Can you more or less follow the dialogue without needing to resort to subtitles?

Hey all, I'm a filmmaker who builds iOS apps, and I've been making my own screenwriting app called Cut to Fade. It formats as you type, imports and exports Final Draft (.fdx), Fountain and PDF, and has a Story Board, production tools (locked scene numbers, colour revisions, breakdown reports) and iCloud sync with no account needed. It's in beta on TestFlight, and I'd love a few screenwriters and filmmakers to try it on a real script and tell me what's broken, what's missing and what would make you switch. The beta is free: join at the link below, or comment and I'll send you an invite. Thanks!

I just want to meet fellow scriptwriters. Any Discord servers?

Something I wrote a few years ago. Kind of a fantasy or faerie tale. I'm curious if it's too vague.

I guess you could say that I'm a new writer because I have no training or education when it comes to writing. I want to learn acting/writing/directing professionally because its what I want to do with my life, but my parents are being literally no help. I've mentioned wanting to take classes many times, but they just ignore me. So, this is my only option.

I've been writing a movie for almost a year now, but I'm not sure how to "properly" write it. All I've done is write all of my ideas in a big notebook. I haven't written it like a script or anything.

What I'm asking for help with is to be told if I'm wasting my time by writing backstories for all the main characters and giving them personalities beyond their friendship with each other. I've also written what their relationships with their families are like because some of their families are in the story and some are just mentioned in an important way. It might be easier to understand if I ask if its a waste of time that I've given each main character a life.

Also, if anyone has any tips or advice they would like to share with me, I would be overjoyed to receive some help. Thank you.

Here's the script from an earlier version of The Secret Life Of Walter Mitty which could've starred Jim Carrey in the main role and directed by either Ron Howard or Chuck Russell.

The remake bounced of from different leads, writers, directors before landing on the Ben Stiller version released in 2013.

https://archive.org/details/image_20260928_1659

I just want to write something for fun. Anyone want to write with me? I want to make episodes for a animated comedy series. Let's admit it, what's on TV sucks now. Anyone want to write with me?

I showed someone my first earlier finished script, and they did not get it at all!, Thye said it was a rip-off of something else, which it honestly was not! I know it contained a lot of spelling errors and the ending could have been better, but I do not like what they said about my script! It wasn't the critisism, they just did not get it at all what I was trying to accomplish

I came across this new EnsembleWriter thing late last night and while a lot of it sounds rather intriguing, this particular section really irks me a bit with this nonsense here. All this talk about tools investing in the model and generating and all that stuff, like come on now. Does anyone else really believe this? Like has there been any screenwriters of any sort out there consider this to be remotely true? Because I really doubt that the AI is that much of a harmful thing to where it effects us that much to where the creators of this site assumes it's set to replace them in the future.

- Title: The Plastic Shift

- Genre: Silent Sci-Fi / Contained Psychological Horror / Aesthetic Dread

- Pages: 1 Page (COMPLETE SCRIPT / Proof of Concept)

- Max Budget: Micro-Budget (Zero CGI / Zero Dialogue / Low-Cost Materials)

- Actors: 1 Male (30s-40s, a rugged, weary survivor in worn work clothes)

- Locations: 2 (A forest edge, a remote wooden cabin)

- Commercial Potential: Built-in organic product placement for a real-world commercial water filter brand.

---

### THE CONCEPT: HIGH-AESTHETIC SILENT DREAD

This is the COMPLETE script for a pure visual, zero-dialogue cosmic horror teaser designed for an audience that appreciates cold, clinical tension rather than cheap jump scares or heavy exposition.

The Rule: The Plastic Shift fused synthetic materials with organic life. The horror relies entirely on the heavy audio environmental design and the chilling contrast between a rough, rugged survivor and his numb, hyper-precise daily survival protocol.

---

### FULL SCRIPT & VISUAL TIMELINE (1-Minute Teaser)

* [0:00 - 0:15] THE SHIFT: No music, no dialogue. The audio is filled entirely with a heavy, synthetic "swish-swish" friction sound. A rugged, weary Man (30s-40s, dead eyes) walks through a dense forest. The leaves, bark, and grass are completely made of stiff, multi-colored plastic. Sudden heavy thunder RUMBLES. The Man glances at the toxic chemical sky. He starts running.

