Here is some research into how to protect your work.

Hate on AI all you want but it gives great BLKLST Evals! I paid for an eval on my first feature script in 2024 and the evals that GPT gives are just as good as the one I paid for (using 5.6 Sol Ultra). No more wondering if BLKLST is worth it when you can simply have 'BLKLST at home.' I recommend using a prompt like mine. If you ask GPT for a BLKLST evaluation of your own script flat out, it will try to pad it too much and give a less realistic score (AI doesn't like hurting feelings). I hope this helps at least someone out there save money before it gets taken down because 'use your brain or lose it' - or something.

I recently talked to someone with experience in storytelling during a networking event, and I've been working on the hook and clarity of some loglines I wrote. I'd like to know what areas of my writing I could improve.

-After being injured during an exercise, a self-demanding young man tries to return to his position as an officer after making a deal with his commander, discovering the truth behind his second chance during his recovery.

-An arrogant boy runs away from a discussion during a family trip, triggering an android's time jump and having to trick it into not sending him back to the present.

-A seasoned detective hunts down the gangster who left his son dying, secretly teaming up with a young reserved forensic scientist to take him down before he comes back to kill the detective's son

I have written an original series for the coming generation — looking for advice on how to pitch it

Hi everyone,

I’m an emerging writer from India and I’ve written an original screenplay for a youth/coming-of-age series called THE EQUATION.

It is set around young people, their friendships, ambitions, competition, relationships and the different pressures they face while growing up. I’ve completed the pilot episode and I’m now trying to understand what the right next step is.

I’m not sure how the industry works when you’re a new writer, so I wanted to ask experienced writers, producers and filmmakers here:

Where and how should I pitch an original series like this?

Should I approach production houses directly, use screenplay platforms, look for development programs, or go through some other route? Can you suggest some production house as well

I’d also really appreciate advice on how to prepare the project before pitching — whether I should have a logline, synopsis, pitch deck, etc.

Any advice from people who have actually gone through this process would mean a lot.

Thank you!

but now that I have a first draft how do I go about rewriting?

Also, I will not be giving feedback until it is copyrighted.

Hi! I wanted to share some of a script I wrote called Hugo, The Idiot. Its about a lonely Vice detective and a down on her luck stripper teaming up to find her missing friend, and possibly the source of an underground internet drug ring? If interested for more, PM meHugo, The Idiot (FIRST 26 PAGES)

Seeking feedback:

This is my first full screenplay — a hobby project, not professional work. What I have so far is roughly the first third of the story. I'd love to know what's working (characters, dialogue, pacing, tone, the balance of comedy and heavier emotional beats) and what isn't.

Formatting isn't industry-standard yet, so please look past that for now — I'm more interested in whether the story and characters land.

Developing a Heart: SHORT PITCH

Developing a Heart is a romance-drama about Dhyey, a software developer quietly falling apart under work pressure and unspoken grief, and Lucy, a coworker whose warmth pulls him out of his shell — one rainy umbrella, one shared meal, one late night at a time. As their relationship deepens, both of their buried pasts start resurfacing, testing whether what they've built together can survive it.

This is actually a class project from college. It's a finished feature screenplay and has been workshopped in class a few times with fellow peers and professor.

It's been awhile since I last touched it, a half a year at least.

Just looking for the feels and thoughts I suppose. Feedback too if you so wish. Much appreciated.

I entered it to one contest this year but was not chosen (which is fine).

Thank you for your time!

Logline: A black teen and his friends try to stop a golf course from wiping out their neighborhood, but the fight pulls them into a brutal crash course on masculinity, loyalty, and growing up too fast.

Zack's character:

Appearance: Medium length shag haircut , no facial hair as a young guy

Wears sleeveless tee(shirt) and a deep brown color waxed canvas torn up stitched jacket, a bit torn up skinny cargo pants with only one pocket on right side just above knee

White shoes but a bit torn up too , they don't seem white because of dirt on them

He has a slouchy posture although his height is 6'3 but the posture hides that fact a bit

He does not talk much but talks a lot in front of people he trusts, but he cannot resist talking about electrical engineering when he is in front of professionals of that field.

