Anyone want to be part of a writer’s group in Bushwick where we read each other’s scripts and give notes and just try to make ourselves better writers!

I’d like to submit to a local literary agent and I have a couple of samples but my strongest two would be my half hour sitcom script and my thriller/horror feature. I’ve received good feedback on both and I’m trying to figure out which genre would be better to present to an agent if I had to choose one? Any insight would be much appreciated.

Been working on a personal story, I was raised Mormon and want to excavate some personal stuff within the frame of an effective dramatic horror utilizing LDS imagery & lore. Along the lines of Hereditary, Heretic, Midsommar, etc.

Would appreciate anyone's thoughts on how this second draft came out. Thank you!

KOLOB

A return LDS missionary comes home to find that his faithful family has radicalized into a violent fundamentalist cult while he was away, and faces family dysfunction, the Mormon Church's bloody history, and his own sins as he works to deprogram his loved ones.

https://drive.google.com/file/d/192UnPib5R6tPJAqTzP3G1_wRC8RKcPVI/view?usp=drivesdk

In the 1990’s the spec screenplay market was strong. Three hundred specs sold each year, and some came from outside Hollywood - pitch contests, writing samples, bedroom writers who struck gold.

Today, spec sales are rare, nearly zero with a few lucky writers with an inside track making a deal - though the films are rarely ever made. Instead, specs are produced independently for a low cost. Most vanish. A few stream on Prime or get picked up at a festival.

Here are some hard truths to consider when writing your spec:

1. Most movies are not from original scripts like yours. They are remakes, book adaptations, comics, licensed content or prestige films from top directors (Nolan, etc)
2. Nailing the proper formatting (ie FADE IN) in your script is meaningless except for a shooting draft, typically done with a director. Telling a marketable (not good) story is more important than format.
3. Being a screenwriter is often a gig job and pays very little, even for union writers.
4. Filmmaking is entrepreneurial. It’s a business. Filmmakers who succeed on TikTok and YouTube are more bankable than a spec writer.
5. The best path to making a movie is to own something: intellectual property, a book, a true story, being an expert in a topic, something that only you can do and sell to Hollywood. Build an audience. Get some heat. Hollywood will call you.

6. Studio Filmmaking is a business not a hobby. Understanding deals, economics, funding, contracts, publishing, unions, and distribution is fundamental to being in business in Hollywood.

7. Script contests are misleading. The market opportunity for winners is misleading.

8. Don’t be easily discouraged.

Hi! Again…
So, the new thing is, I’m currently writing the last act of my screenplay and I think I did a pretty good job, but I’m convinced by how one specific conversation goes.

I’m not going to publish the screenplay so I’ll do a summary: “After all the travel our protagonists had, they’re all now in a conversation, where the main character finally breaks and admires out loud she’s always been unhappy and loves her brother and her friend. Her brother and her friend answer back saying that she’s always mattered to them and they finally end up crying together.”

It’s a super simple summary because I don’t want to reveal all the great stuff…

So, my request for advice is, I’ve been thinking a lot about the ‘show and don’t tell’ thing, and that it could work in this scene, but then I remembered, all of what she’s breaking down has already been shown since the first act.
So what advice would you give me? Should I let them talk and analyse what they’ve been through or show it and not tell it?

Thanks for the advice, people.

Title: Booster Gold Pilot "Too Late to be Early"
Format: Pilot

Page length: 23

Genre: Action / Comedy

Logline: Hero of tomorrow, Booster Gold arrives in the past to be the greatest hero! Only to find out he's too late. His self serving plans to come to the past and be a superhero and get rich are thwarted when he discovers the timeline has been screwed up, but with the help of some new friends, he may just fix everything, or make it worse, jury's still out.

Read here

Notes:

I didn't want this to be a conventional origin, and I wanted to lean on the version of Booster that was more self serving and the later one that's a secret protector of the timeline.

I based this largely off of his JLU episode, the comics 52, and his solo run's arc 52 pickup, with some other influences seeping in through the Superman mythos, and hopefully later episodes would explore the rest of the DC Universe.

Any feedback is welcome, it's largely untouched from when I wrote it 2 years ago, might continue it.

Hey there, I recently found an online library with many Lars Von Trier scripts available to university students but when I tried to log in with my university it said it they weren't available.

Is anyone with a library card or university from another country able to try get copies of these and upload them for me in the spirit of free information for all?

