Screenwriting

Here is my first go at doing a movie script format.

Ch6 Page 3

EXT, Castle Courtyard, Day.

Wide Shot

Garna sets down the massive tree at the bottom of the castle steps, dust billowing as it lands with a heavy thud. The floating castle looms above, its black stone spires twisting unnaturally, anchored to the mountain by enormous chains of iron and glowing runes. The drawbridge rolls back into place, sealing them inside the floating fortress. Garna stretches his shoulders, letting out a satisfied sigh. The tailor cautiously steps out from the branches, straightening his tunic as he gets his first clear look at the castle.

Medium Shot

EliDoras stands atop the castle steps, a commanding presence draped in flowing robes of dark emerald and gold trim. His piercing golden eyes survey the tailor with mild curiosity, though his lips are curled in a knowing smirk. Garna bows his head slightly, giving EliDoras a booming greeting. EliDoras chuckles, eyeing Garerit with interest.

Garna (Grinning, Respectful): "Ah, Lord EliDoras! I bring an unexpected guest. A man of wit and talent, or so he claims!”(FIX?)

Close-Up shot

Garerit, ever the keen observer, notices strange figures lingering nearby—a hawk perched unnaturally still, a sleek black fox with unsettlingly human eyes, a massive stag that watches him with eerie intelligence. Their expressions are not that of beasts, but of people trapped in bodies not their own. Garerit's brow furrows, sensing something unnatural.

Wide shot

EliDoras gestures lazily toward the creatures, a glint of amusement in his eyes. He descends the steps slowly, his robe barely touching the ground. The fox takes a hesitant step forward, ears flicking as if trying to signal something to Garerit. Garerit's expression darkens, realizing the gravity of the situation.

EliDoras (Smooth, Almost Amused): "Curious, aren't they? Not quite men, not quite beasts.”

EliDoras (Casually, with False Warmth): "Guests who no longer have the option to leave, you see. It is quite difficult to escape when you lack the hands to climb or the voice to call for help.”

Ch6 Page 4

EXT, Castle Courtyard, Day.

Medium Shot

EliDoras strokes his chin thoughtfully as Garna recounts Garerit's feats, mentioning the tailor's legendary claim: "Seven at One Blow.”

EliDoras (Mocking Curiosity):

"A tailor, you say? And yet, you bested my giant and outwitted men? Strange talents for one who mends hems and stitches fabric."Garerit remains silent but straightens his posture, keeping his expression unreadable.

Close-Up shot

EliDoras smirks, his golden eyes gleaming with mischief. He flicks his wrist, and suddenly, his emerald robes billow unnaturally, revealing several torn and tattered sections. In the background, a black-furred dog whimpers as if remembering its past as a human.

EliDoras (Casual, Yet Dangerous): "Then let us see if a tailor can still serve his true purpose.”

EliDoras (Coldly): "Mend my robes before the moon reaches its peak. If you fail... you'll find yourself barking at the gates come morning.”

Medium Shot

Garerit bows slightly, suppressing any sign of fear. He pulls a small sewing kit from his belt pouch, tools of his trade, sharp and ready.

Garerit (Calm, Smirking): "A simple task. I'll make you look like royalty before the night is done.”

Montage Sequence

shot 4A - Close-Up of Hands

Garerit works with expert precision, threading a golden needle through the torn fabric, his hands moving swiftly.

shot 4B - Magic Threads Glow

Using a clever trick, Garerit weaves a hidden pattern into the seams, making the robes stronger and more vibrant than before.

shot 4C - Adding Secret Enhancements

He reinforces the fabric with a few carefully stitched runes, unknown to EliDoras.

Wide Shot

EliDoras inspects the newly mended robes, running his fingers over the flawless embroidery. Garna chuckles in the background, clearly entertained. Garerit, ever the performer, gives a slight bow.

EliDoras (Genuinely Impressed, Though Trying to Hide It): "You have nimble hands, little tailor. I expected you to fumble... but you've exceeded my expectations.”

