Screenwriting

Ekaterina Pavlova Oh, I've had that too - my response is "my business is just me, I can't afford to take anyone else on!"

@Stephanie right?! If not a dinner date, take me axe throwing and test my patience ;-)

@solidgoddess hey! Thanks so much for checking Fugue out, that means a lot more than you realise!! :-)

I get happy when a message comes in — I think, "did they read the script and like it?" But they're all just about people wanting money. Honestly, it's pretty demotivating.

You have probably discovered the only people in show business who are actually making money

A great topic to discuss! When a script has a slick rhythm and flow it can make a reader really tune in to the story you are telling. The benefits in reader immersion are invaluable and can make your project a must-read.

Think about it like you are putting your script on a dating site. You want people to like it in the hope they will want to fall in love with it and have a relationship with it. What are dating website statistics? If they don't fall in love, they want to explain why not but the truth is simpler - they're not interested. But advice should always be welcome.

Writers must welcome notes, it comes with the job. If the notes are technical, they are important. For beginners they are vital. Later, if they are obviously right - great, edit. For other notes give them some thought then decide - - unless Sreven Spielberg sent them, in which case shout hallelujah and start 'murdering your babies'' if the notes want you to.

The mistake many writers make, and are encouraged to make, is that there is some sort of objective analysis that can be done on their material that will make it universally better or worse to everyone who reads it. Beyond the basics of craft, this is nonsense and sends people in circles.

It's absolutely possible for an industry member to think your writing is the best they've ever read but logistically unsuitable for their needs.

It's absolutely possible for an industry member to think you are incredibly talented and valuable, but not to their taste.

It's absolutely possible for multiple industry members to reassure you that you have what it takes while seeing zero career progression.

It's not just possible - it's normal.

Alignment is really hard to achieve, especially when you're new, and the opportunities to align with someone who can actually get something made are rare.

What you have to continue to do is move forward with conviction, provided your craft is at its best and your voice is at its strongest. The mistake so many make is to continually change what they are doing and dilute what they offer by trying to make something undeniable.

I love getting feedback. I take all feedback back on my script to heart. I know how busy producers and managers like Nicholas who gave me feed back. If they take the time to respond, I am going to listen. It helps me as a writer grow.

Juli Henry I've found that not every note deserves a rewrite. One lesson I'm learning is to look for the underlying problem, not necessarily the proposed solution. Different people may suggest different fixes, but if several readers are reacting to the same issue even if they describe it differently there's usually something worth investigating. At the same time, if a note pushes the story away from its core emotional purpose, I think it's important to question whether it's improving the script or simply changing it into someone else's vision. For me, the challenge is finding the balance between staying open to feedback and staying true to the story I wanted to tell.

You don’t have to implement every note but it is worth considering where the notes are coming from to see if there is something deeper behind them that is consistent. Also ask yourself if the reader is getting the type of film you are trying to make.

I don't disagree CW but I'm still throwing punches. I decided to retry another format, and I started writing a novel as well. Giving up hasn't crossed my table yet, but I can promise you if I ever break in, I'll definitely be giving-down. I'll help people who haven't slithered across this threshold. Take care and all the best.

You are not alone sir, nothing wrong in expressing this, I appreciate you hate being negative. But this is far better than masking a positivity and feeling hollowed out inside. I appreciate this Because You are being authentic version of yourself and what you say is true. My recent connection who is an agents in Hollywood say they only respond to their own clients and friend circle and the only way is networking. Its exactly the same in India too. Especially in south we don't even have paper work procedures to fill our resumes. North of India atleast have paperwork procedures to fill our resumes

I also think it's partly a generational divide. A lot of the movies that those of us forty and older enjoy watching aren't as appreciated by the teens and early twenty somethings of today. Even I preferred the older family movies of the '90s and '80s over the 2000s movies I saw the trailers for as a teen. On the other hand, I think that even among the younger generations there is some sense of dissatisfaction with the movies that are released today. I see it in the comments all the time on youtube of people of all ages complaining about the "garbage" that the film industry churns out. I've seen some commenters refer to it as sequel-itis. Too many sequels and not enough original ideas. And some people find reading a book more enjoyable today than watching a movie.

This isn't a very hot take at all, and the negativity toward the industry makes a writer look arrogant and ignorant. There are a lot of great movies being made. You are unaware of them.

