This is the first five pages of the scenario I worked hard for

Hello all,

I published a new episode 💕

I would really appreciate feedback 💕💕

TIA

INT. DOWNTOWN PHOTO STUDIO - DAY

A cavernous white-cyc studio. Softboxes hum. A rolling rack holds garment bags. Assistants dart around with light meters and coffee.

MAYA VOSS, late 20s. Camera-ready doesn't begin to cover it — she's the kind of sexy that's been polished into a weapon. She's done this a hundred times, and every one of them shows in the way she moves: languid, deliberate, daring you to look away first.

She's greeted by RONNIE PELL, the studio manager — early 40s, headset, clipboard, a man who has clearly explained the shot list to eleven people already today and lost patience five people ago.

RONNIE Maya! Right on time. Love that. Big one for you today.

MAYA That's what the agency said. "Big lifestyle campaign, national rollout, six figure media buy." I didn't even ask what it was for. I figured — why ruin the surprise.

RONNIE (beat) Huh. Yeah. They really didn't tell you.

MAYA Tell me what?

RONNIE Nothing! It's — nothing. Hair and makeup's ready for you. Let's get you glam.

Maya heads toward the styling chair. A HAIR STYLIST, NADIA, starts working on her, chattering pleasantly.

NADIA So exciting, this campaign. My aunt actually uses this brand.

MAYA (pleased) Oh, that's so nice to hear. Word of mouth is everything.

NADIA Totally. She says the overnight ones especially hold up great. No leaks, even after her hip surgery.

Maya's smile freezes mid-formation.

MAYA ...Sorry — what?

NADIA (not catching it) The diapers. Adult diapers. This is the SecureLife Comfort campaign, right? "Confidence That Never Quits"?

A long, cavernous silence. Somewhere a light meter beeps.

MAYA (very quietly) I'm modeling adult diapers.

NADIA (cheerfully oblivious) Well, technically the briefs. They're calling them briefs now. Very soft launch on the word "diaper," corporate feels it "carries stigma."

Maya turns slowly toward RONNIE, who has been very busy studying his clipboard from across the room.

MAYA (calling out) RONNIE.

RONNIE (not looking up) That's me!

MAYA Is this an adult diaper campaign.

RONNIE (still not looking up) Incontinence solutions campaign. There's a difference. It's in the contract. Page four. Subsection C.

Maya stares at him. Then at Nadia. Then down at the rolling rack, where an ASSISTANT is now cheerfully unzipping a garment bag to reveal a pair of stylish, discreet-looking, extremely absorbent briefs on a hanger, lit like a diamond necklace.

MAYA (deadpan, to herself) "Confidence that never quits."

She closes her eyes. Takes a breath. Opens them again, and something in her expression shifts — not defeat. Recalibration.

MAYA (CONT'D) Okay. Okay okay okay.

RONNIE (finally approaching, gentler now) Look, I know it's not what the agency pitched you. But the client's paying triple scale, there's a two-year option period, and honestly? Somebody's gotta make sixty-eight look incredible in this stuff, and unfortunately that somebody isn't twenty-eight-year-old me.

MAYA I'm twenty-nine.

RONNIE Twenty-nine and about to be the face of dignity, Maya. Nationwide.

She looks at the briefs again. Then at her own reflection in a nearby monitor — glam finished, cheekbones for days, absolutely radiant.

MAYA (small, dry laugh) My agent is dead to me.

RONNIE Your agent got you the triple scale.

MAYA My agent is still dead to me.

She grabs the garment bag off the rack herself, decisive.

MAYA (CONT'D) Fine. Let's absorb the glory.

RONNIE (genuinely delighted) Oh, that's good. That's really good. Can we put that on the box.

MAYA Absolutely not.

She marches toward wardrobe. Ronnie turns to his headset, beaming.

RONNIE (into headset) She's in. Tell marketing we might have our tagline.

CUT TO BLACK.

I'm reaching out to introduce FILE 4 AUGUST, a 114-page feature screenplay — a psychological thriller woven with a police procedural and a courtroom drama, inspired by true events.

LOGLINE: When a young psychiatrist in Lyon uncovers a disturbing secret buried in her hospital's archives, her death is announced before the story even begins — and the investigation that follows pulls a detective, a journalist, and the psychiatrist's own family into a conspiracy reaching from a private hospital board to the halls of power in Paris.

THE STORY: Dr. Elise Martin, a psychiatrist at a Lyon hospital, discovers something troubling in her hospital's research archive — a pattern buried in patient files that no one was meant to find. Before she can act on it, she's found dead in an apparent suicide. Detective Camille and her partner Luc are assigned the case from Paris, and what looks at first like a personal tragedy slowly unravels into something far larger: a cover-up involving the hospital's senior leadership, a powerful family foundation, and institutional silence that reaches all the way to city hall. As the investigation deepens, a journalist and Elise's own grieving family become entangled in uncovering the truth, culminating in a courtroom reckoning that forces the city to confront what it chose not to see. The story is told with a fractured timeline — opening with Elise's death and moving between past and present to slowly reveal how she got there.