Here's some of the things I did this year:

– Three drafts of my feature script Vampire-Proof

– Rewrote my feature script Kill the Monster

– Ghostwriting jobs

– Pitch deck jobs

– Wrote short scripts

– Made pitch material

One thing I was reminded of this year is sometimes a project needs more work, so don't beat yourself up if your project is taking longer than expected.

One thing I want to do more of in 2026 is read spec scripts and give feedback on them.

What's one victory you had or something you learned/were reminded of this year? Or something you want to do more of next year.

Heading into 2026, I spend a lot of time talking about opportunities, executives, and industry strategy. But as 2025 comes to a close, I want to talk about something more important: you. This community is special. Not because of the partnerships we've built or the executives we've brought in, but because of the writers who show up every day with courage, resilience, and genuine support for each other.

This year, you:

Celebrated each other's wins (85+ members landing representation, options, assignments, and deals)

Showed up for each other in the lounges when someone needed advice, encouragement, or just someone who understood

Turned connections into collaborations, mentorships, and real friendships

Proved that writing doesn't have to be lonely when you have a community like this

The 4 success stories we've had in the last 8 weeks alone? Those writers didn't just submit to an OWA and get lucky. They showed up in the lounges. They participated in Q&As. They built relationships. They were part of this community before they got their breakthrough.

That's what makes the Writers' Room work.

It's not just access to executives (though we've brought you incredible ones from Amazon, Netflix, CAA, HBO, and more). It's not just the partnerships (DramaBox, Color Farm Media, Mammoth, Zero Gravity). It's not just the opportunities.

It's the fact that you're not doing this alone.

As we head into 2026, I want to challenge you to go even deeper into this community. Show up more. Support each other more. Ask for help when you need it. Offer help when you can. Build the relationships that turn into careers.

What are you most grateful for from this community in 2025?

What do you want to contribute in 2026?

Let's keep lifting each other up.

First, happy new year to everyone - may all my fellow scribes, producers, directors and creative colleagues have a year filled with good health, much joy and great success.

Now to the issue - I've completed two of the first six episodes for my sci fi anthology. I just can't think of a title for it. Here's a logline for the series: “Across worlds and timelines, strangers encounter phenomena that expose the hidden architecture of existence—and force them to choose who they become when the universe pays attention.”

Here is my first go at doing a movie script format.

Chapter 6 Page 1

The Castle in the Sky

(Scene 1 - Wide shot EXT)

A wide, panoramic shot shows Garna, the giant, walking along a massive stone path leading toward the enchanted castle in the sky. The sky is tinged with deep blues and purples, giving the setting an otherworldly, dreamlike quality. The castle is still in the distance, towering over the landscape like a forgotten relic of ancient power. Garerit, hidden within the tree's branches, peers out carefully, his expression a mix of curiosity and apprehension. The tree sways slightly with Garna's movements, but the tailor holds on tight, making sure he isn't spotted.

As the castle loomed ahead, the tailor saw the world of giants stretch before him- massive, ancient, and perilous.

(Scene 2 - Wide shot EXT)

A glimpse into the inside of the enchanted castle's land reveals towering, massive stone structures that seem barely suitable for anyone smaller than a giant. Inside the gates, giants patrol the area—some standing guard, others relaxing near enormous stone tables, feasting and sharpening weapons. Their booming voices rise in laughter and conversation, giving the castle an alive yet threatening atmosphere. Several giants are loudly conversing as they guard and oversee their captives. The castle's magical aura intensifies here, and the stark contrast between the giants' immense size and the small figure of the tailor underscores the monumental challenge Garerit faces.

Within the castle, giants roam freely, their presence an ever-looming threat to those trapped here. Some are more dangerous than others.

(Scene 3 - Medium shot EXT)

The giants are scattered along the path, some sitting on large stone ledges, while others sharpen their weapons or haul massive supplies toward the castle. Their voices boom like rolling thunder, and their presence makes the tailor more cautious.

Garna - "Ah-ha! Borik! Still eating more than you fight, I see! Hah!"

Borik - "And you, Garna, still carrying twigs instead of real weight!"

