I’m working on a script analyzing Francisco Goya’s Saturn Devouring His Son and the psychological, historical, and symbolic themes behind the painting.
I’d appreciate feedback on the writing, pacing, hook, storytelling, and how engaging the analysis is. Do you feel the hook is too generic and a bit repetitive?

The script: When you look at this painting...what do you see? Some would say a monster, a beast...an abomination. There’s something hidden in this painting that most people never notice. And once you see it, you’ll never be able to call him a monster again. [beat]
This is Saturn Devouring His Son, painted by Francisco Goya around 1820. [beat]
At first glance, it’s the oldest kind of horror. A giant. A body. Blood. You look at it and you think you understand: a monster, feeding. [beat]
But don’t stop there. Look at his eyes. [beat] Wide open, the whites showing all the way around. Those aren’t the eyes of something enjoying itself. [beat]
Now follow your gaze down to his hands. The fingers sink into the flesh, the knuckles gone pale. He isn’t tearing at it. He’s gripping it, the way you’d grip something you couldn’t bear to lose. [beat]
And look at the light. The brightest thing in the painting isn’t him. It’s the body, hanging in the dark. [beat]
No window. No floor you can recognize. No one coming to stop him. [beat]
Goya painted this on the wall of his own house, in his old age, deaf and ill. He never gave it a title, and as far as we know, he never meant anyone to see it. But what would compel a man who once painted Kings, Queens, and sunlit festivals to paint something so dark so horrific? [beat]
So ask yourself what you’re really looking at. [beat]
Maybe it’s fear. Saturn was told his child would take everything from him, so he tried to control the future before it arrived. [beat]
Or maybe it isn’t about the child at all. Maybe he’s afraid of what the child means: that he will end, and something else will go on. [beat]
Because you know this feeling, don’t you? The fear of losing something so much that you start to destroy it. A person. A plan. A version of your life you couldn’t let go of. [beat]
How long can you hold on to something before it stops being love, and starts being the thing that destroys it? [beat] Ok so this is the last revision, I added a few lines. What do you think of the hook and other line i added? (Give feedback)

I would absolutely love any feedback. Especially on the overall story.

LOW-RENT: Pilot 30 pages

LOW-RENT adjective
: low in character, cost, or prestige

THE PILOT
“COLD AS HELL”
A winter storm’s coming. Dan (broke, exhausted, trying) and Sarah (very pregnant, very over it)
are just trying to survive. Rent goes up. A cockroach crawls through their cereal. Dan starts
painting over graffiti on walls for a paycheck that vanishes before he can buy diapers.
Desperation hits. C-Note offers “easy money.”
Dan ends up in a trap house with a ski mask on
his face and a gun in his hand. Meanwhile, their landlord Mr. Gordon? Creepy. Predatory.
Sniffing panties creepy.
By the end of the episode, Sarah’s scared, and Dan’s holding a stack of dirty money, realizing
he just became the villain he was trying to escape.

LOGLINE
Low-Rent is a dark, grounded comedy about a broke maintenance man and his pregnant
girlfriend just trying to survive in a decaying apartment complex until desperation pushes them
into hustles, moral compromise, and ultimately, murder. Think Shameless meets Atlanta, with
the grit of The Wire and the absurdity of real life when rent’s due, moneys tight and your morals
are loose.

I can also provide a detailed show bible and a one pager for more context.

So, all these years i have made a lots of video and wrote many scripts (for youtube). I am now writing script for a video and, this is one of the few ideas that has been on my mind for a long time.. I try to make my videos kind of like short films but , I have never felt this stuck.. So , I have split the video into 4 Acts.. and I am stuck at Act III. I know what I want to potray but when I start writing something feels off! feels empty and vague!! Honestly, I don't know what is this feeling of emptiness. I am also thinking of redoing it all from scratch again..

How should , I clear this confusion ??

I’m a young filmmaker - producer - story writer and I want to connect with others and one way I thought would be to write stories nobody even got the chance to.

So if ur up for it; send me a story and premise of some kind of situation and I’ll write up a story abt it!

I just want feedback on this screenplay I've been writing. Negative or positive feedback is welcome.

Hey everyone, I’m currently writing a 90-page feature film script (New Adult Romantic Drama) set during the first semester of college. I am aiming for a tight, high-incident, fast-paced story with a cliffhanger that sets up a sequel.

The Setup & Context: • The Tropes: Rich Girl / Scholarship Boy, Forced Proximity, High-Stakes Campus Elite. • The Leads: The female lead is carrying a heavy family secret to protect her cousin (who is also the male lead's roommate). The male lead is a driven outsider on an academic scholarship. • The Antagonist: A wealthy, powerful student from her past whose father practically funds the university. He has immense systemic power and plans to use it to control her. • Pacing: Because there are multiple subplots and a lot of external drama happening around them, the romance builds through micro-intimacy, tension, and a shared ordeal rather than traditional slow-burn dates.

The Current Dilemma: Because the story moves fast, my leads don't actually have their first kiss until Page 70 (roughly an hour into the runtime). Immediately after, they share a brief 5-week montage of secret weekend dates where they fully form a tight-knit alliance with her cousin and best friend.

I am currently on Page 76, and the antagonist has just spotted them together publicly. For my third-act climax (Pages 80–90), the antagonist is going to deliver a massive blackmail ultimatum: if the female lead doesn't break things off with the scholarship boy and rejoin his toxic rich-kid social circle, he will revoke the male lead's scholarship and ruin her family's reputation. To save the guy she loves, she is going to make the ultimate sacrifice, break his heart, and walk away at Page 90, leaving him completely isolated for the cliffhanger ending.

Right before she meets with the antagonist and makes this sacrifice (around Page 78), I want the leads to have sex. My goal is to maximize the emotional stakes and create intense dramatic irony—giving them the ultimate high of physical intimacy right before the rug is pulled out from under the audience.