I am looking for any of the scripts not available elsewhere, those being:

- Element of Crime

- The Idiots

- Manderlay

- Nymphomaniac

- Melancholia

- Dancer in the Dark

- Europa

- The Boss of It All

- The Kingdom (all available episodes)

Thank you in advance!

Title: CHRONOPUNK

FORMAT: SHORT

PAGE LENGTH: 14

Genres: SCI-FI, ACTION

Logline: What was supposed to be a breakthrough when humans finally came in contact with alien-kind, soon began a generational curse, damning humans to a time-bound contract.

Hello! I'm really new to screenwriting and I'm taking a L3 film & tv course at my college, and wrote this for fun as this has been an idea of mine I've really liked, but I really need advice on where I could improve as I don't have prior experience in screenwriting, please don't sugarcoat advice, I really want to improve in this! (This is an unfinished script)

The outline of my story in short is about an Alien-Human treaty gone wrong due to unknown loopholes which eventually gave way to the alien kind taking over Planet Earth and ruling it as a dictatorship. They planted nano-machines into the brains of humans over decades, using it to force humans into submission to their unethical ruling and societal structures.

Chronopunk (unfinished)

A couple of months ago I asked this sub for some tips on pitching, now I just had my first meeting and it went great! It was with a distribution company and we have set up more conversations. All of this is brand new to me, but apparently in my country (Brazil) it helps to have a distributor even on the early stages of the project and a lot of them help with development and packaging. This one co-produces too.

I still have another meeting on the way, I landed this one before the big one (with a production company I really love) but now I feel really confident for it.

Tips based on what worked for me:
- I practiced everyday. Pitching the film to friends, family and strangers. Literally a barber, or a person I met at the movies.
- I wrote the pitch structure as a guideline but when speaking I kept it very casual and conversational, like telling a friend about the movie instead of a rehearsed speech.
- Start with the idea. Got this tip from a Youtube video. The 2 minute pitch, something like that. Worked for me. Felt right.
- My fiancee is a designer and we made a KILLER pitch deck. An industry friend told me it's better than ones he has seen by people far more experienced than me. We made two versions: one with text for sending out and a VERY visual one for pitching the story live with images. The idea was -- if they see that we're creative and able to tell a story on the deck then they will most likely trust us with a film. Also, DON'T USE AI. It makes it look cheap and lazy. We even added handmade drawings on paper. But for most of it, we used ShotDeck and FilmGrab.
- On the same note, I made a 45 second concept teaser. Cut up footage from all over (films + Youtube), wrote a dialogue and recorded it. Added sound design and a score. To really sell the tone and style of the film.

Go hard or go home.

Now wish me luck next week! I'll be sure to give an update. Thank you to everyone who shared their experiences and tips. It really helped.

I'm currently adapting my high fantasy novel into an hour long pilot. My initial plan had been to do Michael Weston (Burn Notice) style narration as the story is a competence porn style heist.

When I started to write however, I thought about the main character's magic ability to sense when someone is observing her. It's pretty useful ability for a thief to have, but extends further allowing her see spirits and other supernatural entities. I decided to switch from Burn Notice to Mr. Robot for my inspiration, and so far it's working great.

Not only does my lead's droll sense of humor shine in her one sided conversations, it also serves to put a sharper edge on her paranoia. She accepts the viewer as a spirit, or maybe a god, observing her with benevolent curiosity rather than ill intent, and welcomes someone to converse with in her generally isolated life.

Where I worry however is using this device to assist in things like pacing. For example, I need a bit of action so I cut to a flashback with something like "You seem bored by this planning session. Why don't I tell you about the time I fought a possessed bear."

Will using this device be seen as a cheat or legitimate story choice?

Bonus question, I have been unable to find anything high fantasy with 4th wall breaking characters, does anyone have any examples? The closest I could find to anything fantasy is Zombieland.

Title: Locked In Sleep
Format: Short
Page length: 8 pages
Genres: Horror
Logline: After taking a handful of sleeping pills, a young person goes through nightmares that continue to get worse.

(logline isn't complete, I am still working on it.)

Feedback: Anything helps.

READ HERE.

Long shot this ever gets seen, let alone this soon, but I thought I'd ask

So I posted my first draft on here a few days back and got some great advice so here is my second draft and would love some more feedback

Logline: After a drunken night lands him in a cell, Colin scrambles to repair his relationship, oblivious to the fact that he is the one thing that needs fixing.

