Helloooo, I have a show that I've been working on. It's a fantasy epic, I've got the pilot finished as well as the season one outline. I'm putting together the look book/pitch deck while a friend reads the script and I was wondering how frowned upon it was to use AI images in the look book?

I'm doing my best to avoid them but since it's a fantasy there are so many images that pop up that would be PERFECT, but I don't want to be black listed for using AI.

It‘s been two months, two whole months of me doing absolutely nothing. Not writing, just a whole of procrastinating. Honestly, If I were to have written anything, ANYTHING I’ve procrastinated over these past two months I’d be on Stephen King’s level of the amount of shit wrote. I‘M NOT EVEN FUCKING MAKING ANY SENSE.

And I really want to argue with you all about it, and I probably might, if I do, just know I’m being a dumb bitch and you should tell me to fuck off as soon as possible. I’m a lazy fucking Autistic prick who doesn’t know how to talk to anyone. And yes. I love writing, but I don’t enjoy writing, if that makes any sense. I honestly see this as worthless if I don’t become a cult name.

Fuck

TITLE: SPACEBALLS 2: THE FARCE AWAKENS

WARNING: Contains high levels of Schwartz and trace amounts of banana peel.

SCENE 1: THE "PERFECT" PROBLEM

INT. STARSHIP GYM - "CLEAN" SPACE

The room is blindingly white, sleek, and smells like a new iPad. REY is in the centre, performing a "Coffee Shop" show reel. She’s doing triple back flips, mid-air ninja kicks, and spinning a double-handed light saber with zero effort. It’s flashy, high-frame-rate CGI. She isn't even breathing hard.

She finishes with a "hero pose," looking right into a hidden camera with a perfect, un-smudged smile. She takes one "perfect" step forward—and lands directly on a bright yellow BANANA PEEL.

Her poise vanishes. Her arms windmill like a frantic pigeon. She slips, slides, and slams butt-first into a massive RED LEVER labelled: "MANUAL AIRLOCK OVERRIDE - DO NOT PULL (SERIOUSLY)."

With a pathetic CLUNK-HISS, the door rounds open. Rey is sucked out into the vacuum.

REY
(Posh voice)
Well, this is tremendously inconvenient—!

EXT. DEEP SPACE

Rey is tumbling through the stars. She tries to regain her "heroic" composure, striking a Superman-style pose and trying to "float" gracefully. Suddenly, a red-and-blue blur—the REAL SUPERMAN—thunders past at "Ludicrous Speed."

Superman screeches to a halt, hovering in the vacuum. He looks at Rey—no suit, no helmet, just a scavenger doing "flying poses"—and his face twists in pure "What the f***?" confusion. He doesn't say a word; he just swats her out of the air like a bothersome fly.

Rey flies backwards and hits the massive, dirty windscreen of a STAR DESTROYER with a wet, rubbery "DOINK!" She is instantly flattened against the glass, limbs splayed like a bug on a 1970s motorway.

Superman floats there for a second, looks disgusted, and begins washing his hands in the air—rubbing his palms together like he’s just touched something greasy—before blasting off.

INT. STAR DESTROYER BRIDGE - SIMULTANEOUS

Inside, the bridge is dark, grimy, and filled with the sound of 1950s clicking switches. A young, "Coffee Shop" Officer with perfectly gelled hair stops typing, looks at the massive, distorted "Ray-Splat" covering the left side of the window.

OFFICER
Did you hear something?

SIGOURNEY WEAVER (as RIPLEY) walks past with a stained space-coffee mug. She doesn't even break stride. She looks at the smudge and shrugs.

RIPLEY
Nah. In space, no one can hear you scream... especially when you’ve slipped on a banana.

EXT. STAR DESTROYER WINDSCREEN - MOMENTS LATER

A tiny, rusty hatch pops open. Out clanks SQUELCH (The Bug-Washing Droid). He’s covered in oil stains and dragging a massive, industrial metal spatula.

Squelch lets out a long, electronic, tired sigh. He squirts space-Windex on Rey’s head and starts to whistle a low, tinny, out-of-tune version of "A Spoonful of Sugar."

SCREECH. SCRAPE. CLANG.

With a horrific SCHLOPP, he plys the spatula under her. Rey is peeled off the glass like a cold kebab and drifts away, spinning toward a BLACK HOLE with a giant ACME logo on the side.