CJ Walley, let me guess, you probably think the Christopher Nolan disaster take of "The Odyssey" was life changing. Arrogant and ignorant? It doesn't take a scientist to decide if a movie has any entertainment value or not. And I'm just a beginner so I have an excuse for nobody ever hearing of me, whats your excuse?

Love it Maurice Vaughan - very 'Chekhov's gun' (or Chekhov's banana or moving box or potted plant or whatever object you've got cooking...)

Emily, this is a sharp list — especially Plenty of White Space. I've seen too many scripts that read like novels, and you're right, it's an instant pass. The formatting point is underrated too; spellcheck is the floor, not the ceiling.

The one I'd add: Visual Voice. Not just what characters say, but how the world itself speaks — the objects, the negative space, the rhythm of the cuts. Your Life and the Art of Lying had that — the silences said as much as the dialogue. That's the difference between a script that works and one that haunts.

Also, Chekhov's banana made me laugh. Stealing that.

I was doing quite well there..I was like, 'oh I do that, I'm okay with that, not so bad with that one, I don't do THAT' until the last X - I have awful trouble picking the moment a story needs to start - I'm either drivelling on and realise that I'm on page 10 and i haven't actually got going in any sense or I launch in and feel a lack of substance that results in Act 1 ending around page 10 - this was a very timely reminder that I need to work harder on that element, Thank you Emily Schooley

Salisu Abdullahi - Visual Voice is a great addition, though unless the script itself mentions certain design elements as a must-have, a lot of times the visual style of a film comes from the director + production designer + cinematographer + editor +++ so many other crew members' input and labour. It's definitely easier to achieve if you're writing, directing, and producing your own work!

And thanks for the praise for my film!! I'm always excited to come across people in the wild who have seen my work, outside of film festivals or local screenings!

Haha and steal away!

David Hall It's good to have that level of self-awareness! And honestly, nobody bangs out a perfect script on the first draft regardless. Sometimes those extra words help you unlock something else in your script, down the line, even if that particular scene doesn't make it to screen.

Another one. A promising hockey player successfully become an entrepreneur.

When a widow goes in search of her son who went MIA during a peace keeping mission in a war torn African country, she discovers a ongoing unreported genocide and elaborate cover ups.

As she digs deeper, she uncovers truths that put her in grave danger but she can't relent and would go to any length for Justice.

Okay, I'll play!

Logline: A writer sits in front of her laptop for six hours, writes three sentences, decides she's "creatively gestating," and reorganizes her entire closet. It's a slow-burn psychological thriller with no third act.

Also, Gerard is absolutely serving main character energy today.

A girl finds her own life intolerable. She becomes a doppelganger for someone famous only to find herself framed for something real bad - before realising that her old life wasn't so bad after all - fancy that!

Solid Goddess oh you stole my idea, it was mine I say - I have the proof right here!!! Actually, mine's no 2nd or 3rd Act...ummm...sorry about that. Just kinda sounded waaaaay too familiar lol

Rutger Oosterhoff COMPS: You've Got Mail meets American Hustle

Michael Dzurak NAILED IT, MIKE!!

HAPPY SUNDAY, EVERYONE!!

Mine’s off to a Great Start!!!!

Your "playground" comment regarding "Stand Tall!" is appropriate, because one of the elements of Colleen Cossitt's personality is that becoming a giant brings out her maternal qualities (she's long doted on her 10-year-old nephew and her relationship with Keswick figuratively turns mother and childlike). In other, it's "Attack of the 50-Foot Woman" reimagined as a rom-com -- and a musical one, as Colleen becomes a beloved Sin City showroom headliner.

The Pierce Brosnan name-drop is brilliant — and the fact that you made him laugh in '92, three years before his Bond debut? That's the ultimate flex. Love how both references serve the character and the scene rather than just winking at the audience. The license to kill drinks line is perfect for setting Ellis up as a doomed lush. HORROR-FEST sounds like a wild ride!

The most success I've had is from querying prodcos with scripts that have had high placements in the bigger comps with loglines that appeal. Likely spent over 1K, got 3 Shopping Agreements and an offer of a Literary Purchase Agreement (sadly all of which went nowhere), however most recently a paid Option that feels more bona fide which they want to shoot in Asia.

