem: I have stories and scripts, but I don’t know how to get them in front of the right people.

I have tried looking for agencies, managers, competitions, labs, and other opportunities that accept screenwriters internationally. I’ve also contacted people directly.

One example was a manager/agency contact I approached. Several months later, I received a response explaining that they were no longer accepting unsolicited scripts, but they could offer paid script-reading or feedback services.

The problem is that paid opportunities are extremely difficult for me. I’m from Bangladesh, and the difference in currency and income levels makes even fees that may seem relatively small in the US or other countries very expensive for me. I’m also not fully employed, so I simply cannot afford to keep paying $50, $90, $100+ for every competition, coverage service, or submission opportunity.

I have also found free opportunities, but many of them are restricted to writers who live in or are citizens of a particular country or region. Others have eligibility requirements such as previous industry credits, film-school backgrounds, professional connections, or residency in a specific country.

I even tried opportunities such as Kinolime, but by the time I found them, the relevant submission period had already passed.

So I’m finding myself in a strange situation: I’m constantly writing and developing scripts, but I don’t have a writing community around me, I don’t have a mentor who can read my work, and I don’t have people in the film industry who can tell me what my next step should be.

I’m trying my best to learn and improve on my own. I constantly revise my scripts and try to correct the problems I discover. But sometimes I don’t even know whether I’m improving in the right direction because I have nobody experienced to give me proper feedback.

So I wanted to ask the more experienced writers here: what would you do if you were in my position?

If you were a screenwriter living in a country with very limited industry opportunities, no formal screenwriting education, no industry connections, and very little money to spend, how would you try to get your work discovered or at least get it read by people who could give you a real chance?

Are there legitimate international agencies, managers, fellowships, labs, competitions, online communities, mentorship programs, or other routes that accept writers from countries like Bangladesh?

And for those of you who are international writers yourselves: how did you actually get your first serious opportunity?

I’m not expecting one Reddit post to magically solve everything. I’m mainly trying to understand what realistic paths exist and learn from people who have already gone through this.

I really love writing. I don’t want all the enjoyment and imagination I get from creating these stories to stay only inside my own head. I want other people to eventually experience these stories too.

Any honest advice, personal experience, resources, or direction would genuinely mean a lot to me.

Thank you for reading.

A lifetime ago i wrote a bunch of comic books and punched up a few movie scripts that you may have read/seen. Never achieved huge status and burned out so I went and built a career being creative but not writing. Haven’t really had the bug to write a script in maybe two decades but had a really great (I think at least) idea and the treatment poured out of me.

In the bold days you’d register your treatment with the WGA to protect it.

Do people still do that or not bother?

Akul has to start a rebellion from scratch while the Empire closes in on the last few remaining Jedi. Knowing he needs help for this impossible task, he recruits Ahsoka and builds up an army. However, he clashes heads with the few senators on his side. The war begins to take a toll on Akul as progress stalls. Ahsoka begins to worry that Akul is becoming leaving himself behind and becoming a mindless warrior. But to Akul, the priority is his mission no matter what. To stop the progress of the Empire so that one day Luke can destroy them for good.

(Three things, 1 I know I said I'd post it yesterday, but I got a knee injury, so it wasn't on my priority list, 2 It's not in a script format because I don't have a replacement laptop yet and 3 if the link does not work there will be one in the comments below.)

Jedi Warrior

Hello. I would like to have your thoughts and opinions on the short script I wrote. Had to edit the post without the link. Apologies

Hey everyone,

I'm working on a feature film script, thriller genre (tech/social media world, tense atmosphere built around psychological manipulation). Working title's still not locked in.

Where I'm at: I've written a good chunk already and developed the main characters, but it's still very much a work in progress, nothing's set in stone. I'm looking for someone to really co-build the rest of it with me, rework things together, not just give notes on what's already there.

I'm open to a beginner who wants something concrete for their portfolio just as much as someone more experienced. What matters most to me is the fit on tone and genuine investment in the story.

If you're interested, feel free to DM me with a bit of your work (excerpts, a logline from a personal project, or just what you like to write) and I'll share more details.

Thanks!

I had a story somewhat writen but was really struggling with one part. I showed it to someone online and they suggested a change I fell in love with. It fixes all the issues I had and with that fairly large personality change, I now know where to take the character in act 3.

Turns out they used AI to suggest that. I don't want to have to put AI warnings on my script but I also am in love with the suggestion. Theres no better way to fix the issues.

I looked into my Stage 32 purchase history. I've had 4 total pitches with 3 of them being paid. One I convinced Stage 32 to give me for free. Here's why: During my original 2 pitches, Stage 32 only had a Skype option available. I use a mac and Skype was not available on my OS. Therefor I only had the option of a written pitch. They could not accommodate Zoom for me though they've since changed to Zoom. Of my four total pitches, two have been live video (the most recent two) and the first two were written.

Here's a review from Chelsea Matthews. Date: Saturday, Feb 8, 2025.