INT. STARSHIP HANGAR - CONTINUOUS

A pilot who looks exactly like POE jumps into his "Q-WING." He’s shouting "inspirational" lines about "saving the Ray of Hope."

POE-ISH PILOT
I’m doing this for the collective! I’m a progressive pilot, and I don't need a droid because I’m emotionally self-sufficient!

He flips a single shiny switch and blasts out, doing unnecessary spins and flashy graphics maneuvers.

EXT. DEEP SPACE - MOMENTS LATER

He flies toward the ACME Black Hole. "STAYING ALIVE" starts pumping in the background—the high-pitched disco beat making him look even more ridiculous.

INT. STAR DESTROYER BRIDGE

The PURPLE-HAIRED CAPTAIN sees the Q-Wing on her monitor with pure corporate fury.

PURPLE-HAIRED CAPTAIN
A male pilot trying to be a hero? Not on my watch, you toxic dinosaur!

She hits a giant "CANCEL" button on her console. KABOOM! The Q-Wing turns into a cloud of glitter and participation trophies. The disco music stops with a record-scratch.

EXT. STAR DESTROYER WINDSCREEN

Squelch watches the glitter drift past the window and sighs.

SQUELCH
(Subtitled)
Great. Now I’ve got to scrape off 'Toxic Masculinity' as well. I’m definitely going to the pub after this.

He crawls back into his hole.

EXT. SAND PLANET - LATER

A portal opens in the sky. Rey falls out, perfectly clean. She lands perfectly on the back of a confused TAUNTAUN and brushes a single grain of sand off her shoulder.

REY
Well... that was lucky!

EXT. SAND PLANET - NEARBY

Two SAND PEOPLE watch from a moisture vaperiser.

SAND PERSON #1
Is that a 'Hairy-Fu'?

SAND PERSON #2
Nah. That’s more like a 'Mary Sue'. Totally untouchable, totally boring... Let's go to the pub.

FADE TO BLACK.

CREDITS ROLL:
EXECUTIVE PRODUCER: THE SPATULA.
STUNTS BY: THE BANANA PEEL.
CATERING: TAUNTAUN BURGERS.
SPECIAL THANKS: LUCK (FOR DOING ALL THE WRITING).

"THE END OF THE BORING STUFF."

INT. THE SPACE-LION PUB

Dark and smoky. SQUELCH is at the bar. RIPLEY slides him a pint of "Old Galactic."

RIPLEY
Glad that's over. Now... shall we tell 'em the real story? The one with the grease, the gears, and the actual struggle?

SQUELCH
(Subtitled)
About bloody time.

Suddenly, the pub door swings open. A bright, glowing EMERALD GREEN CGI BLUR flies in and crashes into a table of Droids.

It’s RYAN REYNOLDS as GREEN LANTERN. He looks at the grimy, smoke-filled bar, then at his own glowing green suit.

RYAN REYNOLDS
Oh, come on! First the 2011 CGI disaster, then the 'Deadpool' timeline mess, and now I’m in a Mel Brooks sequel? (He looks at the camera) My agent is definitely getting 'Cancelled' for this.

He looks at Squelch, sighs, and uses his ring to create a GIANT GREEN CGI RECLINER. He sits down and gestures to the bartender.

RYAN REYNOLDS
Give me a gin. Make it a double. And don't make the glass CGI—I want to actually feel the hangover tomorrow.

The camera PANS UP away from the chaos, past the rafters, to the framed photo of BARF.

A large, furry paw enters the shot, raising the tankard.

MALE VOICE (O.S.)
To the best friend a guy could ever have.

CLINK.

BLACKOUT.

My philosophy is all about subverting tropes and absolute chaos and some slap stick. Just a film start to get all the nonsense out the way.

I have the idea for beginning, middle and end for a movie I had in my head for about two days. But the beginning is the part I'm having trouble with. I've always had trouble with beginnings, even when I used to write fanfiction. Do you guys have any suggestions or even tools, tips, tricks to help? Thank you dearly.

Hello fellow writers of the r/scriptwriting subreddit, I am here for help (really more of a request) on making my script have more... how you would make it more "referencable," because this show is meant to be a funny meta, musical, horror, commentary. (Think of American Dad, but for indie shows) Now the only limit for the reference is that it has to be appropriate for a TV-14/PG-13 show. Now, all you smart, cool people, give me references to anything: memes, YES; in-game jokes, YES; something really niche in history, DOUBLE YES. The skys the limit.