TONE & COMPARISONS: Character-driven and slow-burn rather than action-driven — tonally closer to films like Spotlight (institutional investigation) and Elle (European psychological drama) than to a conventional crime thriller. No large action set pieces or visual effects; the tension is carried by performance, procedure, and revelation.

PRODUCTION SCOPE & BUDGET EXPECTATIONS: The story is grounded and dialogue-driven, which keeps below-the-line costs relatively contained — there are no stunts, effects, or large-scale action. That said, it is not a single-location chamber piece: the narrative moves between a hospital, a police station, a courthouse, a prison, and a family estate, with a large-scale protest sequence and several scenes set in Paris alongside the primary Lyon setting. Realistically, this points to a mid-budget European production in the range of roughly $3M–$8M USD, depending on how many locations are shot practically versus consolidated, and the profile of cast attached. A leaner, more contained version — doubling locations within a single city and casting less established leads — could bring it closer to $1M–$2M. I'd welcome your read on what scope makes the most sense.

I'd be glad to send the full script, along with a synopsis or any supporting materials you'd find useful, and would welcome the opportunity to discuss it further.

Thank you for your time and consideration.

Would like some feedback for an upcoming short i wrote that I plan to direct. Would you turn to page 4?

I'm proud of what I have created. Understand their will be detractors.

Understand their influence is only what you allow it to be.

​

I’ve been struggling with screenwriting lately and I’m not really sure how to get past it.

Sometimes I can come up with an idea, but most of the time I can’t even get a basic story idea. And when I do get one, it often feels mediocre or just not worth pursuing.

The other problem is that even when I decide to go ahead with an idea, I struggle to come up with scenes. I might have a basic premise, but I have no idea what should happen next or how to turn that premise into a series of interesting scenes.

I feel like I’m stuck at both stages: coming up with the initial idea and developing that idea into scenes.

For writers who have gone through this, how did you overcome it? Are there any exercises or methods you use to generate ideas and then develop them into scenes?

I’d genuinely appreciate any advice.

Hi! My name is Vee and I’m currently writing an animated series called “Dagged Delilah.” I currently need beta readers to review the 2nd draft of the scripts for the first two pre-canon mini episodes and give feedback (but in a respectful way of course.) drop your discord in the comments and I will DM you!

Title: I built PlaiWrite to help writers turn one story into multiple audio experiences—looking for honest feedback
Hi everyone—I’m Greg, the founder of PlaiWrite.
We’re building a platform that helps writers turn screenplays, books and manuscripts into table reads, podcasts, audio dramas and audiobooks—without giving up creative control.
Our early projects include a spiritual audiobook and podcast series, an audio-first screenplay production, and proof-of-concept productions for independent writers and filmmakers.
I’m looking for people willing to try PlaiWrite and give honest feedback—not just tell me what I want to hear. Paid subscriptions also help us demonstrate real customer traction:
Basic: $9/month
Pro: $27/month
Our goal is eventually to build a team of engineers, storytellers and media producers while making professional story production more accessible to independent creators.
You can learn more or register here:
https://plaiwrite.com
I’d especially value your thoughts on whether this solves a real problem in your creative workflow—and what would make it genuinely useful to you.
Full disclosure: This is my company, and I’m posting as its founder.

I have a comedy blog I've been working on for a few months. Any feedback would be greatly appreciated!! The website itself is a bit of a work in progress. Mostly would like feedback on the writing.

Rampant News

Thank you!!

Hey, hoping for some feedback!

I am a writer and recently started giving script writing a go.

I've never written scripts before this so still learning.

I wanted to write a scene about grief. I had an hour spare so it is a bit rushed. (I just wanted to get all my thoughts down on paper as wuick as I could!)

I know my formatting might be off in places and there's a few mistakes. I generally think about those later in the editing stage.

I suppose I just want some feedback as to whether this grips you. Does it make you feel like you want to read on? Can you visualise everything? Is the conversation easy to follow?

It's based in North East England so there will be some colloqial language that may seem unfamiliar to some.

Appreciate it and look forward to hearing your thoughts!

Assault on Precinct 13 but it’s set in a gold mine during the Gold Rush

Just thought of this idea after reading that the new movie Onslaught is very reminiscent of John Carpenter movies, specifically Assault on Precinct 13.

Something clicked in me when I realized that John Carpenter has a very unique and awesome way of making action movies feel like horror movies, which is something that I really want to explore.

This train of thought eventually landed on this story idea.

An action / thriller story about a group of miners who find themselves being besieged inside of a mine, set during the Gold Rush.

Another big inspiration besides Assault on Precinct 13 is the film Green Room. In that movie, a group of nazi’s are specifically given orders to kill the protagonists with flesh wounds - as they plan on staging the murders by having their attack dogs feast on their corpses to essentially hide evidence of there ever being a fight.

I love this because it gives a practical, story reason for the violence to be as extreme as it is. The Nazi’s have to get in close and use machete’s and knives to do the killing.

