Screenwriting

Também sinto, isso é prova de que a história está envolvente, né?

As someone who came up 10+ feature films is the hardest writing phase in my body of work filmography. I'm talking about brainstorming film pitch, round / fully develop characters, writing structures, outlining scenes, scripts, and shotlists. Not to mention that I'm the only solo writer in controlling the the kind of story, tone, and themes without anyone's help.

João Pimentel you're right

Israel Samuel legal em saber que outra pessoa pensa comigo

João Pimentel we are all the same, we think the same, we were made the same.

Heyy Andrew, I appreciate your time writing about your human experience. I would love to see your script, and give my note and feedback ❤️

Interessante, eu acredito que as histórias da vida do Roterista, influencia muito no futuro, não é só no Roteiro, mas também em outros tipos de narrativas,, parabéns pela curta-metragem, gostaria de ler e dar meu feedback

Kelvin Bernards João Pimentel https://docs.google.com/document/d/1aLtHVtvVPuWl4Dgk0kvv4Ezy-T-N5tpCAgkL...

Andrew Pacleb Obrigado por mandar este link do seu roteiro, estou lendo o roteiro, e eu pensei em te dar uma dica, tem um site chamado WriterDuet que ajuda na formatação de Roteiro e ele é grátis, ele não é tão bom quanto aplicativos pagos, mas é uma forma grátis que auxilia na formatação, eu uso ele pros meus roteiros!

João Pimentel Thanks for the suggestion, I really appreciate it. I’ll check out WriterDuet. I’m still learning a lot about screenplay formatting, so tools like that definitely help. Glad you’re taking the time to read the script and give feedback.

Thunder Levin I had cancer and was rushing to get my affairs in order before life threatening surgery. I will say this right now I am an educator I also coach filmmakers, writers and recording artists, so this is a teaching moment... for you. #1 Don't presume. #2. Be kind to others. #3. The Four Agreements, a book by Ruiz, read the chapter, Don't Make Assumptions. #4. Leave arrogance behind you. #5. Treat others with respect. Start here: https://www.thefouragreements.com/dont-make-assumptions/

Michelle L. De La Garza I think computers and automation are supposed to relieve us of the drudgery of mundane, repetitive, and dangerous tasks so that we can concentrate on the things that make us most human, like art. Using AI the way you describe is the very antithesis of being human. About the only way I will use AI in the writing process is for the first draft of a synopsis of a script I've already written. I HATE writing synopses, so if it can relieve me of that drudgery, okay. But that's not part of the creative process, it's part of the sales process. If AI is going to be involved in the writing process, I'm not sure what the point of being a writer would be.

But from a larger perspective, I'm opposed to AI in general. Science fiction writers have clearly laid out the perils of advanced, learning AI for a good 70 years now. It will, really it MUST, inevitably lead to our destruction. I'd rather not contribute to humanity's downfall.

Hi Thunder! I’ve finished a 5-season saga (35 chapters) of a spiritual-tech sci-fi. Now, I’m writing Seasons 6-8, shifting the tone into a high-stakes Thriller. As a director/writer, what’s your advice for

Keeping an 8-season arc 'pitch-able' without losing the audience in the complexity?

Making a major tonal shift (Philosophy to Thriller) while keeping the story's DNA intact?

Thanks

How do I write a script that will attract attention? Is there a chance of getting a contract? I have a script for a series. I finished it and translated it.

What's your favorite part of creation? Creating the concept or filling in the finer details during filming (making changes on the fly to bring the work to life)? What draws your attention to the film/director side more so than the writing? Just curious.

CONGRATULATIONS TO ALL OF YOU. THIS IS AMAZING !

CAN’T WAIT TO CATCH UP

Congratulations! A great milestone.

Congratulations to all the writers who gained those script requests and those meeting requests these last two weeks!

Congrats to all the writers! Great to see so many scripts getting traction.

Parabéns a todos os roteristas!

I think dialogue-driven is still important this day, and I'm not denying it's true. However, I think it's better not to provide too much exposition for audience to sit back, and hear the whole yapping session. Depending on the genre and the story you're telling,

That's why I like to use the methods called "Show don't tell". It's the way provide the information through visual, body language, facial expressions, location, cinematography, camera movements, lighting, and colour psychological through costumes, and sometimes colour lighting.

The answer is best provided by research v. asking us. Take some time, dive into a little research and see what's out there. A better answer will be had.

I think it comes down to the story. I read a lot of produced scripts and some are written poorly but the story is really good. When I'm writing, I try to lock the story down first and then find the perfect protagonist to fit the story. Might be a mailman or an executive at a bank but it all hinges on the story.