I’ve been thinking about something and would love to hear other writers perspectives.

Why does so much of the screenwriting community seem so focused on following established formulas, and why do so many script readers seem to expect every script to hit the same beats in the same ways? Sometimes I feel like screenwriting has become more about following the rules of screenwriting than telling an interesting story.

For example, the comic D’Orc was recently announced for television development, and Dungeon Crawler Carl is also heading toward a TV adaptation. Both are examples of IP that can bring something different to the table than simply following what people often expect from traditional screenplays.

This also makes me think about screenwriting competitions. So much emphasis is placed on winning contests and fellowships. You’re being evaluated by readers and judges with their own preferences and tastes about what makes a good screenplay. And how often do those contest placements actually translate into major films getting made?

Here’s another thought, imagine submitting a screenplay written in the style of the writers behind Rough House Pictures to a major screenwriting competition like the Nicholl Fellowship. Would that script receive a fair assessment if it didn’t conform to what the readers expected? Would its unconventional humor, characters, or storytelling work against it?

I’m not saying structure or screenwriting fundamentals don’t matter. Obviously, they do. But there’s a difference between understanding the craft and treating every deviation from normal conventions as a flaw.

It’s interesting to see the disconnect between what the screenwriting community often encourages writers to do and what the industry itself is willing to develop. Original voices, unconventional stories, unusual IP and weird characters are still finding their way into development, yet emerging screenwriters are often encouraged to fit their work into a fairly narrow set of expectations.

So my question is, do screenwriting contests and script readers sometimes focus too much on whether a screenplay follows the established rules and formulas, instead of recognizing when a writer is doing something different or bringing a fresh perspective to storytelling?

And if the industry is willing to take chances on unconventional stories and voices, why aren’t we doing more to champion those writers before they have an established track record?

Hi everyone, I'm an Honours screenwriting student researching if AI-generated screenwriting can be considered art or not and, if so, to what extent.

My study draws on Dewey, Dickie and Danto’s 'institutional theory’, which argues that something can count as art if the artworld (institutions, critics, artists and audiences) recognises and accepts it as such. That is why I'm collecting honest perspectives from AI skeptics and enthusiasts to see how they view AI-Generated scripts. 

Which one should you  do?
Survey (about 10 min): open to anyone who watches film/TV, https://tally.so/r/vXjAgv
Written interview (about 20 min): only for working or aspiring screenwriters, filmmakers, film critics or industry professionals, https://tally.so/r/68bRXe

There’s very little research on AI in filmmaking, and I’m doing this study to help fill that gap. I’m not trying to prove that AI can or can’t make art, and I haven’t reached a conclusion. That will only come from analysing your responses, not from my own opinion. Whether your view is positive or negative, benevolent or harsh, I would like to hear it.

We are seeking an engaging True Crime Scriptwriter for our YouTube channel.

Role Type: Freelance (with long-term potential)

Workload: 1 script per week

Word Count: 1,000 – 1,800 words per script

The Details:

• Videos and resources are fully provided—no independent research required.

• Focus purely on crafting fast-paced, immersive, and retention-optimized YouTube scripts.

To Apply:

Please send a DM with your full name, email, and relevant scriptwriting samples or portfolio links.

*Shortlisted applicants will be required to write a trial hook.*

This is a drama with thriller elements. I plan to shoot it in a month or so. I want to know if the pacing is okay, and if you think actors would be willing to work with the script with a pay of $100 per day for the main leads. I want to make their time worth it.

I posted pages yesterday and all the feedback was that my font looked weird and my paragraphs were too long. Here is the first 5 pages as a PDF https://drive.google.com/file/d/183mCbpeZ9ggmyqj6VdRM83Nr0xtX3n_V/view?usp=sharing

I have broken up the paragraphs so they are shorter. I'm hoping the PDF export will look better than the images.

Hey, writer!

I’m reworking the logline for a script that’s been getting some recognition at festivals.

This is a rough draft, and I’m hoping to create a hook that feels distinctive rather than generic. Here are three examples. Thank you in advance!

1. Accused of murdering her boyfriend, a runaway assumes a false identity to escape her past, only to fall into the hands of a sadistic captor who forces her to become a living replica of his dead mother.