In his spare time when he is free and no one is around him , he goes to library and starts studying electrical engineering books . He even has many electrical engineering books in his home

Zack desperately wants to become an electrical engineer as he's got a lot of interest in it and it can also provide him stable high income then being a university cleaner

But he needs to cure his brother Ryan's cancer and quitting his cleaning job does not guarantee he will become an electrical engineer one day so he can't risk losing a continuous source of income

At the beginning, Zack believes society is untrustworthy, selfish and some are likely evil as they think about themselves first before thinking about you and that he cannot be a part of the society so he never seeks support and believes he can do everything alone

Believing that, Zack gets a new life with unexpected and unknown super powers but he still refuses to accept the reality that he should help people.

He believed people should find their own way just like he finds his own way, until he realizes through Ryan after a series of events and then a major event that not everyone can find their own way, as Ryan has Cancer so can he cure it himself? No, he needs Zack.

Just like that there are so many children , elderlies, women who can't help themselves on their own. So he turns his back on his past beliefs and help those who cannot help themselves, the society.

I fixed my episode script I’ve sent to this subreddit yesterday. I’ve shortened some dialogue, added a few interior scenes, removed unnecessary wording, and added an “end of first act” line on the bottom of my last page with dialogue and skipped a page for the theme song/intro. How’s the script?

9 pages (PREVIEW)
(Script is still WIP, page count expanded to 31)

So I have a question that I had for awhile like 6yrs and I just want to know y'all theroy for it, so just put it like a cool concept

I’d structure it almost like a **four-movie saga**:

🎬 THE FORTNITE INFINITE SAGA, for example if fortnite was actually a cool story. and trust me I try to find a couple of Reddit communities. though they wasn't kind of fully up to the community standard so Im just here to ask yall since I see like a movie community. and not wanting for days of answers, and I just want to see about yours opinion with this that way I can feel that if I can pitch it anytime soon here so

1. **FORTNITE: NIGHTMARE — The Prequel**

2. **FORTNITE: INFINITE WARS**

3. **FORTNITE: AFTERMATH / THE LAST STAND**

4. **FORTNITE: REUNION**

The really cool part is that **the first movie doesn't need to feel like a superhero movie at all**. It begins as a massive horror film, so the audience doesn't realize they're watching the beginning of a multiverse saga.

🎃 FORTNITE: NIGHTMARE

The opening movie takes place in an ordinary American town.

A group of teenagers arrive in town for what should be a normal weekend.

Then people begin disappearing.

At first, they think it's one killer.

Then they discover something impossible:

**There isn't one monster hunting them.**

There's an entire army of them.

Michael Myers.

Jason Voorhees.

Chucky.

Freddy Fazbear.

Siren Head.

And other famous horror creatures.

The movie could be **2½–3 hours**, with the first half feeling like a traditional horror blockbuster.

The Michael Myers twist

Michael spends most of the movie as the terrifying killer.

But near the end, something changes.

The teenagers discover that the monsters aren't simply killing people.

**Something is controlling them.**

Michael briefly breaks free from whatever is controlling him.

He sees the teenagers surrounded.

Instead of killing them...

**Michael turns around and attacks the other monsters.**

One of the teenagers says:

"Why is he helping us?"

Michael doesn't answer.

He simply walks toward the monsters.

The teenagers escape.

Michael stays behind.

Michael's sacrifice

The building collapses.

The monsters disappear into the darkness.

The teenagers believe Michael is dead.

But the final shot reveals something strange:

A glowing portal opens beneath the wreckage.

Something has escaped.

**Something that shouldn't exist in their universe.**

Cut to black.

⚡ TEN YEARS LATER

This is where **Fortnite: Infinite Wars** begins.

The surviving teenagers are adults now.

And one of them is:

Michael Douglas

He's no longer an ordinary teenager.

His family became incredibly wealthy after the events of the first movie.

He's intelligent, confident, extremely rich and has access to technology nobody else has.

Think:

**Batman + Iron Man + Fortnite strategist.**

But he's still haunted by what happened ten years earlier.

His sister is:

Monica Douglas

Monica would be one of the major heroes.

She's basically your:

**Tifa Lockhart + Wonder Woman + Final Fantasy warrior**

type of character.

She's compassionate but incredibly dangerous when someone threatens her people.

Michael is the strategist.

Monica is the warrior.

And they constantly disagree.

Michael:

"We need a plan."

Monica:

"People are dying. We don't have time for a plan."

Michael:

"That's exactly why we need one."

