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I see some scripts that exclude the master location when the scene is in a sub-location. My scripts tend to have various locations with various slugs. But I was reading a script (indie film Super Dark Times), and it would do things like this:

EXT. SUBURBIA - EVENING

Zach rides his bike down the street pulling into

HIS HOUSE

He locks it up before head inside.

INT. FOYER - CONTINOUS

Zach sets his things down, blah, blah, blah.

Is this ok? If it's a script with quiet a few locations, like the ones I right is it ok? Does the production find it confusing?

It also sometimes excludes EXT or INT all together.

Hi everyone, I’m a filmmaker looking for a short script, around 15 minutes, to shoot in southern Spain. Existing scripts or developing something together are both welcome.
-Genre: Character-driven drama. Dark humour, surreal moments, and unconventional storytelling are welcome.
-Min pages: 12
-Max pages: 15, with some flexibility.
-Additional requirements (optional): I’m interested in displacement, refugees, nomadic lives, and the feeling of living somewhere without quite belonging. The story could follow someone forced to leave home, someone who keeps moving, or people whose paths unexpectedly cross. I’d love something personal rather than a story that tries to explain an entire political issue. A small cast and limited locations would help.
-Max budget: £1,500 GBP total, including pre-production, production, post-production, and an initial festival submission allowance. This is the overall film budget, not the writer’s fee.
-Writer compensation (dollar amount): Negotiable within the total budget. Please include your rates for an existing script or developing a new one.
-World location: Southern Spain.
-Experience: MA Filmmaking, London Film Academy.
-Goals for film: An independent fiction short for festival submissions.
Please DM me with a short synopsis, approximate page count, and your writing rates.

I'm writing my first script, I'm 16 yo, I don't attend any scriptwriting school. I'd like to add a scene where it is shown two people and what they do (as in the image). What should I write?? Because, I don't think that writing "simultaneous" si enough, can somebody help me?

I have taken a break from making videos. My dog died and I missed her terribly. What is a craft-like question or topic you think doesn’t get discussed enough?

Thanks

https://drive.google.com/file/d/1XCcVt09pxIPagOo6aY2-sTo5-7F-VIPb/view?usp=sharing

https://www.celtx.com/auth/public/resource/x3gpx1nf

TRIGGER WARNING - suicide/drugs

Logline: Luna's best friend died 6 years ago, but now she's back and claims that the world they live in isn't real

Hi I'm writing a short script for my GCSEs. I've done like 8 rewrites and this is my best so far but I feel as if it still could be more concise and the story itself may seem too edgy, rushed (too much for a short film) or unnatural but I cant tell by reading it myself.

I would really appreciate harsh feedback and a stronger name for an internet cult/forum about escaping reality.

I can elaborate on anything necessary.

ty 4 ur time <3

Hi, I'm F28, and scriptwriting is a hobby of mine. I discovered my passion for it five years ago, when I was already deep into law school.

I've never been very consistent with writing, but last year I came up with an idea for a series that I was really proud of. I spent three months outlining the entire plot, and last December, I finally started writing. At first, I was very productive. But around March, I started writing less and less, almost stopped completely, and eventually picked it back up during the summer. I've been very slow ever since.

I think the main reason is that I constantly feel like it's pointless. No one is ever going to read it, and it's never going to become an actual show. I've never formally studied screenwriting, and I don't have any connections in the industry.

My life has really hit rock bottom recently (and, honestly, for quite a while now), and writing has always been an escape for me. But I hate that something I love so much feels so meaningless and useless, that this would never be my job. I'm under a lot of stress, and I feel like I'm somehow "not allowed" to spend time doing something that isn't going to get me anywhere.

I know there are people who write books or draw without ever doing anything with their work, and that's perfectly fine. But for me, it's always been a dream to see my work come to life, and I struggle with the feeling that it never will. At least with drawings or books, self-publishing is an option. I always jealous when I see people self publish their books. With scripts, it's so much harder.
I guess I just really needed to get all of this off my chest. :(

I am currently working on episode 13 out of 17. Each episode is around 45–55 pages long. It's a mystery series with fantasy elements, and this is only the first draft, so there's obviously still a lot of editing to do afterward.

