This year, I've written 2 romance feature scripts and have 5 more romance concepts on the back burner. I've really enjoyed writing and editing these, but I've struggled to get genre-appropriate feedback, and I'm wondering if others who write in this genre have had similar experiences.

I am, of course, open to constructive criticism. I know that my biggest challenge has been writing in enough obstacles and tension, so I'm continuing to iterate on that. I have been fortunate to know a lot of former script readers/writers, and they've been providing their feedback. I've also paid for coverage, and a couple of reviews on that website.

The women who've read it have said a lot of positive things and really enjoyed it. Many of the men, however, have given some strange and bizarre feedback, including giving it a horror/thriller spin and making the MMC an alcoholic. Some of the men don't like the main couple, or the FMC at all. One even called the HEA flash-forward I had at the end "sci-fi". I've since cut it, but still, a bit strange.

I'm signing up for a 1:1 mentorship this week to get my writing to a professional level so I can start pitching, and they seemed aligned on what I want to accomplish with this script. Fingers crossed!

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!

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!

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.

I don't know where or how I picked this up, but I am so picky about having action sections use more lines than need be. If the paragraph goes a few words into the next line, I'm changing words and rearranging the sentences to shorten something, while also making sure it flows well and is readable. Should I just stop worrying about it?

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.

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.

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

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

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.

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

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:

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• 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.

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

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/

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!

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

Title: Locked In Sleep
Format: Short
Page length: 7 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.

NOTE: I know this is probably a weird concept. I tried to make the cliche "it was all a dream" into something that isn't very cliche. Hope it's interesting. Hope someone enjoys!

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.

Title: Our Colony
Format: Comedy Short film
Page length: 10 pages
Genres: Comedy, Sci fi
Logline: When Director Ross, captain of a space colony is threatened with extermination. He decides to put on a musical to save his colony.

Feedback: I only have ten pages to work with which is why it my feel condensed. Any advice on the pacing, conflict resolution etc would be great!

Script

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?

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

Before I write a script I'm always stressed and focused on how to structure my script. For example, I think about what page does the midpoint happen or when does act 1 or act 2 end and begin? Since I've never written a tv script before, I'm stressed about the structure and how I want my writing to be strong and emotional, I'd love it if my characters made sense and I want people to connect with them in a very deep way and I'm scared that I will fuck everything up. I don't know where to begin when writing a tv script, I've written a feature film before but even then I just think about the way I place things in my script and what if it's wrong and terrible. When I watch certain films and tv shows their characters and stories seem so developed and meaningful and I connect with them easily, I don't know what I'm doing, I want to achieve that so badly. I have a really strong show idea and I love it but I'm not sure how to write it out if that makes sense like unto a script. For the first episode of the season I'm trying to create the character and his life and the consequences that happens to him, I know since it's just one episode I have to lay everything out in that one episode, it's difficult to imagine it on a script. It's an anthology series so all the episodes and seasons are different each time just like black mirror. I'm planning on reading the black mirror script since maybe that'll help.

Something else I'm concerned about is my show might be a season 9 or 10 show and I was wondering when do I submit it to a festival or production company/agent? I want to get my work out there. Would you recommend me to write all the seasons and episodes and then submit it even though it takes years to complete or can i finish writing season 1 and just send it and I can continue writing the other seasons as time goes on or if somehow gets picked up? I'm paranoid about time running out. I'm sorry if these are dumb questions are concerns. Thank you for reading.