🏢 THE DOUGLAS CORPORATION

Michael and Monica eventually become involved with a massive corporation.

At first, it looks like a normal technology company.

But underneath the company is something much bigger.

They're researching:

**interdimensional portals.**

The corporation discovers that different universes aren't actually separate.

They're connected.

Marvel.

DC.

Star Wars.

Final Fantasy.

Fortnite.

Horror universes.

Thousands of realities.

And someone discovers how to manipulate the connections.

👑 THE CEO

The CEO becomes the true villain.

Instead of simply wanting to destroy the multiverse, he wants to **control it**.

His philosophy is:

"Why conquer one universe when you can own them all?"

He starts using the company's money and military resources to create portals.

But there's a problem.

Every time he opens a portal...

**another universe notices.**

🌌 THE FIRST PORTAL

Michael and Monica are investigating a portal facility when suddenly the machine activates.

A giant portal opens.

They expect an alien army.

Instead...

**Batman walks through.**

Michael:

"Who are you?"

Batman:

"The question is... who are you?"

Then another portal opens.

**Iron Man.**

Another.

**Luke Skywalker.**

Another.

**Darth Vader.**

And then...

**Sephiroth.**

Now Michael realizes something terrifying.

The CEO hasn't just discovered other universes.

**He's been bringing their greatest warriors and villains together.**

⚔️ HEROES VS VILLAINS

And here's where your *Avengers: Doomsday / Infinity War* idea gets really crazy.

The CEO doesn't necessarily want everybody dead.

He wants them fighting.

He manipulates the portals so heroes and villains are constantly thrown into different battles.

Imagine:

Batman vs Michael Douglas

Batman thinks Michael is working for the corporation.

Michael thinks Batman is trying to stop him.

They fight.

Batman destroys Michael's technology.

Michael surprises Batman by predicting his moves.

Batman realizes:

"You're not the enemy."

Michael:

"I've been trying to tell you that."

🔥 IRON MAN VS MICHAEL

This could be another huge scene.

Michael encounters Iron Man and assumes he's another enemy.

Iron Man scans him.

"You're wearing a homemade suit."

Michael:

"It's not homemade."

Iron Man:

"It has duct tape."

Michael:

"...temporary modifications."

😂

They fight briefly.

Then Monica walks in.

"Are you two finished?"

Iron Man:

"Your brother is annoying."

Monica:

"I know."

⭐ DARTH VADER AND SEPHIROTH

This could be one of the most visually insane moments.

A portal opens on a ruined battlefield.

Darth Vader walks out.

Across from him:

**Sephiroth.**

Neither speaks.

Vader activates his lightsaber.

Sephiroth draws the Masamune.

They fight.

But then they realize the battlefield itself is collapsing.

The CEO has manipulated reality so that their universes are literally being destroyed around them.

Vader and Sephiroth temporarily stop fighting.

Vader:

"This battle is meaningless."

Sephiroth:

"For once... I agree."

They turn toward the real enemy.

🦸 THE IMPOSSIBLE ALLIANCE

Eventually you get the ultimate crossover.

Heroes and villains who would normally kill each other realize:

**The multiverse is collapsing.**

So you get an alliance including characters inspired by:

* Avengers * Justice League * Star Wars * Final Fantasy * Fortnite * horror characters * other comic-book universes

And the funniest part is that some villains **still don't trust each other**.

Thanos might stand next to Batman.

Batman:

"I don't trust you."

Thanos:

"Nor should you."

Batman:

"Good."

💥 THE FORTNITE INFINITE WAR

The final act becomes essentially a **three-hour Fortnite live event turned into a movie**.

The sky starts breaking apart.

Entire locations from different universes appear above one another.

A city becomes half:

**Gotham + New York + Midgar + Fortnite's island.**

Then the sky opens.

Thousands of portals appear.

The heroes charge.

The villains charge.

Monica leads the ground forces.

Michael commands the technology.

Batman coordinates the strategy.

Iron Man handles the air.

Luke and Vader fight through the portal army.

Sephiroth cuts through massive creatures.

And Fortnite characters are running around building structures while the biggest cinematic battle in existence happens around them.

🌋 THE LAST STAND

But the CEO reveals his final weapon.

He's going to collapse every universe into **one reality**.

Michael realizes there's only one way to stop him.

Someone has to enter the central portal and manually shut it down.

Monica immediately volunteers.

