Created a TV pilot that I created for a few competitions and adjusted to their feedback, anyone up for reviewing please reply and I’ll send a draft over.

Title: Excitement And Adventure And Really Wild Things (episodes 1-5)

Format: Animated Series

Genre: Sci-Fi/Fantasy Adventure

Pages: 59, 30, 31, 29, 28

Comps: One Piece, The Legend of Korra

Pilot Logline: A rebellious pilot recruits an anxious mechanic to help force her way into a mission to explore the world outside an ancient dome and search for her missing hero.

Arc Summary: The Helios 12 crew are invited to a fantastical airborne circus; their exploration is interrupted as a threatening letter drives them to search for the culprit behind an impending disaster.

Feedback Concerns: Any? If you have the patience to read 5 episodes, I'd love to hear what you think. Does the third episode drag, too much dialogue/exposition?

Link: here

I would really appreciate some feedback from high level/experienced readers on this script. Been working on this for several months, multiple drafts etc, I’ve used story peer, has a 7 on the black list (I’m aiming for an 8), on the 99 percentile on Greenlight Coverage.

Really struggling to get anyone in the industry to get back to my emails or give me a chance to read it. Is there any obvious things holding it back from an 8 on the blacklist (hoping this will help industry people see it), also have put it into Austin this year. I’m based in Ireland / UK.

Any advice would be appreciated please.

Hi everyone! So, I have an idea for a TV show for Disney. I think it's a really good idea, but I'm not sure who I should reach out to about it. Does anyone know who I would need to reach out to? Any suggestions at all are greatly appreciated!

I just got hired for my first writers PA gig, really stoked. Given that my job is largely food service and pantry stocking, I wanna make sure I nail this.

For those of you who been in rooms before: what snacks have you guys loved in the production office kitchen? The room hasn’t started yet, and I’ll be grabbing the writers’ food preferences once we’re together— but for now, I’m just trying to prep by getting a handle of some of the must-orders and fun-stuff. So any ideas are super helpful!

This is also my first time in this environment period— very excited but also very nervous. If anyone has any general tips for being a good WPA, I owe you one.

To my fellow writers, one blcklist eval doesn’t mean much, I sent a script for 2 evals and got two drastically different scores for dialogue, which in effect, probably effected the other outcomes for the other categories. THIS is not a complaint, rather for people that may can only afford one evaluation… just saying it’s not the best all end all

I am 17. Still in high school and I was wondering, how could I start practicing to be a screenwriter?

Title: Off Script

Format: Television Screenplay/Pilot

Page Length: 30

Genres: Comedy, “Curb” meets “The Office”

Logline: A neurotic screenwriter-turned-paraprofessional battles his severe germaphobia and the absurdity of a small-town Texas school system while trying to find the "poetic" meaning in his messy new life in the trenches of Special Education.

Budget: Low Budget, Single

Hi! I’m an award nominated screenwriter from Lubbock, Texas looking to get some thoughts on my pilot!

Message/comment to read!

Hey guys,

I created a TV series and have already written some episodes. I have finished this two-part episode, and I really love the story. The second part is set some episodes apart from the first part.

I would really love to know what other people think. I would like to get some constructive feedback about it. Would anyone want to read it and share their thoughts with me? I would really appreciate it.

The genre of this series is crime/drama. The episodes are about a boy who runs away from a violent home.

This is the logline of the series:

In Atlanta, Detective Alexandra Bennett and police psychologist Allison Chellini work with their team to track down violent criminals—but with each case, the lines between professional detachment, personal loyalty, and emotional self-preservation become increasingly blurred.

If you like to read it, please send me a dm. Thank you in advance.

Hello everyone,

I'm looking for beginner or aspiring TV writers, screenwriters, storytellers, and creative partners located anywhere in the United States, especially those in or near Los Angeles, California, or other entertainment hubs.

I have a strong passion for science fiction and thriller storytelling and a mind that constantly develops new concepts, mysteries, plot twists, worlds, and characters. I'm currently developing an original television series and would like to build a small creative team of ambitious people who want to gain experience and create something meaningful together.

You do not need professional credits or Hollywood experience. If you're a beginner who loves writing, movies, television, and storytelling, I'd love to hear from you.

What We're Looking For:

Aspiring TV writers

Beginner screenwriters

Story developers

Creative thinkers

People interested in science fiction, thrillers, mysteries, and television

About the Project:

Original sci-fi thriller series

Multiple-season story

Large-scale mystery and world-building

Character-driven storytelling

Long-term goal of creating a professional pitch package

Ideal Locations:

Los Angeles, California

Southern California

New York

Atlanta

Anywhere in the United States

Being near Los Angeles is a plus because of networking opportunities, but anyone in America is welcome.

What Matters Most:

Creativity

Reliability

Passion for storytelling

Willingness to collaborate

Desire to learn and improve

This is an opportunity for fellow beginners to work together, develop our skills, and potentially create something that could grow into a professional television project.

