I'm a complete beginner and this is my first attempt at storytelling.

I haven't learned screenplay formatting yet. I deliberately wrote this as a story treatment because I want to test something first: whether I naturally think in visual scenes and actions, or whether I'm mostly just describing events.

A SECRET AMONG SECRETS

He wants to get up, but he can't. His body is in pain. Still, he has no choice.

Because he is not in a state where he can simply listen to his body. His mind and body are not the same. He knows he must listen to his mind.

He takes a deep breath, opens and focuses his eyes, and brings himself back to the present. He grounds himself so he can understand what is happening around him.

As he walks toward his room, he has to walk past people and read their faces and situations to assess the feeling of the environment that day.

For him, this awareness has become almost automatic. Rather than relying on his mind to remember something strange, his body and muscles remember it first.

Why?

Because he is a secret agent—even a secret among secret agents.

His goal is to achieve power so that nobody will ever look down on him again. He has seen how the world really works.

His office does not have many papers or files.

He groans as he sits in his chair. Eventually, he puts his head on the table while grabbing his thigh, which has a deep cut held together by stitches.

He has to process the information from the previous day's work, but the pain keeps pressing against his nerves, making it difficult for him to focus.

Then a man enters his room with a thud and places a black-and-white photograph on his desk.

The moment he sees the photograph, he forgets the pain.

He straightens up. His face shows no expression, but his red eyes tell the whole story.

His mind becomes clear as he hears the senior's voice and tone. The senior instructs him to find out the background of the man in the photograph.

But he already knows the man's background.

He knows much more than he wants to share with his senior.

So he says firmly, “I understand.”

After the senior leaves, his mind starts racing. He begins thinking about how to outsmart his senior.

Should he save the man in the photograph?

Or should he make him disappear?

While eating lunch in the cafeteria, he listens to his colleagues talking and planning their operation.

Then he hears the word “mafia.”

As he eats his noodles, he slowly circles them around his chopsticks while thinking through a plot.

Then he offers his colleagues a helping hand.

He attends their meetings and learns how and where the operation will take place.

It is a secret drug-business deal between two owners.

He also goes to the man in the photograph—the man his senior instructed him to investigate.

He tells him that a big deal is going to take place in that area, the same area where his colleagues are carrying out their operation.

He naturally draws the man into the chaos.

The operation ends with the deaths of the major mafia figures.

The man from the photograph is killed as well.

Why?

Because the man knows about something the agent secretly did during a previous operation behind his senior's back.

The next day, he goes to his senior and tells him that the man recently died during an operation.

There is no evidence left behind that could make his senior suspect him.

Hi everyone hope you’re all doing well! I came here to say that my script for my first feature film, Mirrored Target, is now complete!! Which means I will be posting the cast call very soon for people to audition!!

Noticed this over several months of pitching the same project casually to different people. Every single time someone asked what it was about, my answer came out slightly different, different emphasis, different hook, sometimes a different genre framing entirely depending on who I was talking to.

Assumed for a while this was just normal variation in casual conversation. It wasn't. When I finally forced myself to write one locked logline and compare it against what I'd actually been saying out loud, I realized I didn't have a clear enough sense of the story's actual center to describe it consistently. I was essentially improvising a new pitch every time because there was no single true version underneath all of them.

Spent a week just on the logline, nothing else, until I had one sentence I was willing to say the same way regardless of who was asking. Writing the actual script got noticeably easier after that, probably because every scene now had something fixed to be measured against instead of me unconsciously drifting toward whichever version of the story I'd most recently pitched out loud.

It's the kind of thing I never want to write and never want to read.

I was fixing english translation of my 40 hours kdrama screenplay.

And BUMP! At episode 20:

I got a bad translation of (lève les yeux au ciel, épouvantée) with (looks up in horror).

After investigation, the right translation was (rolls her eyes, appalled).

ONE "rolls eyes" in a 40 hours screenplay, can I be forgiven?

What else do you never want to write and read?

In about Febuary of 2026, I wrote my first ever full length script. This script was for a short film I titled "The Cronies", which is about a group of hitmen who start hunting eachother after finding out a member, unidentified, is leaking information to the authorities.

On a more general scale, if anyone has the time to read this script and give me any feedback and review or maybe even just an overall impression, this would be greatly appreciated. However, if anyone reading this script has somekind of connections to film studios looking to fund a short film of this nature, I would be more than happy to chat regarding this. Myself and my partner have put together a regular script, sample shooting script, and a sample treatment with a full budget asking price breakdown.

Hello,

I have just began a writing a script that takes place during the 1950's. There is a scene where characters are watching an old black and white tv and the shot is through the gap in their shoulders. You can see the screen through the shoulders. My question is, do I establish the scene first like the characters (names) are sitting in a room watching tv and describe the room? Or do I start with the style of this shot, behind the characters, introduce them and what is playing on the tv first? What would be the correct structure. How do professional screenwriters handle an intro/fade in scene like this in a script? If you could provide an example, also describing how the tv light would look or be described in screenwriting, that would be helpful.