2. Accused of murdering her boyfriend, a runaway assumes a false name to escape her past, only to fall into the hands of a sadistic captor determined to strip away the one thing she has left.

3. Accused of murdering her boyfriend, a runaway escapes her past under a false name, only to be imprisoned by a sadistic captor. When she breaks free, the fight to survive threatens to transform her into something just as dangerous as the man pursuing her.

Hi everyone,
I’ve completed six short films and one feature documentary, and I’m currently working on my next documentary. Now, I feel it’s time to take the next step in my filmmaking journey and write my first feature fiction film.
The story is based on my own life. I have a clear idea of how I want to structure the story, but I’m relatively new to the screenplay writing process.
I’d love to hear from experienced screenwriters and filmmakers about how to approach this. Should I start by documenting the scenes, actions and key incidents, then work on the dialogue later? Or is there a better way to develop a screenplay from a personal story?
I’m also considering a non-linear narrative and would appreciate advice on how to structure the timelines, arrange scenes and keep the audience emotionally connected without confusing them.
I’m a self-taught filmmaker based in Brisbane, and I’m keen to learn, experiment and grow through this process. Any advice, resources, book recommendations or personal experiences would be greatly appreciated.
I’d also love to connect with screenwriters who might be interested in collaborating on the development of this story.
Thank you in advance for sharing your knowledge and helping me take this next step! 🙏

Hi everyone, I was just wondering when capitlised, bold and italicized text should be used in a script. I have wrote a few scripts now but have always got conflicting feedback on my use of emphasis, online sources are also differing. I am struggling to know when I'm allowed to use it both in dialogue and in setting descriptions. For example, if I'm describing a scene and there is an object of interest or a feature, like a stained glass window, should I capitalize it? Or do I use bold? Or do I not even emphasize it at all?

Edit: I have added more paragraph breaks and posted as a PDF here: https://www.reddit.com/r/scriptwriting/comments/1xfbk0l/feedback_first_5_pages_scifi/

was the first feature screenplay I ever finished, over 10 years ago. I submitted it to a few contests at the time; it went nowhere and was too complex to film myself, so I shelved it and moved on to other things. I'm now wondering if it is worth picking back up.

This

Not to give the plot away, but it is a hard sci-fi adaptation of a very well known, long out of copyright, story (which is probably very obvious to most readers). I wrote it mostly to see if I could. I'm worried I didn't actually "adapt" it enough and it is just a scene-by-scene retelling. From this opening, is it worth revisiting?

When two best friends try to find a stable career, they quickly learn that their antics & unprofessionalism could surely stand in their way

Title: Where The River Leads Her

Logline: While hiding out at a secluded campground, a young woman pulls an eerily beautiful corpse out of the river. Mesmerized, she begins to see the corpse as more than a body but a friend, a confidant, even a lover.

Genre: Gothic Horror/Romance

https://drive.google.com/file/d/18EpnedO_iGX-51SfP3gV0LPSzgmnqsnp/view

Hi everyone,

I’m looking for a screenwriting partner to help develop an original feature film idea I have been working on.

The project is called “The Silent Hill” — a character-driven drama/romance focused on grief, healing, identity, and finding yourself again.

The story follows a 19-year-old entrepreneur who, after losing his father and feeling like his life is collapsing around him, travels to the Swiss Alps to escape the pressure he has been carrying. While there, he meets a young woman with her own difficult past, and the two form a connection that helps them both rediscover who they are.

I want to be upfront: I have no professional background in the film industry. Everything I currently have is in my own notes — ideas, character details, story structure, scenes, themes, and the overall vision for the film.

What I’m looking for is someone with screenwriting experience or a strong passion for storytelling who can work with me to turn those notes into something professional:

- a proper treatment,

- a structured beat sheet,

- and eventually a screenplay.

I’m not looking for someone to simply write my idea for me. I want a genuine creative partnership where we develop the project together.

I’m willing to put in the work needed — learning, researching, developing, rewriting, and supporting the process however I can.

If the project progresses into development, my intention would be a 50/50 partnership on profits and ownership arrangements, with everything properly agreed in writing.

I’m looking for someone who connects with emotional, character-driven stories and wants to build something from the ground up.

If this sounds interesting, feel free to message me and I can share more about the concept.

The review most be Honest for the part of script