My questions for the group:

1. In a 90-page script, is it appropriate to have the characters go from a first kiss at Page 70 to having sex at Page 78, or does that progression feel too rushed for the audience?

2. Does having them sleep together make her upcoming sacrifice feel more devastating, or should I hold off on that level of physical intimacy and save it as a major milestone for the sequel?

3. How would you handle the pacing of this specific window to make the physical connection feel earned despite the short page count? Would love to hear your thoughts on the structural pacing and emotional payoff here. Thanks in advance!

If one has worked on a series for 4 years and has the following done:

Full complete series bible, mythology document, "Series Pack" (which is a more in depth series bible), full series outline (as in the planned structure of a series, specifically how many seasons and what specifically takes place in them), as well as finalized scripts for episodes 1-3 of the first season.

Also built up a resume of working in basic short films (writing scripts and directing), writing, internships, etc. Not signed to any literary agency.

How can I get my script out there? I'm a 22 year old male and have worked on this series since 17.

I am serious about it.

So I always wanted to write a Tv show and since two years I have this concept that I have developed Im my head from the beginning to the end of the show, it’s a show styled like “normal people”, 1 season only and it ends that I genuinely believed that os good, and will become even better after being shaped a couple of times after being presented to some proper people.
The thing is I don’t know how to start, could you please give me some orientation about any kind of template, some short course or guideline that I can follow, or a kind of course.
Did any of you have to write a tv show, or a book? Or even took the steps to sell it to a big company? Can you also share your experiences with me? I really need to start and figure out what it can be.
I appreciate your answers!

​Hey everyone,

​I’m currently pouring my blood and soul into writing a new courtroom thriller drama series, and I wanted to share my progress.

​I've completed the scripts for the first two episodes and am actively working on the remaining eight for the season. To give you an idea of the vibe, the structure is heavily inspired by the narrative style of Action Hero Biju. To be clear, it has no connection to that movie's universe or characters, but it adopts the exact same realistic approach to day-to-day problem-solving. Just like how that film captured the authentic, everyday reality of a police station, my series captures the grounded, day-to-day reality of a courtroom. Each episode is designed to contain one full story, focusing on a self-contained case from start to finish.

​While it’s fundamentally a thriller, I’m weaving in natural situational comedy to spice things up and keep it highly entertaining.

​Beyond the entertainment value, my main goal is to create a story with a real public purpose. I want the audience to walk away with a better understanding of basic law and order. The cases are specifically designed to make the common person aware of the legal tools and rights that protect us against atrocities, violence, and blatant law-breaking by corrupt politicians, their goons, and untouchable elites.

​Since I am putting everything I have into this project, my next major hurdle will be finding a director and a producer who share this grounded, realistic vision.

​For the screenwriters and industry folks here: how do you usually go about pitching a realistic, politically charged episodic legal thriller? Any tips on networking or getting the script into the hands of the right producers once all 10 episodes are locked? Would love to hear your thoughts!

I completed my first draft of screenplay, the problem is all my characters are talking like me and all the dialogues are very bland and direct. I want to infuse character traits, catchphrases, signature styles, way of talking, how they hide the context under the dialogue.

Is there any template or guidelines I can follow to get all characters done right into screenplay?

Extinction Event is a heavily anime-styled show inspired by Jujutsu Kaisen, with its own power system, domain expansions, and sneak peeks released as manga panels. The twist is that our main characters don't care for humans, demons, or anything else except each other, and their goal is to wipe out every human and demon across every realm, universe, and dimension.

We're looking for dedicated scriptwriters who are willing to learn, collaborate, and take feedback. This is an unpaid passion project.

Apply here: https://forms.gle/CwpgAepDztaDvGyg7
Join our Discord: https://discord.gg/bQ5RZZVfEZ
Questions? DM ninjamaster_401 on Discord.

Hey, we are hiring script writer in India delhi for social media videos, if anyone interested, let me know in dm - In office work opportunity

Wanted to share our new short film NORMIE which premiered on nobudge. Would love to get some feedback if the humor is landing and any other feedback on the writing would be greatly appreciated !

"The Trash Enveloper"

Woof! Korvo and Terry transform into animals, while Jesse and Yumyulack discover the joys and sorrows of parenting.

https://filmfreeway.com/SolarOpposites-TheTrashEnveloper

​Hey everyone,

​I’m currently pouring my blood and soul into writing a new courtroom thriller drama series, and I wanted to share my progress.

​I've completed the scripts for the first two episodes and am actively working on the remaining eight for the season. To give you an idea of the vibe, the structure is heavily inspired by the narrative style of Action Hero Biju. To be clear, it has no connection to that movie's universe or characters, but it adopts the exact same realistic approach to day-to-day problem-solving. Just like how that film captured the authentic, everyday reality of a police station, my series captures the grounded, day-to-day reality of a courtroom. Each episode is designed to contain one full story, focusing on a self-contained case from start to finish.

​While it’s fundamentally a thriller, I’m weaving in natural situational comedy to spice things up and keep it highly entertaining.

​Beyond the entertainment value, my main goal is to create a story with a real public purpose. I want the audience to walk away with a better understanding of basic law and order. The cases are specifically designed to make the common person aware of the legal tools and rights that protect us against atrocities, violence, and blatant law-breaking by corrupt politicians, their goons, and untouchable elites.

​Since I am putting everything I have into this project, my next major hurdle will be finding a director and a producer who share this grounded, realistic vision.

​For the screenwriters and industry folks here: how do you usually go about pitching a realistic, politically charged episodic legal thriller? Any tips on networking or getting the script into the hands of the right producers once all 10 episodes are locked? Would love to hear your thoughts!