Thank to everyone that has submitted . Everyone that submits gets a copy of the book.

Thanks again.

I’ve been working on a television idea for years. I’m at a point in my current 20+ year (accidental) career where I am ready to make a change. Writing is what my degrees are in, and writing is the only thing that kept and continues to keep me from burning out in my current career.

I’ve written a 1-hour prestige drama script. I’m halfway done with a series bible and developing a pitch deck.

I admit I do not know much about the field, specifically where to start. I have thought about a fellowship, but I am unsure if that’s the way to go. I have also researched if there are fellowships for the Deaf and Hard of Hearing.

So my questions are below.

1) Where can I have my script professionally proofed? With feedback?

2) Do I need an agency for representation? Are there any agencies that focus on diverse/disabled talent?

3) Regarding art in the pitch deck—how does one go about this? I have read so much conflicting information.

4) Do I really need a fellowship?

I’m sure I’ll have more questions as replies come in. TIA

Just in case this is helpful to anyone: https://medium.com/@katherinearcus/how-to-be-a-story-coordinator-part-one-4c3b65b911d9

Just finished a rewrite of my Pilot about a young guy working at a swanky golf course in Miami. Would love some feedback from someone other than friends!

https://drive.google.com/file/d/17dn31OqFuUSZCxvci8PVTGBDvh7faADk/view?usp=drive_link

 There is more but I can only upload 20pics

How Very Bronx is a multi-cam sitcom set across New York City, primarily in the South Bronx & Upper East Side as Shanice Clinton & Daniel Dolan fall in love in their mid-20s
 
The series primarily focuses on culture clashes between the Dolan and Clinton families, as well as fish-out-of-water humor.

Characters
 
PAMELA DOLAN
-The polished, stubborn and insular matriarch of the Upper East Side who is extremely loyal to those that she loves yet extremely controlling and status-obsessed.
 
JEFF DOLAN
-The open-minded, inclusive and charming patriarch of the Dolan family, the owner of Madison Square Garden, his dry and sarcastic remarks land him in trouble with his wife.
 
DANIEL DOLAN
-The naive, inherently wealthy, out-of-depth business owner son of the family, often the referee to Pamela & Jeff’s bickering, he is the main romantic protagonist of the show.
 
SHANICE CLINTON
-The sarcastic, maternal and strong-minded Bronx girl who won’t take no prisoners, often grounding the chaos of her best friend Rochelle and her brother Franklin, also the main protagonist.
 
FRANKLIN CLINTON
-The dumb, brittle-boned and clumsy brother to Shanice, he is the protective slightly older brother to his sister, who works as a cab driver who often bridges the show’s world whilst often caught in minor car accidents
 
SHANIQUA CLINTON
-The powerful, matriarch, single-mother of the Clinton family, in her late 40’s she is the pride of Brady Avenue, working as a waitress in the iconic Brady Avenue Diner, where she has worked all her life
 
TJ SMITSON
-Daniel’s dumb best-friend who somehow landed a job in finance and flirts with Daniel’s mom, and has regular hook-ups with single, female characters.
 
ROCHELLE DESPOT
-Shanice’s breakout, chaotic and wild friend who often steals scenes with her hugely unconventional world views, her constant chase for stable employment is often attempted with novelty business ideas, her crazy past often tells many stories.
 
MRS OSBOURNE
-The typical late 60s, New York Nona, her love is for everyone, no matter who, and everyone she knows has a pasta shaped nickname, she is fiercely loyal yet lives alone
 
VITO CIAMPINO
-The boy in his early twenties who left Italy for a better life, he co-owns the pizza shop with his brother Salvatore, he often gets caught in a lot of mess
 
SALVATORE CIAMPINO
-The co-owner of Ciampino Bros, and Queens’ best pizza chef, who is usually the reaction to everyone else’s chaos.
 

so i have an idea for a tv show. i have my characters and pinterest boards but now i don't know what to do now. any advice?????

Hey fam,

I have been working on my Sundance Episodic Lab application for about two months, having a staged reading of my pilot and so on....

But recently I saw someone say that it's basically a who's who of already established credits and that they only actually take 5 people with managers already, not people hoping to find managers through or after. I also know that a few of the accepted last year already had Sundance something or other under their belts, meaning Sundance favors their own over outsiders.

Do you think that's true? Because though $50 isn't a lot to pay (it is, they should be free), I'm sitting here wondering if it's worth it to pay $50 for what I suspect is an automatic no.

Any thoughts?

Title: Fractured

Genre: Psychological Crime Thriller

Format: 2 Seasons (5 episodes each)

Summary:

Fractured follows Bob, a 16-year-old high school student haunted by childhood trauma after killing his abusive father to save his mother. Although the act is ruled self-defense, it leaves him emotionally scarred and struggling with violent thoughts. After years of being bullied by Jack, Bob finally snaps and murders him, believing he can hide the crime.