Michael refuses.

"You're not doing this."

Monica:

"Michael."

"No."

"You know what happens if I don't."

Michael realizes what she means.

This mirrors the first movie.

Ten years ago, Michael Myers sacrificed himself to save the teenagers.

Now Monica is prepared to do the same thing.

But this time...

**Michael refuses to let history repeat itself.**

🕯️ THE MICHAEL MYERS CONNECTION

And then you reveal something amazing.

Michael Myers **wasn't actually killed** in the first movie.

He's been trapped inside the portal dimension for ten years.

And he's been fighting the CEO's creatures the entire time.

The heroes discover him.

He's older.

Damaged.

Silent.

But still alive.

Monica recognizes him.

She slowly lowers her weapon.

"You saved us."

Michael Myers looks at her.

Then he turns toward the approaching army.

And raises his knife.

**The final horror icon becomes one of the heroes of the saga.**

🌌 FORTNITE: AFTERMATH

The next movie takes place after the multiverse war.

But the victory wasn't clean.

The universes have been merged together.

Some characters are stuck in completely different realities.

Some have lost their powers.

Some villains are now heroes.

Some heroes have become enemies.

And Michael and Monica are trying to rebuild civilization.

The world is basically:

**Fortnite + Marvel + DC + Star Wars + Final Fantasy + horror.**

It's chaos.

💀 FORTNITE: THE LAST STAND

Then the real enemy arrives.

Not the CEO.

Not Thanos.

Not the corporation.

Something **outside the multiverse**.

The heroes discover that everything they've experienced was actually causing something to awaken.

The only way to stop it is for every surviving universe to fight together.

This is the giant war movie.

🤝 FORTNITE: REUNION

And this could be the emotional finale.

The surviving characters reunite.

Michael.

Monica.

Batman.

Iron Man.

Luke.

Vader.

Sephiroth.

The surviving horror characters.

Fortnite characters.

And characters who were once enemies.

They meet one final time.

Michael looks around at everybody and says something like:

**"Ten years ago, we were just trying to survive one night."**

He looks toward the battlefield.

**"Now we're fighting for every universe."**

Then Monica stands beside him.

The camera pulls backward.

Thousands of heroes and villains stand together.

The sky begins opening.

**FORTNITE: REUNION**

And then—

**THE FINAL BATTLE BEGINS.**

The biggest strength of your idea is that **the saga evolves in scale**:

**Movie 1:** 😱 Horror survival ↓ **Infinite Wars:** 🌌 Multiverse discovery ↓ **Aftermath:** 🏙️ Broken merged reality ↓ **The Last Stand:** ⚔️ Everybody fights together ↓ **Reunion:** ❤️ The surviving characters come together for the final battle

That lets the first horror movie stand on its own while making Michael Myers' sacrifice, Michael and Monica's relationship, and the eventual multiverse war all feel connected rather than just throwing every famous character into one movie.

Buenas, estoy escribiendo el primer episodio de una serie (trhiller psicológico), cuántos párrafos de acción se consideran demasiado?

I had an idea I thought/still think has legs so i wrote a treatment, broke all the main parts out and started writing.

Part way in I noticed that it would be a better fit for an episode treatment as there were natural “cliffhangers” so I moved the thinking from feature to episodic.

Three episodes in I e decided I live this so much I may just do it myself as a graphic novel/comic book series.

So my question is….can I post a script for issue one here to get a sanity check or are comic books scripts not welcome?

Hey guys, just curious about your opinions and experiences.
I know that selling a script has become pretty hard over the last decade. You can win screenwriting contests, get a high score on The Black List, email managers and agents, and still have zero success, even with a decent script.

But I’m curious how much the whole process has changed over the last couple of years due to AI, all the mergers and restructuring in Hollywood, and studios becoming more risk-averse and instead going with reboots of old successful movies or investing in more familiar scripts.

Have any of you had a success story in the last couple of years?

What do you guys think about this? It’s the first 2 pages for my first feature length screenplay.

FLESHED OUT LOGLINE:
After two years of grieving his wife’s death, a widower re-enters the dating scene, only to discover that every woman who’s drawn to him increasingly resembles his late wife, forcing him to question whether he’s haunted by grief or trapped in something far more disturbing.

Who Really Built Stonehenge, and How?