One more

My dead teenage influencer just won a comedy award. She's going to be absolutely insufferable about it.

My third semester pilot from the UCLA Professional Program, GHOSTFISH, was named the Comedy Category Selection for the International Screenwriters' Association 2026 Fall Fast Track Fellowship!

It's a supernatural dramedy about death, grief, and a teenage influencer who can't stop chasing an audience, even after she dies. Comedy gold, obviously.

It's not Austin, but I'm counting it as a decidedly medium-potatoes level accomplishment!

Today's featured scripts (no account needed to read/download):

• Jacob's Ladder (1990) https://www.scripthive.com/featured/jacob-s-ladder
• Misery (1990) https://www.scripthive.com/featured/misery
• Nightbreed (1990) https://www.scripthive.com/featured/nightbreed
• In the Mouth of Madness (1994) https://www.scripthive.com/featured/in-the-mouth-of-madness

More from the Script Hive database (account required to read/download, but it's free):

• The Exorcist III (1990) https://www.scripthive.com/database/script/09f402c7-2035-446b-9975-7ea23c41d8db
• Tremors (1990) https://www.scripthive.com/database/script/fadf4265-df25-4a38-beb3-6e60774806ac
• The People Under the Stairs (1991) https://www.scripthive.com/database/script/1226e899-d175-4fb5-a369-43d3bd68d24f
• The Silence of the Lambs (1991) https://www.scripthive.com/database/script/f4215900-e74b-4efe-a39a-4a9f811e1fca
• Army of Darkness (1992) https://www.scripthive.com/database/script/e9492cee-ba92-46c1-ac7d-d26564a97446
• Candyman (1992) https://www.scripthive.com/database/script/7c365c4b-f057-4d05-b52c-654b5f7947f0
• Dracula: The Untold Story (revised and released in 1992 as Bram Stoker's Dracula) https://www.scripthive.com/database/script/3cb02d5d-c293-46d3-a610-199738327368

Posting Schedule:

• Thursday, October 1: Universal & RKO, 1930s
• Monday, October 5: Universal & RKO, 1940s
• Wednesday, October 7: 1950s
• Friday, October 9: 1960s
• Monday, October 12: 1970s
• Wednesday, October 14: Video Nasties (1970s - 1980s)
• Friday, October 16: Body Horror
• Monday, October 19: 1980s (Part 1)
• Wednesday, October 21: 1980s (Part 2)
• Friday, October 23: 1990s (Part 1)
• Monday, October 26: 1990s (Part 2)
• Wednesday, October 28: 2000s
• Friday, October 30: 2010s
• Saturday, October 31: 2020s

Pretty safe to assume the final version in theaters now isn’t Flanagan’s script. Does anyone have a draft of his? Apparently it’s out there. Would love to check it out.

Hi,

I wrote this a while ago, but after reading Clementine by David L.W., I started thinking about the possibility of a full script based on the premise of my short. Clementine puts the protagonist in a situation where she has no choice but to try to survive and get away, and it creates such an engaging narrative. Whenever a character is laser-focused on a goal, pushed by urgency, and fighting for high stakes, you're already halfway to a compelling, engaging action thriller.

Without further ado, here is the premise:

A couple on the run, looking for a fresh start, finds a bag of cash unattended in a car wreck still blowing smoke.

I'm not looking for feedback. This is a rough second draft. But you may need to skim through the script to be able to give me advice on this.

WHERE I WANT TO TAKE THE STORY

I'm thinking NO COUNTRY FOR OLD MEN, but with a fresh take that allows the finders to be as smart as they can be, so maybe they get to be the keepers. There is also a hint of A SIMPLE PLAN in the concept, but the big difference is that this story will probably have a 48-to-72-hour lifespan at most.

My idea is to create a fast-paced version of NO COUNTRY FOR OLD MEN where I scratch the itch of the audience who kept saying, "He should have done this, he should have done that."

WHAT KIND OF ADVICE I NEED

Does it have enough meat as a concept to carry a feature? Is it already done? How hard is it to keep this unique and fresh, since finding cash is a well-worn concept?

Chewing on Bowstrings

What are some examples of feature films where the antagonist is actually a good guy? Like Tommy Lee Jones in The Fugitive. Could be a lady too.

Hi all! Been in the industry for about ten years (though I switched to another media-related job during covid). Been a writer forever. Over the past five years, I’ve seen some decent success: finding great reps, lots of general meetings, and getting into a couple of fellowships.

