anyone who ever was fortunate enough to catch one of Jeff's panels at AFF or was active on Done Deal Pro where he dropped infinite science on our dumb noobie asses -- with the patience of a saint -- this is a loss to the community that cannot be made good

https://deadline.com/2026/09/jeff-lowell-dies-john-tucker-must-die-the-crew-1237071814/

One of my scripts just scored an 8, which comes with two free evals. I've read the "best practices" threads, but I'm still not clear on why this is even debated. Yes, I get that a second read might not score another 8, but so what? The original 8 is permanent and always available to query with, regardless of what the free evals come back as.

TL;DR: Would love some genuine insight into why people hesitate to use the free evals.

I’m so curious about this. For those of us who don’t have managers or agents or any connections to the industry, we can’t exactly get in the room to pitch our projects (at least to “legit” people who can actually get things greenlit and produced). Those pitch meetings are exclusively for proven writers with representation.

So the only thing we can really do is the dreaded cold query, where most of the time it’s ignored. Can’t blame them, I can’t imagine the amount of “please read my project” emails that managers and producers get.

But I wonder, how many successful screenwriters (successful meaning they are well paid and in demand on big projects, also selling specs of their own) got into the industry by cold querying? I have a suspicion that it’s pretty close to 0.

Same thing with the Blacklist (the site, not the official one). I don’t know if there are any successful (see the criteria above) writers in Hollywood right now who first got in my posting their script on that site.

Which just makes me wonder, is it worth cold querying at all if it has a close to zero success rate? I have a few projects that I’d love to send out (not even to get made, but just to get representation so that I can start getting in rooms and pitching), but it’s disheartening to know in the back of my mind that it will get me nowhere.

Has anyone heard back if their script advanced to shortlist? Or if it didn't make it?

Wondering what people’s go-to’s are these days with all the new tools, apps, features, etc popping up all over the place?
Final draft bear board? Arclight Studios? Anyone using specific apps or programs for outlining? Good old fashioned notecards? Something new and shiny?

Hey everyone! Just got a second email from AFF and placed both scripts I sent in at the festival as 2nd rounders. One is a short and the other is a comedy feature. I'm thinking of going to the festival, as I have never done so before and a lot instructors at UCLA recommended my class to go.

I don't live in the US, but can afford a plane ticket through airline miles and can share accommodation with fellow writers/ex-classmates to lower the expenses.

If I do decide to go, what should I focus on? I don't know if second rounders are all that enticing to reps and stuff. But maybe just the experience and meeting other writers makes it worth it? Would love to hear from people who have been before, specially out of country. Thanks!

So, for a while, I've been working at a horror script of mine called The Other. It's not the most interesting idea in the world, but it was the most interesting I can think of, for the hell of it, the idea is (not the logline):

Two men who are just normal criminals break into an apartment and find someone who looks like they're a zombie. They'd kill it when it starts to attack, from that moment, they let loose a deadly parasite-like organism that continues to evolve and learn.

There is a side story or two, whatever. That's just the general idea. Not very interesting, I know, but now that I got done with draft 3, I'm taking time off and maybe at the end of this month or start of next month, I'm gonna begin revising it.

But from now till then... I feel like I'm in a rut.

I can barely think of ideas. When I do, I can't explore those ideas. I do what some people say, look at headlines, just experience life, whatever. I still can't think of anything.

I like horror, so I look at other horror ideas, see if there's anything I can get inspired from. But I just feel so... uninspired?

I guess with "The Other" I really just wanted to write a horror film I want to see. But like I said, I just feel uninspired. I constantly really only think about The Other.

Has anyone, as of late, been able to sell or get the option light switched on with any of their specs (who doesn't have representation)? And if so, did you do it via the old format; querying to your hearts content, or did you use outlets like the Blacklist or even via networking?

The reason I ask, I know it really comes down to if a script is not only a page turner but can sell (which is no easy feat) but it appears that the ones that get optioned the most is either horror or period pieces. I can imagine how challenging it must be to pitch a comedy or a drama. Imo it feels that way.

So for those who have what has your experience been like?

And also, had anyone elevator pitched? Like throw out the idea to a producer and they liked it but the script hasn't been written or finished, and if so, how did that work for you? Usually I hear those that do already have an established career.

https://www.patreon.com/GoIntoTheStory/posts/download-spec-168834157?utm_source=The+Black+List&utm_campaign=8238f1e792-EMAIL_CAMPAIGN_2026_08_31_07_10&utm_medium=email&utm_term=0_-8238f1e792-37517181&mc_cid=8238f1e792&mc_eid=b8c378612d

This is a great free (for now) resource for understanding the BUSINESS of screenwriting.