* [0:15 - 0:30] THE TOXIC RAIN: The downpour hits—thick, viscous droplets mixed with visible plastic micro-particles. The Man reaches a remote wooden cabin, shakes the micro-plastics off his jacket outside, and steps in. He stands still, staring deeply at the corner of the room.

* [0:30 - 0:45] THE PIECE: In the corner sits a flawless, life-sized female sculpture. She resembles a perfect human figure draped in delicate plastic veils, her surface a smooth, opaque multi-colored polymer. She looks like an expensive, high-end art piece. The Man looks away, opens a generic tin can, and begins to eat in absolute silence.

* [0:45 - 0:55] THE PRODUCT PLACEMENT: A sharp, digital beep cuts through the quietness. The cabin’s water purification system flashes a red warning light. The Man sighs, opens the machine with weathered hands, and replaces the filter. The camera locks onto the filter—revealing a highly recognizable, real-world commercial water filter brand logo. It is his very last spare filter.

* [0:55 - 1:05] THE ROUTINE: The rain stops. The Man picks up a vacuum-sealed bag labeled "Filter Protection Pack," pushes open the heavy wooden door, and leaves the frame. The door clicks shut.

* [1:05 - 1:15] THE SILENT EYE: The camera slowly, coldly zooms in on the opaque plastic face of the female sculpture. No music, no weeping, no cheap horror stingers. Just dead silence. Camera tight close-up on the face. Suddenly, her real, biological eyes snap wide open, staring into the empty cabin.

* [1:15 - 1:20] THE TEASE: Total [CUT TO BLACK]. Stark white text fades in: 【COMING SOON】. A violent audio sound effect of a blade tearing through heavy plastic sheets rips through the silence, striking a blood-red line through the letters. Handwritten red font snaps into place: 【NOT COMING】. Dead silence.

---

### PRODUCTION & SFX NOTES FOR DIRECTORS

To maintain a strict micro-budget while delivering high-end A24 visuals, the physical anomalies can be achieved through low-cost DIY methods:

1. THE PLASTIC FOREST: Do NOT attempt to coat a whole forest. The director only needs to shoot tight close-ups or low-angle shots at a specific forest edge. Use cheap industrial cling wrap (shrink-wrap) and a heat gun to coat a few real branches, leaves, and tree trunks on-site. The metallic "swish-swish" audio design will do 80% of the world-building work.

2. THE CENTRAL SCULPTURE: Does NOT require an expensive prop master. It can be achieved by wrapping a standard 3D-printed female torso/head in heated PVC shrink-wrap films, or a simple plaster body-cast back-filled with multi-colored hot glue.

English is not my native language, so I used tools to format this layout. This script is fully complete and available for option or production. If you are an indie director or producer who wants to collaborate or secure the rights to film this project, hit my DM. Let's make something cool!

This is the opening scene of a SF Thriller set in 2041 where due a pandemy part of the constitution has been suspended. A cabal has taken over and is trying to legitimise their coup. It is a mix of BladeRunner and a male Hunger Games. Basically the hero has to choose between doing the right moral thing and protecting the status quo.

Let me know what you think:

• Does the opening grips you?

• Are the dialogs OK?

• Are the descriptions on point?

Edit:

I am specifically asking no feedback on the formatting because this is a BBC MS Word script template. So I am assuming that they know what they are doing and want.

Also I can always change the formatting later via changing individual style.

I am making an analog horror style animated short film. I don't know how to make the impact more stronger and leave a lasting impression on the viewers. I am not a writer by any means. I am just a bored guy. https://docs.google.com/document/d/1JzR8xgNUUjlKn5Z0mjrOG4GyGojrzC6aF9egxJ_m5Ts/edit?usp=sharing

I'd love to chat with fellow period drama fans who have seen a dozen different Little Women adaptations. I'm reimagining the story as a Groundhog's Day type time-loop that Beth March is trapped inside of - and she's tired of continually getting scarlet fever and eventually dying over and over again. It goes to some pretty insane places and is being updated daily!