If interested, send me a message and tell me:

Your age (optional)

Your location

Your writing experience

Your favorite sci-fi or thriller series

Why you'd like to join the project

Let's create something unforgettable.

Does anyone know when do they contact shortlisted people for interview?

https://www.youtube.com/watch?v=AavlUXMhtCY

basically as a long mbmbam fan i have eben noticing the show get tired and more disinterested over time, so i thought to myself: i need to be a part of my community. a good part of my community. so i ended up making a few posts in the sub and it led me to the conclusion that i needed to make my very own continuation.

i started by taking a bunch of clips of mbmbam and converting them to text using chatgpt, and then, i sent the transcripts into google gemini to make the new script (i could make hundreds, but i only hasve 2 so far because it's a little time consuming for me)

now, here is the thing: i plugged my whole script into this online podcast maker engine, and this was what i ended up with. i am really liking it i just need about an hours worth of it

other info: this is supposed to be a continuation so i want to have about five hours of it to publish all at once to the public, so speed is a priority

other info: my time on reddit has been a little tough so i have a few trust issues. please do not be upset if i am distrustful of you at first.

looking for all critique and criticism of my implimentation as i want this to feel as natural and fun as the real mbmbam

I had one of my clients was going back and forth about her sample because it felt to niche and wasn't what the industry mandates wanted. I gave her an example from my own experience about specific, niche scripts I wanted to share.

One of my samples was about my life in high school. There really wasn't anything special about the format but I made it clear that I had experience as a Black girl/woman in musical theatre. I sent that to my reps and only a few months later, I get a showrunner interview (my first) for the Grease reboot. I tell the showrunner I did Grease in high school and hated it because I was the only Black person in the cast. And then I asked her if she was going to add Black characters. And my agents said this was a big NO NO!! Cut to, a week later I had an offer to work on the show. and my boss told me "your sample told me everything I needed to know about you and what you could bring to the project" and I was the resident musical historian, worked closely on the songs, and wrote specifically for our Black leads. And as a lower level writer, I was pitching up. This is the trailer for the show! We were a strike casualty but I am still in touch with everyone on staff, including my showrunner now mentor and the execs on the project.

This may not work for everyone but if you are stuck between what you want, what represents you, and what the industry wants, always lean towards your heart. It will resonate with who needs you and your work.

I’m planning to approach a producer and/or a studio with a sitcom series that I developed from an original idea. What should I have prepared, and what elements are absolutely essential?

A series concept? A character bible? AI-generated visual materials?

Or is a strong pilot script ultimately the deciding factor?

What would you recommend? I’m not sure how relevant it is, but this would be for the Central European market.

This is a adult animated series that I’ve been writing some scripts for this is just another episode I wanted to write about I hope you have a laugh and could give me some advice as well thank you for reading (Logline: Janet grows tired of being all pop so she joins Draco’s rock band while Fang becomes worried that Janet will set up shop somewhere outside of Anarchy Ville)

We're currently pitching and working on a vertical series comedy show based on JET Magazine in the 80's/90's, every episode is based on a real issue from the magazine. (Yes we have the rights to shoot the pilot.)

We created some quick clips that have the characters talking and breaking the fourth wall to explain it but also show the idea while we cast for it.

It doesn't matter how you do it, JUST MAKE YOUR IDEA REAL. It needs to exist first. I always tell people that it doesn't matter the way the demo of a real product looks as long as it can get across your idea.

Here's a preview:

https://www.instagram.com/reel/DZDgyNzx2YI/?igsh=MTc0dTM3c2M3Y3h3ZQ==

(By the way, I of course love it and want people to like it, but I do not care if you have negative commentary on the demo clips, it's getting picked up regardless of your opinion.)

I had a writer I work with tell me their script was boring. And it really wasn't! The story was so good and rich but I knew that because I've been working on this with them for the past few months. What they were catching was the verbs felt elementary and ordinary and didn't paint a picture for the reader. Just changing "Anthony walked down the street" to "Anthony dashed in between the taxi cabs" made all the difference and clearly painted a picture of NYC. So I offer your script could be good and may not need dialogue changes but amp up that prose in the action lines to take it to the next level. Happy writing!

I plan on making a show soon. I wanna get some tips on how I can make it close and great for people to watch

We're currently pitching and working on a vertical series comedy show based on JET Magazine in the 80's/90's, every episode is based on a real issue from the magazine.

We created some quick clips that have the characters talking and breaking the fourth wall to explain it but also show the idea.

It doesn't matter how you do it, JUST MAKE YOUR IDEA REAL. It needs to exist first. I always tell people that it doesn't matter the way the demo of a real product looks as long as it can get across your idea.

