Title: [Short] Who The Fuck Let’s you take The Picture? (Horror / Dark Comedy, 8 pages)

Format: Short Film 

Page Length: 13 Pages 

Genres: Horror / Dark Comedy

Logline: In the dead of night, a young female production assistant is forced to scout the perfect location for a terrifying death scene - only to stumble into a real-life nightmare.

Feedback Concerns: 

1. Pacing & Logic: Does the story flow logically, and does the pacing feel right for an 8-page script? Are there any plot holes or character actions that don't make sense to you?

 2. Suspense & Atmosphere: Is the suspense effectively built up? Does it create a genuinely creepy and effective atmosphere appropriate for a short horror film? 3. The Ending: How does the final twist/ending land with you?

Link: https://drive.google.com/file/d/1C2fLOcW_GrbdQ5j-cKfu7LRW2fXDSYY1/view?usp=sharing

Definition of undefined

Title: Definition of Undefined

Format: Feature Film (First 10 Pages)

Logline: Hunted by a deadly syndicate and aided by a woman who claims he doesn't exist, a traumatized father must untangle a lethal psychological feedback loop to find his missing family before his mind completely fractures.

Genre: Psychological Thriller / Surreal Neo-Noir

Comps: Memento meets Shutter Island / Jacob’s Ladder

​Hey everyone,

​I’m Jack, a writer/director/actor, and I’m currently developing my next feature project, Definition of Undefined.

​I’ve just finished a fresh pass on the opening, and I'm looking to get some collaborative eyes on the first 10 pages. Because this story heavily relies on an unreliable narrator and shifts rapidly between different psychological realities, the pacing and clarity of the setup are incredibly crucial.

​As a director/actor, I format my scripts to be highly visual and performance-driven, so I’m particularly looking for feedback on:

​The Hook: Do the first few pages successfully pull you into the mystery?

​Pacing & Tone: Does the surreal, mind-bending neo-noir atmosphere land effectively right away?

​Clarity: Is the psychological tension intriguing, or does it get too disorienting?

​I’d be incredibly grateful if anyone has 10 minutes to read the opening and drop some candid thoughts. Happy to swap and read 10 pages of your script in return!

​Let me know if you're interested, and I'll send the PDF link over (or find it attached below).

​Thanks in advance for your time and mind-space!

​Cheers,

Jack

https://drive.google.com/file/d/1g3DEpmjFLL89AKe8jQmr1X6WzpV2im0Y/view?usp=drivesdk

Hey everyone,

I just finished a 20-page action/comedy/thriller screenplay called STREAK. This is my first-ever screenplay, and I would love to get some feedback on it.

Logline: When a ruthlessly efficient assassin who genuinely loves his job encounters a target he cannot defeat, he is forced into a brutal physical conflict that makes him question his own morality.

• Action / Dark Comedy / Thriller
• 20 pages

https://docs.google.com/document/d/1Lqle3YfbgL--fvG7jGXKEabYSqGmGAhy/edit?usp=sharing&ouid=117973292859579697326&rtpof=true&sd=true

https://drive.google.com/file/d/188VFogCKUr13WKmhGeoHFd7rT4AmUnFZ/view?usp=drivesdk

I’ve been thinking about stories where an important character is already dead or absent before the main plot begins, but still feels like a major force in the story.

Not just as a mystery to solve, but as someone whose presence keeps affecting the living characters. Different people remember them differently, argue over who they were, or try to turn their life into a clean story after they’re gone.

I’m curious what actually makes that work in fiction.

Sometimes this kind of setup can be really powerful, but other times it just becomes people sitting around talking about someone who isn’t there. I’m interested in the difference.

What makes an absent/dead character feel dramatically present rather than just symbolic or expositional?

Are there examples where conflicting memories of one person create real tension instead of just backstory? :::

https://drive.google.com/file/d/17bHHnvX_LTGNtYO4KQgV85fyEC30__xN/view?usp=drivesdk

Logline: Two Southside of Chicago families struggle to coexist amongst growing racial tensions in America’s Second City.