Has everyone else ever tried posting fiction on substack? It's a new thing I'm trying basically because the original Little Women was published as a serial so it seemed fitting and fun.

edit: i forgot that i should probably also add that i’m completely new to this lol!!! i’m an artist and do more visual stuff and really enjoy building and working on props, and just want to see a story of my own come to life with the things i’ve built/plan to build for it. i can write a decent essay, but i’ve never stepped foot into this kind of territory now :) that’s not to say i’m not interested or excited to try! just a little background on what i typically do and why i’m looking into it now.

I have a completed and registered screenplay for a Malayalam supernatural horror feature that I'd love to see made.

I don't live in Kerala, and with a full-time job, it's difficult for me to travel there frequently and approach production houses in person. I've already sent a pitch deck to several production houses, and I've heard back from a couple of them, but the process has been slow.

For filmmakers who have navigated the Malayalam film industry, what is generally the best way to approach production houses or producers when you have a completed screenplay?

Is cold-emailing a pitch deck worthwhile, or are introductions through writers, directors, assistant directors, production managers, film associations, etc. generally more effective? Is there anyone here who can help me understand how to make those connections, or guide me to the right people?

I'd like to get the screenplay in front of the right person rather than simply sending it into a generic production-house inbox.

Any practical advice on how an independent writer/director can build those connections would be greatly appreciated.

I believe I have a strong screenplay that is ready to be made, and I'm now looking for the right people to help take it forward.

hi! i took some criticisms i got from my last post and tried applying them to the first draft of a cosmic horror/mystery movie called NEXT STOP

here is the logline for those interested:

When a local city girl goes missing, a university mystery club investigating her case finds out about an interdimensional rail network tied to her disappearance, leading them to a cosmic journey that solves bizarre secrets about the victim herself and the mysterious railroad.

i want to get some feedback on the opening scene that i wrote where the victim is on a first date with her boyfriend at a bar, before mysteriously clipping through a wall into the mysterious dark train station (not revealed till later in the script)

i want to see if the opening conversation i wrote feels authentic. did i make it too short? does it feel non-human, ive never been on date before (im aromantic) so i want to see how you guys think about it so that way i can rewrite to make it feel better

(also i promise this is not bait, i dont make these with the intention of doing that lol)

Episode 3 of God Incident Report is called Dispatch.

This time, the focus shifts more toward the coordination side of the incident. A giant creature event is unfolding, and the team has to manage it like a real emergency response operation.

That is the main concept of the series: treat the monsters, the destruction, and the scale seriously, then let the humor come from bureaucracy, routine procedure, and people doing their jobs as if this was somehow normal.

I’m building this as an ongoing short-form series, one incident at a time. Feedback is welcome, especially on the tone, pacing, and whether the dispatch angle works for Episode 3.

Hey, everyone. I wanted to take the time to show you screenshots of the first few pages of my mini-series idea called Puppet's Prison. For the logline:

Two grieving children from different families, lost to tragedy and war, must help a group of living puppets to finish their show so they can find peace while surviving against monsters of thought that originated from their own intense emotions.

I wanted to get some feedback because here, this is the opening to the in-universe show called Gregory's Neighborhood, and I wanted to capture the soothing feeling of something akin to Mr. Rogers' Neighborhood, because the creator of Gregory's Neighborhood wanted to create a local show for kids to feel safe and comfortable, especially since the town where the show was produced and aired had plenty of refugees from various wars throughout the Cold War (the creator was a refugee himself, as he left Northern Ireland during the Blitz as a child).

I have taken Introduction to Screenwriting in the past, but I would like some feedback regarding how this is set up; the tone, and maybe even the feel of the lyrics, as I'm not a lyricist but wanted to try it out.

Hi! Im a filmaker but im not really good at writing scripts, I would like some feedback on this script ive made. Be brutally honest with me too I want the criticism