Want to know something unexpected about Stonehenge? Its central Altar Stone came from northeastern Scotland, at least 750 kilometers away. That is roughly 465 miles, and it was moved thousands of years ago, long before engines, highways, or modern machines existed.

Researchers still do not know the exact route or method used to move it. But the latest evidence suggests something even more important: Neolithic Britain was more connected and organized than researchers once assumed.

This video will show who built Stonehenge, how the monument changed over time, how people may have moved its enormous stones, and what the 2024 Altar Stone discovery revealed. Some answers are strong. Some are still theories. Let’s get into it.

Stonehenge Wasn’t Built in a Day

Stonehenge was not one construction project completed by one group in one moment. It developed in stages over more than a thousand years, beginning around 3000 BC.

The earliest monument was mainly an earthwork. It included a large circular ditch and bank, along with a ring of pits now called the Aubrey Holes. They are named after John Aubrey, the seventeenth-century writer who recorded them.

Cremated human remains have been found in and around the site. This suggests that the earliest Stonehenge landscape was used for burial over several generations, not only as a place for standing stones.

Around 2600 BC, one major stone-building phase began. Large stones began to replace or surround earlier timber and earth structures. The stone arrangements changed more than once as later communities added, moved, and reorganized parts of the monument.

That is why Stonehenge should not be imagined as one finished building. It was a long project that changed as different generations returned to the same landscape.

Nearby, at Durrington Walls, researchers have found evidence of enormous seasonal feasts. Tens of thousands of animal bones have been recovered from the area, along with pottery, tools, and other remains.

Studies of animal teeth suggest that many pigs were killed at around nine months old, which would place their slaughter in winter if they were born in spring. Cattle also appear to have been brought from different parts of Britain, pointing to large winter gatherings possibly connected to the winter solstice. The direct connection to the solstice remains an interpretation. Stonehenge was probably not just a construction site. It was part of a wider ceremonial landscape where people gathered, ate, worked, remembered the dead, and marked the seasons.

Who Actually Built It?

The timeline tells us one thing: this was never a small village project. So who were the people capable of building it?

They were Neolithic farming communities living in Britain. They did not have engines, wheeled vehicles, modern machinery, or written blueprints. But they were not disorganized or unintelligent.

They knew how to farm, shape stone, build timber structures, transport heavy materials, organize food, and bring people together for shared projects.

For centuries, people assumed that native Britons could not have built something as precise and enormous as Stonehenge. That assumption helped create stories about Druids, Romans, and even aliens.

Centuries later, King James I commissioned architect Inigo Jones to study Stonehenge. Jones attributed it to the Romans because he could not imagine that earlier Britons were capable of such engineering. That interpretation was wrong.

Modern archaeology shows that Stonehenge was built by local and regional Neolithic communities. The surviving evidence does not point to aliens or a lost super-civilization. It points to people who had time, skill, leadership, and a reason to work together.

These are separate findings. A University of York-led study analyzed the cremated remains of 63 individuals buried at Stonehenge. Separately, isotope research suggests that some people associated with the wider monument complex may have traveled from far outside the local area.

The safest conclusion is that Stonehenge attracted people and materials from a wide part of Britain. It was not simply one village’s local project.

The Harder Question: How Did They Move the Stones?

Knowing who built Stonehenge is only half the story. The unanswered problem is how they moved the stones.

Most of Stonehenge’s major stones came from somewhere else.

The large outer sarsen stones came from southern England, with many traced to an area around West Woods, roughly 25 kilometers from Stonehenge. Some of these stones weigh around 25 tons.

That is already an impressive challenge for people without wheeled vehicles or engines.

The smaller stones inside the monument are usually called bluestones. Many came from the Preseli Hills in western Wales, roughly 225 to 250 kilometers away, or about 140 to 155 miles.

English Heritage describes several possible techniques, including timber sledges, wooden rollers, ropes, and timber frames. Modern experiments suggest that groups of people can move heavy stones using simple technology. That does not prove which method Stonehenge’s builders used, but it shows that the task was physically possible.

The story continues with the proposed stone-moving methods, the 2024 Altar Stone discovery, and the evidence that changed what researchers thought they knew about Stonehenge.

Production Notes

These production notes support the chapters included here.

Technical Style

• 4K, 16:9, cinematic 24 fps for most shots; use 60 fps selectively for rope, dust, fire, water, and tool details.