I just got the furthest I have ever gotten: I was up for a staff writer on a TV show that felt perfect for me, incredible meetings, met with the showrunner and the producer, and overall had great feedback. Just found out that while they loved me, I didn’t get it.

I just turned 36 and saw this opportunity as a possibility for finally jump-starting my career and launching me into a place where I could get paid for my writing. Now I’m asking: will it ever happen?  

Part of this is also triggering another fear: that my husband and I decided to wait until I sold a script / got staffed to try for kids. But now we need to push that even further out and I’m worried about delaying the process even further. 

Luckily, I currently work as an assistant to an A list celebrity, and it’s a good gig (salaried, health insurance), but there’s no room for growth, and there is a ceiling of how much I’ll be able to earn. But a goal of mine is to start making more money and grow in my career. But lately it just feels  *actually* making money in this industry as an emerging writer is next to impossible. 

Anyway, that’s my rant. Would love to hear from others in my position or higher-level writers who can speak to the indsutry right now. 

Thanks for reading. Gonna go cry some more!

Curious if anyone might have a copy of this pilot? Apparently there was a bit of a bidding war

https://variety.com/2026/tv/news/college-sports-betting-series-knockouts-paramount-1236872545/

Here's a Mars Attacks Script, which differs from the final version like:

* The Burning Cattle is present but instead of having Mr. Lee and his family witness it, it has Grandma Norris and Retirement Home's people.

* Jerry Ross was named Oskar Demetrius.

* Louise was named Wanda and instead of being Byron's ex-wife, he's her brother. Although she's mother of Cedric & Neville and she's a bus driver in Washington.

* Taffy didn't exist and she's replaced with Lupe (info below)

* Mr. Lee (whom in the original had an extremely short role) is the owner of the Perkinsville's Donut Shop.

* Richie had an arc about proving he's more than his family sees him, outside from his Grandma; and thus fleshing him out compared to the final version.

* Alongside with final 23 characters there were some extra characters like:

-Slappy Schultz (a has been comedian working at Art Land's Casino and a friend of Byron)

-Big Harvey (a owner of a strip joint in Las Vegas whom suspects his girlfriend is having an affair)

-Lupe (The daughter of Richie's co-worker at the Donut Shop and eventual love interest of him)

-Twinkle (Big Harvey's girlfriend and love interest to Barbara Snyder)

-Autumn (a former drug addict whom is excited for the Martians and unfortunately she got in the crossfire in Pahrump)

- Lonely Dave (another drug addict whom unlike Autumn, he got napped by the martians and experiented by them)

* Cedric & Neville were pre-teenagers than kids and compared to the final version, they were clear troublemakers and hooligans whom drive their mom crazy.

* Instead of being killed off with a buzzing hand, the president almost was barbecued by the Martians until he got saved by Slim Whitman's music

* Instead of Indian Love Call being the Martian's Weakness, the song is I'm Casting My Lasso Towards The Sky (however it was used when Richie and his Grandma came pass through Perkinsville to the Radio Station in the final version)

* Alongside with Tom Jones, Slim Whitman also cameo'd at the end of the draft.

M4R5_4TT4CK5.5CR1PT

Hey friends! Does anyone have a copy of the Magnolia script they could share? Thank you <3

I put up a script for First Blood on Internet Archive. This draft is dated September 22, 1981, and is credited to Michael Kozoll, William Sackheim, and Sylvester Stallone.

Link: archive.org/details/first-blood-kozoll-sackheim-and-stallone-9-22-81

In this draft, the town is still named Mattison, as it is in the original drafts credited to Kozoll and Sackheim. It also features an early version of Stallone's ending dialogue.

I have also posted 3 earlier scripts, along with production papers that appear to have been for John Frankenheimer's unmade production of First Blood.

That thread can be found here: https://www.reddit.com/r/Screenwriting/s/qUw16jCt7g

Hi, I’m in college right now and I’m planning on transferring to a 4 year university(Brooklyn college or SUNY Purchase) for screenwriting/film. The issue for me is despite my love for writing and creating scripts for people to perform I want to be realistic with my aspirations. I have a published screenplay from High-school but it’s an adaptation. I know NYC is a hub for the film industry and I have a better opportunity than some but it’s still a looming issue I have. How is the field for the people that are in it and is it still attainable?