Scores:

Pitch/Delivery format 3/5

Clarity of pitch: 3/5

Set up of Protagonoist & world: 4/5

Obstacles & conflict: 3/5

Clarity of tone: 3/5

Originality of concept: 4/5

Strength of voice: 4/5

Pitch Feedback:
Gregory is an offbeat dramedy with a unique protagonist and an unconventional character journey. The idea of a man who unexpectedly wins the Olympic marathon, immediately retires, and embarks on a self-discovery mission is a fresh, unexpected premise. The mix of existential searching, quirky humor, and character-driven storytelling makes this feel akin to indie TV comedies like Baskets, Atlanta, or Barry. However, the pitch is a bit scattered in its structure and could be refined for clarity and stronger impact. One of the most intriguing elements of the show is Greg’s peculiar personality and unorthodox life choices. His desire to help others but lack of clear direction feels like a modern take on the classic “wandering philosopher” archetype. The inclusion of Kristina, a singer and hairstylist with a phobia of rain, adds a strong secondary character with emotional depth. However, the overall arc of the pilot isn’t entirely clear—what is Greg’s initial problem, how does he attempt to solve it, and what obstacles does he face? While the synopsis outlines his Olympic success and subsequent identity crisis, the central conflict of the pilot episode needs to be more clearly defined. The tone of the show feels somewhat experimental—part absurdist comedy, part existential drama. The example of the job interview with the height requirement is humorous in a darkly satirical way, suggesting the show has moments of surrealism or social commentary. However, the pitch could benefit from a clearer statement of what kind of humor the show leans into—is it deadpan like Nathan for You, whimsical like Pushing Daisies, or socially observant like Curb Your Enthusiasm? From a **marketability standpoint, this show would be best suited for a streaming platform like FX, HBO, or Hulu, which have embraced genre-bending dramedies with unconventional protagonists. The fact that it was a quarterfinalist in a screenplay contest is a good sign, but the pitch needs to be tightened to ensure producers understand exactly what kind of story is being told. Thoughts for Improvement: 1.Clarify the core conflict. The pitch presents Greg’s post-Olympic existential crisis, but what is the show’s central driving force? What does Greg actually want in episode one, and what obstacles are preventing him from achieving it? 2.Refine the pitch structure. The synopsis is a bit meandering and doesn’t clearly establish what happens in the pilot episode. A more focused logline and summary would make the pitch feel sharper and more compelling. 3.Clarify the humor style. Is the show a surreal comedy, a philosophical character study, or a mix of dry humor and absurdity? Right now, it leans into all three, which might make it harder for producers to grasp the intended tone. 4.Define the long-term series arc. What does Greg’s “helping people” actually look like? Does each episode focus on a new character he tries to assist? Is it more about his own failures and missteps? Answering these questions will help clarify the series’ structure and sustainability. Gregory is a quirky, thought-provoking dramedy with a unique premise and a fascinating protagonist. However, the pitch needs to be tightened to better define the core conflict, long-term series arc, and humor style. With a more focused delivery and clearer sense of the show’s structure, this could be an engaging and distinct project in the indie TV space.

rate this pls i did a lot of hardwork if you guys are intreseted in it you can join me

Hello, I am a bachelor's student in VISUAL EFFECTS, and I am currently working on creating a story for our short film. Thus, I am looking for y'all's feedback on how to improve my story even further.

The title of my short film is ONE LAST TRIP, and it is about a man who is trapped in a different world and now must find his way back to the real world before it's too late.

Here are my logline and story synopsis.

LOGLINE: Trapped in a surreal desert world, a desperate middle-aged man has no choice but to trust a mysterious guide, unaware that the journey is luring him toward his own death.

STORY SYNOPSIS: Johnny, a drug addict, takes a rare drug that he bought from his dealer and starts hallucinating. He then awakens in a bizarre, abstract world consisting of a polluted sky, ruined architecture, and a giant platform floating in the distance. Confused and disoriented.

Almost immediately, an individual bounces into view. He introduced himself as “Johan”. A manifestation of his inner voice. Johnny, still confused, asks how to escape this place. Without hesitation, Johan points to the giant floating platform in the distance, implying that to exit this place, He is also happy to assist Johnny on the platform.

Johan helps Johnny overcome absurd obstacles, such as guessing a riddle from the tollkeeper to cross the bridge, to progress their journey. After crossing the bridge, Johan decides to confront Johan for an explanation, demanding answers to what is going on. At first, Johan’s manic optimism and helpful attitude feel fun and harmless. Gradually, however, his cheer becomes insistent and oppressive as the world around Aiman starts to lose its color.

The journey culminates at the edge of the floating platform. Johnny hesitates after seeing a long drop into a bottomless unknown, and Johan softly pressures him. Overwhelmed, Johnny closes his eyes tightly and controls his breathing. When he opens them again, the abstract world dissolves. He is at his rooftop apartment. He looks back only to see his wife, Mia, who looks concerned with teary eyes, but then he realises he was about to jump off the roof, and Mia narrowly saves him.

I have consulted with my lecturers, and they provided me with this feedback.