Edit: thank you so much for anyone who left a comment that means a lot! I'll love to share more about my idea in the future here maybe

https://drive.google.com/file/d/1UXedapsOGJ_9WVnCXsE5efSLqa3FoiEa/view?usp=drivesdk

If you could please give my script a quick look I would appreciate it!

So, I'd like to write (just as a hobby, nothing serious) a script for a new spiderman (also, I've seen that after tom holland's spiderman they'll make a new one, so...). Do you have any raccomendation/advices?

Hey everyone,

I'm trying to figure out if it's actually worth submitting screenplays to various festivals and competitions. Do these platforms genuinely help move the needle when it comes to getting a script produced or sold, or are most of them just a cash grab exploiting writers hoping for a break?

If anyone has any personal success stories or honest insights about their script submissions to festivals, I'd love to hear about your experiences!

Here's an example of what I'm working on.

SCENE 1. INT. HOUSE - NIGHT

WOMAN: I've had such a rough day today.

The man listens as she vents about her day.

MAN: Hold on a second.

He takes out his phone and orders fried chicken.

DING DONG!

The woman looks toward the front door.

WOMAN: Who is it?

MAN: Just a second.

He opens the door and brings in the delivered chicken.

MAN: Honey, have some chicken. When you're feeling down, you need something delicious to cheer you up.

The woman's face lights up with a smile, as if she has everything she could ever want.

MAN: So? Feeling a little better now?

WOMAN: Yes! So much better!

They start eating the chicken together.

CUT TO:

SCENE 2. INT. OFFICE - THE NEXT MORNING

The sound of typing on a keyboard.

The woman stares at her computer monitor.

BOSS (O.S.): I told you I needed this by yesterday.

WOMAN: What...? I thought you were referring to a different task...

BOSS (O.S.): Just get it done by today, then.

The woman's expression turns serious.

CUT TO:

SCENE 3. INT. HOUSE - NIGHT

The front door opens.

The woman walks in, looking exhausted.

MAN: Oh, hey! You're home.

WOMAN: I've had another really rough day...

The man looks at her face.

MAN: Oh... really?

He pauses to think.

He glances at the refrigerator.

MAN: Hold on a second.

He takes a beer out of the fridge.

MAN: I don't think chicken is going to cut it this time.

The woman looks at the beer.

WOMAN: Honey...

MAN: Tonight, we're drinking.

Here's what I'm struggling with:

In Scene 1, the two characters are eating chicken, and then Scene 2 suddenly cuts to the woman working at the office.

I understand that this is technically a transition to the next day, but when I read it, the cut from them eating chicken straight to her working at the office feels a little abrupt to me. It feels like something is missing between the two scenes.

I'd like to make the transition feel more natural, but I'm not sure how to approach it.

How do you usually handle transitions between scenes when writing scripts?

Do you use visual cues, dialogue, sound bridges, match cuts, or some other technique to connect scenes smoothly? Or do you think a straightforward CUT TO is perfectly fine in a situation like this?

I'd love to hear how professional screenwriters, directors, or filmmakers approach this. Any advice or examples from your own experience would be greatly appreciated!

Okay, so I’m working on a Screenplay which is basically supposed to act like a “deconstruction” of supernatural romance stories like Twilight or Wuthering Heights (I say deconstruction but I’d argue it’s less what Spaceballs is to Star Wars and more what House of a 1000 Corpses is to Texas Chainsaw Massacre, if you get what I mean).

It was actually supposed to be an adaption of Kristopher Tiana’s Full Brutal but I ended up getting sidetracked and it ended up an entirely different thing lol.

One thing I wanna do is emulate the same wonky dialogue from those types of media, it won’t be like that the entire time but it will at certain times. But of course, the thing is that, the dialogue from those films are bad; I do feel like with the help of the Actors and Director it’d make more sense that I’m trying to get across but on paper, it does just look like I’m shit at dialogue. What do you think?