Screenwriting

NDA: a non-disclosure agreement. In plain terms, the hiring party has images or text they don’t want a contractor to share with others, so they ask that contractor to sign an NDA.

I’ve seen several people here (writers mostly) who interact with contractors (would-be producers-for-hire) discuss “send...

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Every now and then, I feel called to share a few words of encouragement for the collective creative space, not only a screenwriter, but a mental health advocate.

Whether you’re on your first project or you’re a seasoned vet with representation and a deep resume, we all share the same spark: that uniq...

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Stephanie Bourbon (Olivieri)

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3 people like this
1 day ago

I don't see the names listed but am so happy that I was one of them. CONGRATS TO EVERYONE!!!

Kristy Leigh Lussier

I'm not seeing the list of names but thank you for making me a Quarterfinalist! CONGRATS to all !! :)

Pat Alexander

2
2 people like this
- Michael Dzurak
- Stephanie Bourbon (Olivieri)
1 day ago

Woo Woo! Go Dramabox vertical writers! Some of the titles in this batch are amazing:

CORRUPTING MY ENEMY'S BROTHER

CRAP. I MARRIED A HITMAN.

KIDNAPPED BY MY VIXEN CEO

THE NEW HOUSEWIFE OF THE NORTH POLE

F...

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Shane Copeland

1 day ago

where are you seeing names?

Arthur Charpentier

Hi! I don't write scripts or promote my projects because I don't believe in the possibility of implementing them. I'm not doing anything and I'm happy about it.

Michael Dzurak

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1 person likes this
- Jim Boston
1 day ago

I am revising a draft and revisions keep rippling through the script thus demanding more revisions. I really don't think this is a page 1 rewrite (which I have done with another script) so I am pressing on. A recent flu didn't help.

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Frankenstine Victor

2 days ago

Depends on how my mood is.

Vesna Floric

I have had expereanced the lack of inspiration, then I read some newspapers and got inspired!

Wade Taylor

I think if you are writing all the time & submitting, but not receiving any feedback that’s positive or not meeting real industry professionals that can actually move your ideas forward, that would make anyone hit the brakes for a while.

Morgan Aitken

It's a very relevant question Harold Ferré ! The reality is whatever you are doing has to have some kind of return on your investment. And I'm not talking about money. Although, money is nice and I re...

Erik Gagnon

I took a four-year break from writing. I had ideas, but no will to write. I was going through some personal trauma. Life was hard. When I made it through, I wrote a script about it. Part of the healin...

Jerry Dupree

I'M DIRECTING MY FIRST FEATURE FILM"

The Invite is a story about the dangers we carry with us — the secrets we bury, the guilt we deny, and the pasts that refuse to stay silent. At its core, this film...

The Invite is a story about the dangers we carry with us — the secrets we bury, the guilt we deny, and the pasts that refuse to stay silent. At its core, this film explores how a single moment, a single choice, can ripple through generations, shaping lives long after the original sin has been forgotten.

From the very first pages of the script, I wanted to create a horror experience that feels intimate and personal. The characters in The Invite aren’t just victims of a supernatural force; they are victims of themselves. Their fears, insecurities, and hidden histories become the true engines of terror. The supernatural elements — the book, the curse, the witch’s legacy — are mirrors reflecting the darkness they already carry.

Visually, the film blends grounded realism with creeping, atmospheric dread. The world begins bright and familiar — school hallways, living rooms, road trips with friends — but slowly shifts into something colder, more claustrophobic, and spiritually corrupted. As the characters descend deeper into the mystery, the environment itself becomes a psychological trap. The cabin, the forest, the shadows, and even the silence are designed to feel alive, watching, waiting.

What draws me to this story is the emotional truth beneath the horror. Samuel’s journey — from isolation to connection, from confusion to revelation — anchors the film. His relationship to the book, hinted at through family history and the haunting imagery in the attic and basement , gives the narrative a generational weight. The curse isn’t random; it’s inherited. And that makes the horror feel inevitable.

My goal as a director is to craft a film that scares the audience not just with what jumps out of the dark, but with what lingers after the lights come up. I want viewers to feel the tension of unspoken truths, the discomfort of unresolved guilt, and the dread of realizing that some invitations — once accepted — can never be escaped.

The Invite is a story about being chosen, being watched, and being judged. But more than anything, it’s a story about facing the parts of ourselves we hope no one ever sees.

And that, to me, is the most terrifying thing of all.