(Scene 4 - Medium shot EXT)

A medium panel shows Garerit peeking from behind a tree branch, trying to stay unnoticed as the giants go about their business. His expression is focused, and there's a determined look in his eyes. The giants are mostly unaware of his presence, busy with their affairs. The tailor's observation of these giants introduces the danger they represent, but also hints at the potential strategy Garerit may employ to outwit them.

Garerit - Thought VO "More giants... I must avoid getting caught. Time to use my wits."

(Scene 5 - Close-Up shot EXT)

A close-up shot of Garerit shows him watching through the branches, his face partially hidden by pine needles. His eyes dart between the giants, trying to remain unseen. His grip tightens on the tree, and a single bead of sweat forms on his forehead as he realizes just how many giants are here.

Garerit - Thought VO "There are too many of them... I can't let them find me."

(Scene 6 - Wide shot EXT)

As Garna moves, the castle in the sky comes fully into view as it breaks through the clouds. The structure is colossal, with spiraling towers, ornate bridges of shimmering stone, and glowing runes carved into its walls. A mysterious blue-green light pulses from its windows, and spectral chains drape across sections of the castle, hinting at ancient magic and imprisoned souls. The clouds swirl around its base, adding to its eerie majesty. Garerit's eyes widen in awe and trepidation as he sees it up close for the first time. He grips the tree bark tighter, feeling the weight of his situation.

The enchanted castle stood before him, an eerie fortress of power and mystery. Whatever lay inside, it was not meant for the likes of men.

Ch6 Pg 2

(Scene 1 - Wide Shot EXT)

The castle doors loom before them, massive and adorned with arcane symbols. The air is thick with magic, swirling with glowing embers that drift like fireflies. Standing on the front steps is EliDoras, a tall, regal figure in flowing dark robes, his long silver hair cascading past his shoulders. His eyes glow unnaturally, and he holds a gilded staff, crackling with latent magic. Several other creatures, a fox with human-like eyes, a haggard old cow, and a massive hound with strange intelligence-stand nearby, watching. The fox, cow, and dog stand together, their features now more refined and humanoid. Their faces retain their animal characteristics, muzzles, ears, and fur-but their bodies are structured like those of humans, with proper limbs, posture, and clothing fitting their roles in the castle. The Fox: A slender figure with keen, intelligent eyes, dressed in a fine tunic and cloak, giving the impression of a cunning court official or a scholar. The Cow: A broad-shouldered individual with strong arms, wearing a simple yet practical outfit suited for physical labor, resembling a farmer or stable master. The Dog: Standing with a firm yet attentive posture, clad in a guard's uniform, exuding loyalty and duty, as if once a knight or castle guard before the curse.

(Scene 2 - Medium Shot EXT)

EliDoras smirks, looking down at Garerit, clearly amused by the tailor's small stature compared to Garna. Garna laughs heartily, unaware of the tension.

EliDoras (Cold and Calculating): "A tailor? In my domain? You must be more than you seem... or exceptionally foolish."

Garerit (Keeping His Cool, Responds Wryly): "They say the best tailors weave more than thread, my lord."

(Scene 3 - Close-Up EXT)

The fox, cow, and hound exchange glances, their eyes filled with silent desperation. Garerit notices their strange behavior, sensing something is wrong.

(Scene 4 - Medium Shot EXT)

EliDoras gestures toward the animals, a smirk playing on his lips. Garerit's expression hardens, gripping the strap of his satchel tightly. The fox takes a hesitant step forward, as if pleading.

EliDoras (Casual, Almost Bored): "They were once men and women, like yourself. A simple precaution. If my guests cannot run, they cannot leave."

Most rewrites fail for one simple reason:

Writers start downstream.

They jump into:

- scene fixes

- dialogue tweaks

- beat adjustments

- pacing corrections

- structural reshuffling

But if the spine is misaligned, none of those changes will hold.

A downstream rewrite can only stabilize a story that’s already defined upstream.

The upstream rewrite solves this.

The Upstream Rewrite Has Only Three Questions

1. What is the story for?

This is the purpose.