I quit spending any money other than on books in my first year. I'd blown a few hundred on BL evals and competition entries. I quickly found the best results I was getting were actually via routes that were free.

I've seen some crazy comments on Reddit from people who've spent thousands.

When I used to add competition placements for people on Script Revolution, there were some who must have spent over a grand on entries and that was just the comps they've placed in. It was at that point I discouraged it all.

The key thing people miss is the difference between gambling and investing. There is nothing wrong with the latter. Buying books, networking physically, buying software, using services with direct benefits, and ultimately living an interesting life is healthy. Buying a lottery ticket in the hope of getting rich quick is why so many are just going in circles until they give up.

I actually don't have plans to spend money on anything. If I have to pay a producer or director to read my script then I'm in the wrong place.

I’ve spent a few k for contest, pitch, networking events and for services to improve my script, spelling, grammar (english not being my first language).

still figuring out what is the best investment of my money and Time.

I have spent money on no-budget projects. 1,000 dollars is enough to create a 100 minutes long movie. One learns a lot in this way. There is something to show. And producers are impressed.

hii Anna Lantsetova

It's a good reminder that opportunities don't always come from formal networking events.

Sometimes they come from simply talking to people and being genuinely interested in what they do. You never know where the next conversation will lead.

Bliss Ganza Yes, exactly :)

Note to Diary - Buy a Yoga mat and get down and sweaty.

Anna Lantsetova I like this because it highlights something many creatives overlook opportunities often come from genuine conversations rather than formal networking events. Over the past year, I've found that consistently engaging with filmmakers, producers, and writers through communities like Stage 32 has led to far more meaningful connections than simply sending cold messages. Building relationships first seems to create better opportunities than leading with a pitch. Thanks for sharing your perspective!

Quiet Drafts

Thank you! I completely agree—when a character’s wants and needs collide, that’s when the story becomes truly compelling. The project that’s furthest along is THE LAST PROMISE. I’ve completed the screenplay and I’m currently translating it into English while connecting with directors and producers. I enjoy exploring different genres, but I always try to keep the emotional journey at the heart of every story.

David Taylor

Thank you, David. I like that perspective. When a film creates intrigue, makes the audience care, and stays relevant long after the credits roll, it becomes unforgettable.

Martin Reese

Thank you, Martin. I completely agree. Memorable characters are what audiences carry with them long after the film ends. That’s exactly what I’m aiming for with THE LAST PROMISE—characters who feel real, evolve through difficult choices, and leave a lasting emotional impact.

Hassan Al- Al-Zahrani THE LAST PROMISE great title actually Translating your own script into English is tough a lot can shift in tone and rhythm during that process. Once you've got the English draft down, it's worth having someone review it for dialogue flow and pacing before it goes to directors/producers first impressions matter a lot at that stage. We do that kind of polish work at Quiet Drafts if it'd be useful once you're there. How far into the translation are you?

Quiet Drafts

Thank you so much for your thoughtful advice. I really appreciate it.

I’m happy to say that I’ve now completed the English translation of THE LAST PROMISE, and I’m preparing to present it to directors and producers.

Thank you again for your encouragement and support.

ia Ian Milne This is awesome! So organized! My approach is dry erase board and notes lol. I guess that comes from my album recording background. lol

A wall and cards were used at one time. When sticky’s/post-its came along they were brilliant. Just move them around on the wall. Horizontal was time - Left was the start right was the end. Scenes, events, moving them around to get structure and plot points right - so your method is similar to that once often used. Theres a lot of issues you can solve faster with a wall than on a page or a screen. Final Draft has cards in it which is great but they are not as great as the wall method.

David Taylor HOW could I have forgotten the sticky note days?! All would be well…until a strong breeze scattered my organization to the wind. I recall someone coming over my apartment once, and upon seeing my sticky notes saying “oh, so you’re a crazy person”.

Not weird at all! I often have trouble in those beginning stages, so it’s super satisfying to find a method that works for you.

I usually notecard, but when I was looking for a digital equivalent last year, I landed on Scrivener. I can do notecards that become summaries of scenes in an outline that become actual scenes. More versatile than the notecard view in Final Draft or WriterDuet.

Neat Mike Boas ! I'll have to check that out. It's important to know our process, but also to evolve and try new things. Thanks for sharing!