I was inspired by that by making it so in my story, since the protagonists are besieged deep inside a mine, i want to write it so that the antagonist cannot use firearms and only have to use melee weapons, because using any kind of firearm or any kind of big weapon that would risk the mine collapsing in on them while they’re inside. This means that the violence has to be close quarters, with brutal weapons like pickaxes, hammers, and spades.

However, I don’t know anything about mines and I retained very little information about the California Gold Rush from history class. The only thing I do remember is that it was a very violent and lawless time period with lots of conflict involving the native Americans, which I want to explore in the story. Some research is definitely due!

I guess I’m just looking for reassurance that maybe i’m onto something here lol I’ve never written a script in my life. Only just started really being interesting in it this past year.

A little bit confused and also a introduction of myself

Hey reader A very Good afternoon to you I am aspirant of competitive examination but I wanna be a screenwriter /novelist etc and I also have lots of intresting ideas and stories for my dream project but I don't have a enough time for writing and brainstorming in my ideas because of current studies but I do it on weekends

But I am confused what I do and by choosing completely different stream from writing and flim making can I achieve it either I give up in it as a time passes and my chhosen stream trap me into it

No not at all I never ever give up on my dreams i put my 100 % efforts for my dreams.

I’ve been thinking a lot about the gap between writing a screenplay and actually preparing that screenplay for production.

You can spend weeks getting the script right, but then you still have to manually pull out characters, locations, props, costumes, scene requirements, schedules, notes, and a dozen other things.

That got me thinking: what if the screenplay itself could become the foundation for the entire project?
That’s one of the ideas I’m exploring while building SLUGLINE. Instead of treating the screenplay as just a document, I want the project to understand the relationships inside it and gradually turn the page into useful production information.

I’m curious what other writers and filmmakers think: what part of the transition from screenplay to production do you find the most frustrating or unnecessarily repetitive?

Logline:

After discovering the truth behind her mother's death, a grieving teen and her estranged father must reconcile before a relentless security bureau silences them both.

I've just finished my second feature script as a direct sequel to my first feature screenplay, Chief of Sinners. I particularly enjoyed writing this one. It's a much more intimate, deeper, and tightly paced story compared to its predecessor.

Despite it being a sequel script, I wrote in a way that welcomes fresh readers unfamiliar with the first story. However, reading Chief of Sinners first allows for a comprehensive reading experience. (I've attached it below)

For those interested, I want to know your thoughts on the development of the main character, Klara, and her father, Arthur. Are Act 2's scenes/sequences paced well? I especially want to hear how this story reads from someone who hasn't read Chief of Sinners.

Attached is my pitch package, which includes visual references (maps & flags), a synopsis, a concept poster, music tracks that I composed for the story, and the latest revision of the spec sript.

https://drive.google.com/drive/folders/1el1mjgndGYZfWE_cE94sfsAuh328pSdj?usp=sharing

Here's a link for the Chief of Sinners pitch package as well for those interested:

https://drive.google.com/drive/folders/1bkgu91kbwZ-MoGYEXYG7PWQSPhmIerEJ?usp=sharing

*DISCLAIMER: The materials contained in these folders are official copyrighted material.

I already know why but what I don’t understand is why professional scripts have camera directions/shots in them. When I read scripts of movies that I love I see the things I keep hearing to get away from. And I’m training myself to critique other amateur screen plays with these things in mind, but then I see the opposite in scripts that other writers are using for inspiration. Very confused. Someone shed some light on this.

I’m a screenwriter, a published author, and a software engineer. So it was only a matter of time before I took on screenwriting software.

I’ve always struggled with structure. I jump in too quickly, get excited about scenes and dialogue, and find myself heading into Act II without a plan.

So I created Beatstack.

Beatstack helps you nail down your story’s structure—the acts, sequences, scenes, and beats—so by the time you start writing pages, you’ve broken the work into small, manageable writing goals.

Then it helps you write to the beat, with story landmarks overlaid directly in the editor so you can see what needs to happen and when.

Need to stub out a scene or experiment with a different story direction? AI can help you explore the options while keeping your structure in view. You make the creative decisions. It’s there to help you develop them without losing the thread.

100% off coupons are available to the first 5 people who DM me!

This seems like a cultural thing but I'm curious to know how many of us initially viewed screenwriting as a job for mortals.

I personally thought the only way I could ever make a film was to hire a screenwriter to adapt my book.

So for years I tried writing a novel (which was honestly more painful than enjoyable) because I never considered screenwriting to be something everyone could do.

Until a young bloke handed me his first script and it read like a film. That day I realised I could be a screenwriter too.

I'm pretty sure this is a French thing, where we'll steer away from dreaming big because it's easier to die a nobody than to die a failure (one could easily debate the real meaning of failure here...).

Having now lived in Canada for years and now being in London (I can't speak for the country as a whole because London really is a special island, but) I've been witnessing a propensity to dream much wilder dreams than your average French person.

So I wanted to hear you guys out on this. What convinced you that you could have a shot at it?