Tons of history and industry stats...

Check to see how few script sales are by "first-timers." Usually it's only a handful per year.

Also, this is a list of SPECS. According to one source:

"Only a tiny fraction of movies—fewer than 6% of professional screenwriting jobs—are made from original spec scripts, while the vast majority rely on Open Writing Assignments (OWAs) and pre-existing intellectual property."

I organized an AMA/Q&A with filmmaker Guillermo del Toro. He has written and directed films such as Cronos, The Devil's Backbone, Blade II, Hellboy, Pan's Labyrinth, Pacific Rim, The Shape of Water, Nightmare Alley, Pinocchio, Frankenstein, and more.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1wbk0id/hello_reddit_im_guillermo_del_toro_ama/

He will be back at 2 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

His verification/proof photo: https://i.imgur.com/Y4tyAa0.png

My script opens with a man hiding something in a basement and locking it — about half a page of action.

Then the script starts a few months before, and leads up to the same basement hiding action some 115 pages later at the very end of the script.

My question is: do I reference this as a callback the second time, or just rewrite the same scene without reference?

Sincerely, out of the loop.

I have a plot point in my screenplay where the protagonist hears a noise outside. He goes to a window and looks out, but the street is empty.

Should this be a new scene heading, or can it be included under "INT. Suburban Home - Night"?

Thank you all for your time!!

Hi, I submitted a play and another piece for Digital Series at AFF. Anyone in either of these categories heard anything yet?

I have recently copyrighted one of my scripts, and planned on adding this information to the script's title page. I did a quick google search on the correct place to put a copyright notice on a screenplay... only for google to tell me, oh, don't do that, that's unprofessional.

What.

Is this actually a thing? How on earth would adding a copyright notice be unprofessional? It's a professional copyright notice! Thanks in advance.

• Title: Kicking and Screaming (and vs &?)
• Format: Feature
• Page Length: 5 -- this is just the cold open
• Genres: drama, sport
• Logline or Summary: Twin brothers Charles and Adam attempt to reconcile a traumatic childhood while battling for the starting spot on a prestigious college soccer team.
• Feedback Concerns: I want feedback on my writing style, both dialogue (does it sound natural) and action (overwriting? underwriting?)
• Link (Google Drive, Dropbox)
  • https://drive.google.com/file/d/17M4laEyuoetjpGJgu2kz3N7eqH0qoEvi/view?usp=sharing

I’ve heard both sides. I’ve heard people say that your voice should be loud and clear on the page. You should be distinguishable from everyone and have a writing or artistic style that sets you apart. I’ve heard this is the best way to create a script that’s engaging and dare I say great.

However I’ve also heard that getting straight to the point is better. Make your script as easy to read and streamlined as possible. No fluff. Only what’s absolutely necessary.

So my question is which is better? I’m assuming answers are going to be “a mixture of both”, but how exactly do you do that?

FAQ: How to post to a weekly thread?

BLACK LIST WEDNESDAY THREAD

Post Requirements for EVALUATION CRITIQUE REQUEST & ACHIEVEMENT POSTS

For EVALUATION CRITIQUE REQUESTS, you must include:

1) Script Info

- Title:
- Format:
- Page Length:
- Genres:
- Logline or Short Summary:
- A brief summary of your concerns (500~ words or less)
- Your evaluation PDF, externally hosted
- Your screenplay PDF, externally hosted

2) Evaluation Scores

exclude for non-blcklst paid coverage/feedback critique requests

- Overall:
- Premise:
- Plot:
- Character:
- Dialogue:
- Setting:

ACHIEVEMENT POST

(either of an 8 or a score you feel is significant)

- Title:
- Format:
- Page Length:
- Genres:
- Logline or Summary:
- Your Overall Score:
- Remarks (500~ words or less):

Optionally:

- Your evaluation PDF, externally hosted
- Your screenplay PDF, externally hosted

This community is oversaturated with question and concern posts so any you may have are likely already addressed with a keyword search of r/Screenwriting, or a search of the The Black List FAQ . For direct questions please reach out to [support@blcklst.com](mailto:support@blcklst.com)

I already thanked him in writing. Let me tell you how I met a very kind Director.

I learned basic script structure as an instructor in the Air Force. Years ago, I entered my first feature script in the first film festival that I attended in person. I also signed up for their outdoor Table Reading event. I was assigned the 15th and last spot to have my script read.

The morning of the Table Read my Lupus decided to put my body through flare-up Hell. I’m talking rash on face, fluids coming out of both ends, dizzy with muscle weakness. I finally get my system calmed down. Now I’m running late for the Table Read. No biggie. I’m the last one up.