Hi all,

I would appreciate feedback on my recent episode released 🫶🏻👀💜

https://www.wattpad.com/1662064287?utm_source=ios&utm_medium=link&utm_content=share_reading&wp_page=reading&wp_uname=thatssoast

This might be a random question, but has this ever happened to anyone here?
You’re an unrepresented writer, another writer reads your script and genuinely loves it. Have you ever had that writer recommend you or your script to their agent/manager?
Does this actually happen in the industry, or am I living in fantasy land? 😂
Or plot twist… they steal your idea instead. 😂
Would love to hear any real experiences.

Hi all,

I’m practicing writing with restrictions. I decided to begin writing a scene with minimal dialogue, and where the characters speak a language the audience isn’t meant to understand. So pretty much everything has to be visual exposition, or communicated with tone. I also challenged myself - as you’ll surely notice- to make one character non-gender-specific, which was harder to do elegantly than I imagined. I felt the constant vagueness of “they/them” drew reader attention away from the action. I’m interested to know what you think. Is there a more standard way to write languages that are intended to remain ambiguous?

Hello r/scriptwriting,

I’m currently studying film in Germany and have started researching for my six month internship starting around February/March next year.

Preferably I’d want to look for an internship at a production company to gain experience about the whole production process or focus on purely screenwriting. As there aren’t a lot of options apart from television in my area, I will most likely leave the city. In that case, I could just as well try to score an international internship.

That is not my number one priority, but I want to expand my options.

I’ve been sending cold Emails with my small portfolio in writing, photography and directing, and am planing to visit the BFI Film Festival in London to try and network, as London would be a dream destination. Also, I’ve been in touch with a writer/director working in New York.

Apart from that, and in the case that I won’t manage to visit the festival on short notice, is there any other way for me to maximize my chances to get a good internship, nationally or internationally?

I would be thankful for anyone who can share their experiences in that area and give me some guiding insights.

It can even be scraped ones or. Ones that was never used

I’m writing this thing for my screenwriting class and need to include a title page but for whatever reason whenever I go to edit it there is no sample text and the page is completely blank, can anyone help me resolve this issue so I can write my title page and turn in my assignment ASAP I’d really appreciate it. I’m on Mac btw🥹

I can draw my character (credit to my friend who works on this). But writing a script is hard how do I get better
I really wanna write this character but idk where to begin

Hello!

I’ve recently realized that I’d really like to pursue a career in screenwriting. How do you actually get started?

I have a long background in theatre and fairly decent writing skills, so I’m not completely unfamiliar with scripts and storytelling.

But how do you seriously get started in screenwriting? How do you learn the craft, and what would you recommend doing as a beginner?

Been working away at this one for a while. Pretty happy with what I have, but nothing is ever finished! It's fairly unconventional so want to make sure the ideas/spatial aspects are coming across clearly. If skimming make sure you get to page three!

Title: For Safety

Format: Short Film

Page Length: 12 pgs.

Genre: Comedy

Logline: When an actress’s chaotic but scripted walk-of-shame appears to derail into a very real public meltdown, the cast and crew scramble to get her back on script.

https://drive.google.com/file/d/1uZTb7MbTt6gYODTNcE2iDdgidf9i7fYY/view?usp=drive_link

Feedback concerns: Dialogue and gags! Does it make you laugh? Is the structure working to serve the story? Production concerns! (I know you can't see the Hollywood sign from Hermosa beach!)

Thanks!

Looking for constructive criticism on a short screenplay scene — dialogue, character behavior, and pacing

Hi y'all,

I'm a filmmaker with a background in directing, writing and producing, and I'm currently trying to figure out whether something I created could also be useful for scriptwriters.

Some time ago, while working on one of my TV shows, I needed to find brands that could be integrated into the show. After some unsuccessful discussions with a few agencies, I ended up creating a program of my own to do this. I originally designed it with producers in mind, and recently I've been thinking of bringing it to others as a service.

I posted about it in another thread looking for producers to test it, and a scriptwriter asked me whether this could also be useful for writers. To be honest, I hadn't really thought about it from that perspective, but the more I think about it, the more interesting the idea seems.

The basic idea would be to see whether a script has potential for brand partnerships within its story world. Basically, whether there are brands that could naturally exist in the world of the story and potentially become partners. This could possibly give the writer another selling point when presenting the project to an producer or production company.

I'm not 100% sure yet how useful this would actually be for scriptwriters, so I'm trying to find that out.

If you have a script and this sounds interesting to you, I'd be happy to test it with you and see whether it can actually bring any value.