A story without a purpose can’t generate momentum.

2. What problem is the protagonist actually solving?

This is the function.

If the writer can’t articulate the protagonist’s functional problem,

the protagonist will feel passive no matter how many scenes you rewrite.

3. What is the spine that carries that solution from beginning to end?

This is the structure.

The spine is not the plot — it’s the through‑line of meaning that the plot expresses.

When the spine is clear, the story stops drifting.

Why This Works

Once the upstream layer is defined:

- scenes either support the spine or they don’t

- beats either carry the function or they don’t

- dialogue either expresses the purpose or it doesn’t

The rewrite becomes a process of alignment, not invention.

You’re no longer “fixing scenes.”

You’re realigning the story.

The downstream rewrite becomes obvious

When the spine is solid:

- unnecessary scenes fall away

- missing beats reveal themselves

- character choices sharpen

- pacing stabilizes

- the ending becomes inevitable

This is the power of the upstream rewrite.

It fixes the story at the level where the story actually lives.

Most story problems aren’t structural — they’re functional.

A screenplay collapses when the writer is trying to execute a story that hasn’t been defined at the functional level.

This creates a very specific kind of friction:

The writer is making downstream decisions based on an upstream definition that doesn’t exist yet.

You can feel this misalignment in the work long before you can articulate it.

Three Common Symptoms of Upstream Misalignment

1. Scenes feel disconnected

Not because the scenes are “bad,”

but because the spine isn’t defined.

Without a spine, scenes can’t attach to anything.

2. The protagonist feels passive

Not because they lack motivation,

but because their actual problem hasn’t been clarified.

If the writer doesn’t know what the protagonist is solving,

the protagonist can’t know either.

3. The story keeps drifting

Not because the writer is unfocused,

but because the purpose is fuzzy.

When the purpose is unclear, the story wanders.

The Core Misalignment

Writers often try to fix:

- pacing

- dialogue

- structure

- beats

- scenes

…without first defining:

- the story’s job

- the protagonist’s functional problem

- the spine that carries the solution

This is why downstream fixes don’t hold.

They’re being applied to a story that hasn’t been defined yet.

The Correction

Before touching a scene, ask:

“What function is this story performing — and for whom?”

When the function is clear,

the structure becomes inevitable

and the rewrite becomes far simpler.

PART 1 — “Upstream vs. Downstream Decisions: Why Writers Get Stuck in the Wrong Layer.”

Most writers think they’re stuck because a scene isn’t working.

But the real issue usually sits one layer above the scene.

There are only two layers in any creative project:

UPSTREAM (Definition Layer)

This is where you decide:

- what the story is

- what job it’s supposed to do

- what the spine is

- what the protagonist is actually solving

- what the audience is meant to experience

Upstream is identity, purpose, and function.

DOWNSTREAM (Execution Layer)

This is where you work on:

- scenes

- beats

- dialogue

- pacing

- structure

- polish

Downstream is craft and detail.

Where writers get stuck

Most writers try to fix downstream problems with downstream solutions.

But downstream problems almost always come from an upstream misalignment.

If the identity isn’t defined, the scenes won’t land.

If the function is unclear, the structure won’t hold.

If the purpose is fuzzy, the execution will drift.

The upstream reset

Here’s the question that stabilizes almost any project:

“What is this story for — and what job is it supposed to do?”

Answer that cleanly, and 80% of your downstream confusion disappears.

Having been double recommended a second time, my screenwriting year ended on a little high note.

It was an exhausting one, but I'm in the mood to wish everyone a happy new year and the strength to keep writing until you win that uphill battle.

I was double recommended for an animated fantasy adventure and a live-action sports and family drama.

And I do wonder if anyone, whose script has been included in the lookbook, has had any feedback, contacts or success from it. If you find the time, let me know.

Happy to have you in my network and wish you all the best

T.

Hello everyone - Happy New Year!!

I haven't been on here in around 2 weeks, but I have finished my Season 1 Static Screams Script that is ready to pitch within the new year. Fingers crossed.

How has everyone else been doing? :)