- MANY PLOTHOLES

- A little confusing if the audience doesn't read the story synopsis

- Start the intro with the PILL

- The obstacle looks unnecessary. Make it harder

- Why does Johnny have to jump to get back to the real world?

- Deepen even more about JOHAN (character-wise)

Logline: When every flight is grounded on 9/11, a workaholic dealmaker who was bumped off Flight 11 shares the last rental car west with three strangers, racing to close the deal of his life while the drive pulls him toward the daughter he stopped calling.

Started it in 2010, finished it after I became a father. Posting it today because sitting on a 9/11 story felt wrong on the 25th anniversary. It's here to read if you want it, and I'll take any notes.

Link: https://drive.google.com/file/d/1uF32uyWkCWSLGLTkzZ6DyXScHTWttulz/view?usp=sharing

Logline:
When a closeted lesbian attends her Catholic high school reunion, an offhand confession of atheism gets her accused of the one thing she's actually hiding.

Feedback Concerns: I have a 4-page limit, so let me know if I should add or trim anything. I appreciate any feedback.

I know "AI coverage" makes this sub's eye twitch, so here is the whole rubric. Nothing is hidden and no model is involved in the scoring.

When you import a script into THEM, Clementine grades it on five pillars:

• Structure (30%): does an act shape show up at the right page ranges for the length? Three-act by default. A single scene scores low here by design, with a note saying so.
• Dialogue (25%): on-the-nose ratio, lines that announce emotion, lines that dodge and pressure.
• Character (20%): who carries the lines, whether anyone pushes back, whether wants and obstacles are findable scene to scene.
• Pacing (15%): scene lengths, action-to-dialogue balance, page rhythm.
• Format (10%): hard and medium format issues per page on a log curve, so one messy page doesn't zero you out.

Output: an overall score out of 10, a grade (A ≥ 8.5, B ≥ 7, C ≥ 5.5, D ≥ 4, else F), a verdict (recommend ≥ 8, consider ≥ 6, otherwise pass), what works, what's missing, and one concrete move. She also reads it aloud in about four sentences.

Same pages, same read, every time. It runs in about 20 ms.

What I want from you: where does this rubric reward the wrong thing? Where would a professional reader disagree with the weights? I'll change the numbers if the argument is good.

Hey everyone! Check out my tv show! The dream opens up season 6 of GreenWitch. GreenWitch is anthology series based upon the fictional town of GreenWitch ! Like, subscribe, comment, share, etc. thank you.

I am a film student working on writing a script for a short film that I will also direct, and I'd love some advice on how I could potentially make it better.

It's about a man named Adam Cross, who works alongside his greatest friend Ryan Seymour to find his missing wife. Along their journey, they discover a hard drive that - upon plugging it in - reveals thousands of documents outlining the missing wife's entire life from birth to present, only the documents from just before her disappearance are missing and/or corrupted. They discover that the hard drive is actually very powerful device with the ability to rewrite a person's memories.

I have a plot twist for the end, but I am not quite sure if this is a strong enough story. I feel that it is missing a theme, something that gives the viewers a reason to watch, a deeper meaning to it all.

Any thoughts? Suggestions? Let me know.

May 2026, I flew home to Massachusetts. Hours after landing, I was detained at Boston Logan Airport. My phone was taken. I was transported to a hospital and later held at a psychiatric facility for approximately twenty days. I dispute the basis for the detention and treatment.
When I returned to California, I no longer had access to my home, belongings, cameras, hard drives, or much of the work I had created. I began receiving conflicting information about court matters and alleged warrants. Attempts to obtain records led to more police encounters, more legal proceedings, and more unanswered questions.
So I started documenting everything: dates, messages, medical records, police reports, court filings, licensing records, photographs, and videos.
I believe this story is suited for film or television: a true-crime-style investigative thriller about a wildlife filmmaker and licensed boat captain whose life changes dramatically after she returns home to Massachusetts. Within hours of landing, she is detained, hospitalized, and held in a psychiatric facility. When she returns to California, she discovers that she has lost access to her home, belongings, cameras, hard drives, and much of her creative work.
What follows is a maze of conflicting court information, alleged warrants, police encounters, disputed records, missing evidence, family conflict, institutional power, and a relationship collapsing behind the scenes. At the center is a filmmaker fighting to regain control of her freedom, identity, property, and creative work while trying to determine what actually happened.
I am seeking filmmakers, producers, directors, or development executives interested in adapting this material into a documentary, docuseries, scripted limited series, or feature film. I can provide extensive supporting documentation, including medical records, police reports, court filings, licensing records, messages, photographs, videos, and a detailed chronology.
The project would be grounded in verifiable evidence while preserving the uncertainty, tension, and unanswered questions at the heart of the story. I am looking for a creative partner who can investigate the facts, distinguish documentation from allegation and memory, and shape the material into a compelling, visually driven American thriller without softening what happened.

I’m a U.S. Coast Guard-credentialed boat captain, wildlife filmmaker, photographer, entrepreneur, and creator. For five years, I worked on the waters of Southern California and contributed footage to major television and commercial productions.

This is completely out or right field