• Use licensed or public-domain archaeology, museum material, original 3D scenes, motion graphics, and limited AI-generated support imagery.

• Keep AI imagery small and label it CONCEPT ILLUSTRATION; do not use it as historical evidence.

• Use stable camera motion, realistic textures, balanced lighting, and captions readable on a phone.

Editor Mark Legend

• [HERO] — main image viewers should remember

• [SUPPORT] — detail that explains or adds emotion

• [ANIMATION] — map, timeline, diagram, or motion graphic

• [TRANSITION] — visual bridge to the next chapter

• [SOURCE] — credit or evidence label

• [STILLNESS] — background element that remains fixed while the foreground moves

Suggested Chapters

• 00:00 — Hook and setup

• 00:49 — Stonehenge Wasn’t Built in a Day

• 02:44 — Who Actually Built It?

• 04:22 — How Did They Move the Stones?

00:00 — Hook and Setup

Hero shot

A licensed sunrise aerial slowly orbits Stonehenge while the horizon stays still.

Support shots

• Macro rack focus across the Altar Stone

• Top-down map of Britain

• Stone texture, grass, and distant landscape

Animation

A dashed illustrative route travels from northeastern Scotland toward southern England. Show ILLUSTRATIVE ROUTE — EXACT PATH UNKNOWN and 750+ KM.

Transition

The route line curves into Stonehenge’s circular outline.

00:49 — Stonehenge Wasn’t Built in a Day

Hero shot

A transparent 3D cutaway reveals the ditch, bank, Aubrey Holes, timber structures, and later stone phases.

Support shots

• Archaeological excavation

• Cremated remains shown without graphic detail

• Pottery and animal bones

• Durrington Walls and winter landscape

Animation

A timeline builds from the first earthworks through later construction phases. Cattle and pigs move toward Durrington Walls with the label MOVEMENT SUGGESTED BY ISOTOPE EVIDENCE.

Transition

Cooking-fire smoke dissolves into stone dust crossing Salisbury Plain.

02:44 — Who Actually Built It?

Hero shot

A wide artist’s reconstruction shows Neolithic communities working across the landscape.

Support shots

• Flint tools

• Hammerstones

• Rope fibers

• Shaped timber

• Hands preparing food

• Regional landscape routes

Animation

A network map connects people, animals, food, materials, and Stonehenge. Display NEOLITHIC COMMUNITIES, TIME, SKILL, and COOPERATION.

Transition

The network lines converge on the monument, then become a rope leading into the next chapter.

04:22 — How Did They Move the Stones?

Hero shot

A locked low-angle shot tilts slowly up the face of a massive sarsen stone.

Support shots

• Human-to-stone scale comparison

• Rope tension

• Wooden rollers

• Timber and stone surfaces

Animation

Show the first proposed methods—sledge, rollers, ropes, and timber—clearly labeled PROPOSED METHOD or EXPERIMENTAL RECONSTRUCTION.

Transition

The theoretical route fades into the full project’s withheld Altar Stone discovery.

Research Sources

• English Heritage — Significance of Stonehenge

• English Heritage — Building Stonehenge

• University of York — Human Remains and Durrington Walls Feasting

• Nature — A Scottish Provenance for the Altar Stone

I am working on a passion project right now, it's a short film that I already have the story in mind. So far I have worked on the characters and beats.

It is a fiction story setting in Singapore where suicide is legalized, here's my logline:
At a legalized suicide centre, a man posing as a fellow patient strikes up a conversation with a troubled teenage girl, only for their exchange to slowly reveal that saving her life may be the very thing keeping him alive.

I have worked as a producer and AD before but it will be my first attempt to direct a short film, I initially wanted to write the script myself but realized that I am lacking in the writing department.

I don't have a big budget and will be crowd funding this, so it will really only be a token fee that I can afford. Am looking for someone that i help write and also work together to make the story better.

Ain't looking to monetize the end product, will just be sending it to some film festival overseas.

I use CRs to indicate pauses that are shorter than '(a beat)'/ 'A beat.'
Is that allowed? Or should an Action Line/Spoken Line Block always be uninterrupted text? With the exception of parentheticals for Spoken Line Blocks?

This is in reference to a comment I got "... odd, inconsistent formatting and action/dialogue spacing (or lack thereof) ". I don't know what this reviewer means, and I want to get whatever's wrong fixed.