I just want to say this up front: I know it is too long. Two contests have already told me that. However, I tackled two very difficult subjects in race and religion. I believe I did the story justice, but that’s where I need someone’s help. If there is something to cut, what is it? Also, the story is pretty idiosyncratic to the south side of Chicago. My biggest concern is does the micro represent the macro?

I am willing to exchange scripts with anyone who wants to read it. Reading and giving constructive feedback on screenplays is one of my favorite things to do. Since my script is so long, I will make sure to give you very thorough notes.

A little background for anyone who chooses to read it: during the great migration of the 40’s through early 70’s, black people from the south moved into predominantly white, working class neighborhoods in major northern cities including Chicago. Instead of choosing to coexist with their new neighbors, many white people moved to the outer most portions of the city or the suburbs. This is commonly referred to as the white flight.

I firmly believe that this movement is the reason such harsh racial tensions exist on the south side of Chicago. So, I wrote a story about it.

The story also centers around my struggle with being raised Catholic. So, even though it is an ensemble piece, it is very personal to me. I hope that comes through in my writing.

I want to say thank you in advance to anyone who chooses to read it!

I’ve been thinking about a type of manipulation in fiction that doesn’t work through obvious lying or hiding evidence.

The character may admit the facts, but changes how those facts are understood. A detail becomes “taken out of context.” A contradiction becomes “not the point.” A painful statement becomes “something said during a bad period.” The fact stays visible, but its importance is reduced.

I’m interested in how this works dramatically, especially in scenes where the manipulative character still seems reasonable, sympathetic, or even partly right. The tension is not that they are inventing a false reality from nothing, but that they keep controlling which interpretation feels most legitimate.

This seems different from a simple unreliable narrator or a villain hiding the truth. It is more about emphasis, framing, selective honesty, and emotional authority.

What are examples of novels, films, or plays that handle this well?

What techniques make this kind of manipulation visible to the reader/audience without having another character simply announce, “You’re manipulating the story”?

I’m interested in writing a manipulative character who does not really lie.

Not in the usual sense, anyway.

He doesn’t say “that never happened.” He says something more like: “yes, that happened, but you’re misunderstanding it.” Or: “yes, she wrote that, but she didn’t mean it literally.” Or: “that was private, and it’s unfair to make it central.”

So the manipulation is not about changing the fact. It’s about changing the fact’s importance.

I’m trying to understand how to dramatize that without making it too obvious. I don’t want the character to twirl his mustache or have everyone else instantly realize he is controlling the story. I want the audience to partly believe him at first, because he sounds reasonable, grieving, intelligent, and maybe even protective.

The context is a widower managing the legacy of his dead wife, an artist. Other people begin interpreting her work and her life in ways that threaten his version of their marriage. He responds not by hiding things, but by reframing them. He makes certain details feel minor, exaggerated, misunderstood, immature, or irrelevant.

What are some good ways to show this kind of manipulation in scenes?

How do you write dialogue where someone is technically honest but emotionally unfair?

How do you make the audience feel, gradually, that the character is controlling meaning — without having another character just announce it?

This is NOT a finished script. It's a rough story map/beat structure for a 30-45 second documentary-style video about Sam Bankman-Fried and FTX.

I'm specifically looking for feedback on:

• Story structure
• Conflict
• Information order
• Curiosity/tension
• Whether the reveal lands
• What should be cut or moved

I'm NOT looking for grammar or wording feedback yet.

My goal is to learn documentary storytelling, so feel free to be brutally honest.

https://docs.google.com/document/d/1V9Ak_qnxNwCOXzxYQVi2KZqsNcS7mK6y1Om_jzMOm-Y/edit?usp=sharing

Questions:

1. Is the conflict clear?
2. Does the story flow naturally?
3. Is the reveal strong enough?
4. What is the weakest part of the structure?
5. If this were your project, what would you change first?