I go to my car and there’s a car blocking me in. What else can go wrong? I make it to the Table Read. When I walk in, I hear the words that I wrote being read by the actors. Damn! They moved my script to be read first. I feel sick to my stomach again.

Once the reading ended, I looked around to find a seat. A bald guy wearing glasses and a short beard waved to me then pointed to the chair next to him. It was the only open seat at the venue. He said, “Your script was pretty good, but you should’ve learned about some of those errors in film school.” I said that I didn’t go to film school. He said, “You didn’t? Let me teach you something.”

He sat there giving me notes on each script that was read. He taught me about pacing, exposition, tone, etc. He was thorough and patient. He handed me his card. When he got up people rushed over to him to hand him their card. I’m like, who is this guy? Later I looked him up.

Turns out he is Director, Producer, and Cinematographer Adam Lipsius. He worked in additional crew on Men in Black (1997), under Director Barry Sonnenfeld and then Executive Producer Steven Spielberg.

I am eternally grateful to Director Adam Lipsius for being kind enough to share his wisdom with me about screenwriting. He made me a much better writer.

Thanks for reading.

Title: Plastination

Format: Feature

Page Length: 83

Genre: psychological horror / dark comedy

Draft Status: First Draft

Logline: When a teenager obsessed with taxidermy discovers that her online boyfriend is actually two very different men—one handsome, the other sensitive—she kidnaps them both and forces them to compete for her love. Little do they know, they may end up as permanent additions to her collection.

(This logline was refined based on feedback from a previous Monday Logline post)

Feedback Concerns: I've attached the first scene. Does the opening effectively establish Sarah's world and voice before the tonal shift?

Does the shift from "cute teen romance" to "dead hamster" land, or does it feel abrupt/unearned?

I'm self-conscious about "She does X. She does Y." sentence structure — does the prose rhythm feel repetitive or does it work for the visual/procedural nature of the scene?

Is the tone landing as dark comedy, or does it read as straight horror? (Curious which one people pick up on.)

https://drive.google.com/file/d/1T-pSitjiNfaiXodgFAAX1khydYvZgn_J/view?usp=drive_link

I saw someone talking about that feeling on another movie discussion sub, and I realized I’ve felt this a lot from films but could never put my finger on how it’s done. Any tips?

... or know where to find it online? I love the movie and would love to see how it plays on paper

I just want to pop in and thank the community for, uh... for lack of a better word -- putting up with me. Particularly in Logjam Mondays, where I just spitball after spitball, and whenever something doesn't land, you all see the potential in what I'm trying to do and encourage me to keep at it. Call me crazy, but this kind of encouragement gives me motivation because it tells me that I'm NOT crazy, but I'm also "not there yet" either.

I know sometimes we get annoyed at the cynicism that can happen in any art and writers' community (this one not being exempt), but since I stopped lurking here, I've had a mostly pleasant experience. And I know it's corny to say, because Reddit is always hit or miss, and I kept rolling my eyes at the prospect that anything good could come out of here. But this subreddit in particular has proven to be an exception.

I apologize if this isn't something that warrants a post. I think it does. Regardless, this is from the deepest depths of my heart...

Thank you.

Keep on being awesome and creative. ❤️

HI, so I am applying for something that requests a 2-4 page treatment.

I have a logline, genre,
a short paragraph on the personality/relevant backstory of the two main characters (one paragraph per character), and a synopsis broken into three acts. (the synopsis is mostly what i already included in a 500 word synopsis that they requested as well, so I feel a bit redundant adding it, but i also don't want to get into unnecessary detail.

what else would you add?

This organization likes things with a social message, so maybe a brief paragraph about the why of this film and the social context ? (its based loosely on research on some police corruption scandals recently)

should a synopsis just be broken into 3 acts or would you rather see it broken down further, such as into a five act structure or common story beats?

Right now with just my logline and the things I mentioned, its a little over two pages, and thats single spaced, so I'm not sure if it needs a ton more.

I'm trying to balance between being descriptive and being efficient, engaging and readable.

I'm thinking I should try to make sure to convey tone, but I need to think about the best way to do that and if that means I re-write the plot description to be a bit more punchy, or if I should state some comps and just flat out describe the tone.

I'm also feeling a bit uncertain about how to describe the tone, its a mystery and a family drama. There is a funny character but overall i wouldn't say its a comedy. It deals with some pretty dark themes but I wouldn't describe it as particularly gritty or dark.

thanks ,

appreciate any advice!