Hi Sammy,

For me, an idea is worth pursuing when it keeps coming back uninvited. I'm having coffee, walking around, and that same image or situation just shows up again. That's the sign.

What usually hooks me is some kind of contradiction — a world that looks grand on the surface but has something rotten underneath. It doesn't have to start with a character. Sometimes it's just a place, a moment, a deal gone wrong somewhere. As long as I can feel that tension already in it, that something will eventually betray something else, I know there's something worth exploring.

I'm actually developing a series right now that comes from exactly that place. Adventure, but with characters that carry a lot of weight — contradictions, damage, things they haven't dealt with. And the noir element isn't just aesthetic. It changes the rules of the whole thing. Suddenly you're not sure who to root for, or whether reaching the destination is even a good thing.

It's a fabulous idea that refuses to go away unless you begin to write it, then it and the characters take over, and I must keep up with them whilst enjoying the emotional ride. It's about the privilege of watching it intricately evolve, caring about the characters, loving it, laughing, crying and knowing for sure many others will love it too.

Sammy - To add to the part of your question - 'writer needs to think like a producer from day one' - I want to add to my earlier response that I wrote/write with budget in mind. In a scene that involves an explosion, we see our protagonist's grip on steering wheel tighten, her body pressed back into her car's leather seat, her pupils constricting. A scene written several years ago, (screenplay has been evolving as muse sees fit), a Volume can now be used as production tech has evolved to meet complex or expensive visual needs.

Sammy Warshaw eu sinto a história digna de ser levada para tela quando eu penso se eu gostaria se a Obra que eu estou me inspirando seria boa se estivesse com este roteiro, se eu estou escrevendo uma Obra de Crimes, como La Casa de Papel, eu penso como seria La Casa de Papel deste jeito, se eu gostaria se ele fosse assim, entendeu?

As vezes eu também pergunto para amigos e familiares, para eu ver como o público reagiria ao roteiro

Great info, thanks! The best feedback I received was to trim down my action lines. I was bringing too much of my short story narration into the script, trying to describe details that weren't important. Keep it short. Establish tone. Be subtle. My scripts aren't such a chore to read now. Hopefully ...

I did the collaboration for the short drama film titled "The Lovely Realization of a Dandelion."

Logline: The story follows lens Sara, a kind but vulnerable 17 years old girl who is diagnosed with bipolar disorder as she navigates the challenge with Robert, her father who's condescending and abuser.

My experience as a script editor, I was helping with the filmmaker who lives in Boston, Massachusetts, after I networked with her through Discord. When I read her script, it's unclear, confusing, and doesn't make sense while still

So, I took time to help her edit her script one scenes at the time, and we drafted 6 or 7 times to see how much the scripts have been improved and polished. The best part is that the writer and director handed me the script because sje trusted me on how I write.

Great take Tash, so insightful. Thanks.

Tash Smurthwaite I got very helpful, thorough script analysis once from a competition I entered: "One of the script's biggest strengths: the characters. One of the script's biggest weaknesses: the characters." It made me realize I needed to layer my characters more rather than just coming up with good funny ones who deliver jokes. It's stuck with me ever since when writing new scripts or looking back on previous ones.

The best advice I get is the recurring advice from various editors/readers:

"Work on the credibility of your characters."

That's something I could get angry about, especially if I'm placing characters in an unusual setting, but even in a dystopian fantasy story (for instance), a character has to feel real.

Best Original will go to SINNERS ; Best Adapted to ONE BATTLE (should be BUGONIA).

I'm no expert but I don't know what SENTIMENTAL VALUE is doing among these. I found it bland, devoid of conflict and commentary on the human condition.

Since I went to see both "Sinners" and "One Battle After Another" in 2025, I guess I'll go with Sinners because it's have a cool and fun concepts with Vampires elements while the story takes place in 1930s during Jim Crow Law.

Ashley Renée Smith Great question. From the Best Original Screenplay list, Sentimental Value feels like it could stand out if the script leans heavily into emotional depth and strong character dynamics—those kinds of stories often resonate deeply with both audiences and voters.

For Best Adapted Screenplay, Frankenstein could be fascinating if it manages to honor the spirit of Mary Shelley’s novel while bringing a fresh cinematic perspective. Adaptations that reinterpret classic material in a bold way often become the most memorable.

In the long run, I think the scripts people keep talking about are the ones that take narrative risks and build unforgettable characters.

Curious to see which of these ends up becoming that kind of standout example.

Hamnet was just so good! I need to read the original ones!