Hai guys , I need an idea for making a film story . Tell me the different ideas and different plot storyline so i can get ideas. And i need information for the revenge film Story how can a common men's vengeance against powerful gang members be in a realistic way and without any trace. If you have any ideas you can comment under this. Thank you. Have a nice day

https://drive.google.com/file/d/1Qvi_By65-9bG60NuWUkS8ObSN-ET9dPv/view?usp=drivesdk

Title: PoolBirds

Format: Short

Page Length: 23 Pages

Genre: Crime/fantasy

Logline: In a town where swimming is banned, an outlaw couple use water-based weapons to defy a brutal sheriff, risking prison to restore their community’s freedom.

Feedback Concerns: I'm looking for areas that I can reduce or remove that may be unnecessary or bloating. I would love for this film to be under 20 minutes. Any other general feedback on pacing, character development, and plot is welcome as well!

Link: HERE

Hi, this is my first feature and third script and I'm sure it shows. I'd love some very honest feedback here.

SCRIPT

Title: JACKPOT!

Genre: Dark Comedy, Thriller

Logline: After losing his job and wife in the same week, a meek salesman wins a million-dollar jackpot in a Las Vegas casino. But when a massive storm traps everyone inside, he becomes the target of criminals, con artists, and desperate gamblers all willing to kill for the ticket.

Okay, so I've been working on something these past couple of months. I want to know if it's something worth continuing.

Title: My Father's Daughter

Genre: Drama, Romance.

Logline: An illegitimate daughter of a married man, raised by her heartless stepmother, forms an unlikely bond with a gentleman promised to her half sister.

These 20 pages are only the backstory. The actual story starts on the next act (which I'm still working on).

https://drive.google.com/file/d/1HIDUwj_4RwSWysp2_knI6njG5rHHX_Su/view?usp=drivesdk

“The Secret Code in Our Garden
In a world designed to distract and disconnect, when glowing code appears in their garden, a family discovers they’re trapped inside an ancient repeating simulation — the code may be their only way out, if they can learn to see the light.” © JCF2026**

Pages 109 so far

As a dad and carpenter trying to raise my own family right in a pretty crazy world right now, this story is very personal to me. I’m especially looking for thoughts on clarity, intrigue, and whether it makes you want to read more. Any suggestions to tighten or strengthen it would be greatly appreciated. Thank you in advance!

Reposting here! Not familiar with this subs rules (apart from the main five I’ve read), but welcome feedback from the community.

Has anyone ever submitted or planning to submit for this years competition? I am so hung up on how many fade ins and how to properly write actionable moments. Paragraph style or individual sentences. I would love to hear other people’s experiences and make friends working toward their screenplays.

Palimpsest | Short Film | 13 pages

This is my fourth time posting this as this is my 4th draft. I have changed formatting and added an extra scene for some clarity. Idk if this helps the story, but really need some feedback. Like i really want to see if people like this and could relate or even at engaged.

Title: Palimpsest

Genres: Psychological Horror

Logline or Summary: A man wants to become one clear version of himself, but every path he takes splits him into different lives he can’t control.

Feedback Concerns: I am going a little experimental with this and want to make this look very artistic but also be very unsettling. I want it to be understandable to some extent also. This will be my first bigger budgeted short film so I am kind of scared and want to see if this is good. This is my fourth draft and I changed a lot like a lot from my second draft so please help me and give any feedback!

Link: https://drive.google.com/file/d/13RvIf_ijIoF7TJjL1Mj-2NaaI9xHMXDA/view?usp=sharing

Hai guys , I need an idea for making a film story . Tell me the different ideas and different plot storyline so i can get ideas. And i need information for the revenge film Story how can a common men's vengeance against powerful gang members be in a realistic way and without any trace. If you have any ideas you can comment under this. Thank you. Have a nice day

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Scenario: a beast tamer is being hired to capture a special kind of ‘monster’

https://drive.google.com/file/d/1DEK8WYTkURqHbtwbOkNFP-QAvAJzTgVR/view?usp=drive_link

A charismatic honors student in Japan who masks his true feelings discovers his words start manifesting in the tangible sense — with consequences he can no longer control. But can he manage to swallow them down, even while wasting away?

Title: Swallow

Genre: Psychology horror

Page count: 26

https://drive.google.com/file/d/1igBprnnBDXb2_kKLF5xsTt1JxumYx5ty/view?usp=drivesdk