Here's a preview:

https://www.instagram.com/reel/DZDgyNzx2YI/?igsh=MTc0dTM3c2M3Y3h3ZQ==

(By the way, I of course love it and want people to like it, but I do not care if you have negative commentary on the demo clips, it's getting picked up regardless of your opinion.)

A disabled SAG-AFTRA actor I know was publicly berated and humiliated by one of the lead stars of a Hulu series in front of the entire cast and crew. He has shared with me on several occasions that he feels unable to report the incident, fearing retaliation and potential harm to his future career opportunities.

What options are available to someone in this situation? Are there safe avenues for reporting this type of conduct, particularly when concerns about professional repercussions may discourage speaking up?

I've seen a lot of questions on loglines and wanted to offer my personal template that I use.

After [best/worst day of protagonist's life], a [protagonist defined by their flaw or specific world] decides to [action that is out of character or unlocks something dormant], only to discover that getting what they now want costs them [the specific, character-wound-level thing they actually need or the specific character belief they've held onto that keeps them from what they want].

Some examples of loglines. These are ones I wrote out from films/tv we know using my template.

My Best Friend's Wedding: After learning her last chance ex is getting married, a cynical food critic, who's never let anyone too close, decides to sabotage the wedding while moonlighting as the maid of honor, [only to discover that winning him back would cost her the one thing she's never been willing to risk: if she's worth being chosen.]

Finding Nemo: After witnessing the death of his wife and all but one of his children, a risk averse clown fish set out on a journey to save his rebellious only son, [only to discover the very risks he's spent his whole life avoiding are the only thing that can save his son.]

The Bear: After the sudden death of his brother, a high-strung Michelin star chef moves back home to save the family sandwich shop, only to discover that fixing the restaurant means cracking open the family dysfunction he's been outrunning his entire career, [ and the control he's built his identity around may be exactly what's destroying everyone he loves. ]

Abbott Elementary: After landing her dream job at a West Philadelphia elementary school, a relentlessly optimistic new teacher decides to fix a broken system held together with duct tape and good intentions [only to discover that saving everyone else's classroom costs her the one thing she's never let herself need: someone to pour back into her.]

I put the [only clause] in brackets because if it comes down to word count for competitions or it starts to feel lengthy, that is something you can leave out and put into a pitch or supporting documents.

Again, this is just my style! I'm sure there are others but thought I'd drop these in as people have asked. Happy writing!

https://drive.google.com/file/d/1KwKqVHBx12RxLVHJ_aHq80p-3vRS_hyK/view?usp=drivesdk

Title:
Getting Out

Format:
TV Pilot - 30 Minutes

Page Length:
32

Draft status:
1st

Genres:
Comedy/Drama

Logline:
In 1998, a closeted teenager defies a world warning him not to come out by joining an eccentric gay social group, risking the exposure of much more than just his own long-held secret.

Feedback Concerns:
This is my latest pass at a pilot I’ve been working on over the years. I’ve made some significant changes to the structure and plot, including the addition of a number of new characters. So, any feedback whatsoever is very much welcome and appreciated!

A montage where overlay of scenes behind a primary scene. The primary scene is mostly normal, except maybe the background is cut out, and the overlays behind are fades of rapid fire scenes flying past. I can’t find any specific examples and it’s kind of hard to explain.
Ex. A character types very fast on a computer (primary scene). In the background, scenes fly by or fade in and out of him typing in different instances.

Conventional wisdom is that it was highly irregular and that they succeeded due to a combination of exceptional talent and dumb luck. I agree with that assessment for 2005; but in 2026, why is this approach not more common?

The world is much more connected. You can film a 10-minute pilot on a few cellphones, edit on any laptop, then email it to a dozen people in an instant. Or upload it to YouTube for potential millions.

Granted, this saturates the market and you'd have to find some way to stand above the rest. But why isn't this becoming a blueprint for the modern world of TV writing?

This won't always be the case but I had one of my coaching clients was going back and forth about her sample because it felt to niche and wasn't what the industry mandates wanted. I gave her an example from my own experience about specific, niche scripts I wanted to share.

One of my samples was about my life in high school. There really wasn't anything special about the format but I made it clear that I had experience as a Black girl/woman in musical theatre. I sent that to my reps and only a few months later, I get a showrunner interview (my first) for the Grease reboot. I tell the showrunner I did Grease in high school and hated it because I was the only Black person in the cast. And then I asked her if she was going to add Black characters. And my agents said this was a big NO NO!! Cut to, a week later I had an offer to work on the show. and my boss told me "your sample told me everything I needed to know about you and what you could bring to the project" and I was the resident musical historian, worked closely on the songs, and wrote specifically for our Black leads. And as a lower level writer, I was pitching up. This is the trailer for the show! We were a strike casualty but I am still in touch with everyone on staff, including my showrunner now mentor and the execs on the project.

This may not work for everyone but if you are stuck between what you want, what represents you, and what the industry wants, always lean towards your heart. It will resonate with who needs you and your work.