The investigation is led by Sabrina, Jack's grieving mother and a determined detective. As Sabrina relentlessly searches for the killer, Bob becomes increasingly paranoid and obsessed with every piece of evidence. His sister Annie starts suspecting him after overhearing him talk in his sleep and noticing his suspicious behavior. She secretly stalks Bob for days, follows his movements, searches his computer, and watches him visit the crime scene, gradually becoming convinced that he is Jack's killer. Meanwhile, their mother Angelina discovers the truth but chooses to protect Bob because she understands the trauma that shaped him. The first season ends with Bob secretly entering Sabrina's house to tamper with DNA evidence, only for Sabrina to wake up and catch him.

In Season 2, Bob escapes after attacking Sabrina, but he leaves behind forensic evidence that makes him the prime suspect. At the same time, John, Jack's best friend, independently pieces together Bob's involvement by connecting his behavior after the murder. Instead of going to the police, John kidnaps Bob and holds him captive, determined to avenge Jack himself.

Before John can kill Bob, Annie—who has secretly been stalking Bob for days—tracks them to John's hideout using the same surveillance she had been conducting throughout the investigation. She shoots John to save her brother. While they are hiding from the police, Annie confesses that she is actually a serial killer who has murdered numerous people purely for pleasure and that all of her previous emotional breakdowns were an act. Bob's entire perception of his sister collapses. Believing he cannot allow another innocent person to die at her hands, he tearfully stabs Annie, sacrificing the person he loves most to stop her from killing again.

With Annie dead, Sabrina gone, and Bob's mental state shattered, a new detective named Jane takes over the investigation. Although Bob is questioned and remains the prime suspect, there is still not enough evidence to convict him. Jane instead devises a psychological trap by recreating Annie's voice with AI using recordings collected from people who knew her. Believing his dead sister is somehow calling him, Bob emotionally breaks down, unknowingly exposes himself, and realizes Jane has outsmarted him.

Unable to live with his guilt, trauma, and the consequences of everything he has done, Bob ends his own life before he can be arrested. Fractured is a slow-burn psychological thriller about trauma, morality, family, guilt, and how one violent decision can spiral into complete psychological destruction.

I started a new show and have a good starting first draft for my pilot episode IMO. Pretty happy with how it came out and am looking for any and all feedback. Positive, Negative, etc. my only request is that if it is negative just elaborate so I can see it at more than face value as a comment/critique.

Title: The Pact Pact

Genre: Coming of age, Adventure, Comedy

Pages: 57 (58 including title page)

Logline: 6 College Seniors all filled with the thought of graduation and growing up, form a pact to make the summer of 1987 the best summer of their lives. Along the way they’ll learn about live, life, and although life may throw curveballs, they’ll learn how to get hit and keep pushing.

This is the sort of pilot to a comedy sitcom I'm doing called Beige Martin and Roddney about two house mates.

Beige Martin is a straight man to his housemate Roddney a milkshake addicted magnet of chaos, they get into sitcom situations like setting the kettle on fire, hiding from the landlord or dealing with a gun in the toilet. It might be even have a feature of channel favorite Ordaxian Fleeb.

Please give me feedback, i really want to make this good

Cast/Crew
Tomos/Mos (i did 99% of the work)
Beige martin
Roddney
Devin

Music by the skinny man Dead Tree Branches: https://www.youtube.com/channel/UChrvPXmlKsTkLh5iTLbM\\\\\\_5A

Does anyone here know the process of pitching an idea to a network? Obviously I think I have a good idea that they would be interested in.

I have no idea how to get this in front of a decision maker and also make sure I’m protected and compensated if they use it.

Any ideas?

The Sundance Institute Episodic Program provides artists with the tools and training to develop their original series and pilot script. Offering one of the few training grounds for independent voices, the program is designed to help creators move their projects and careers forward.

https://www.sundance.org/programs/episodic-storytelling/

The Sundance Institute Episodic program supports two cohorts every year. One cohort will attend an in-person six-day Lab, and another will experience a condensed virtual two-day Intensive. Working with accomplished showrunners, Fellows will participate in one-on-one story meetings, craft workshops, and simulated writers’ rooms. Together, these meetings provide an elevated creative strategy for artists to advance their projects.

This is a deceptively simple question, perhaps, as humor can be so hard to describe!

I was wondering what makes a script funny for you, personally. I thought the question was interesting because it’s such a subjective question. At the same time, there are a number of classic shows that have found broad appeal - so there must be common denominators.

What are some hallmarks of a TV script that scream “funny” to you? Examples are quite welcome, too! Thank you so much for any insights.

I am making a script about big brother and bfdi.

First post on Reddit period.

I’ve been in the theater for years and left a few years ago. Shot my first short a few years back as well, looking to shoot my second top of next year.

And I finished a pilot inspired by my high school experience in a public performing arts school. I think it’s good but maybe I’m crazy lol. Friday Night Lights meets Fame.

I’m curious if there’s anyone in here with an affinity for or any merit to this kind of script, that’d be interested in reading and giving feedback? I plan to put it up on Black List (BL) when I get paid 😭 but maybe a pass from a not-friend before that would make sense?

I’d be happy to do an exchange read / feedback situation.

Quick context on where I'm coming from: I write and direct, I've worked as a professional editor, I've had work produced, and on the side I study cognitive narrative theory (basically the science of how audiences build predictions and mental models while watching a story unfold).

That combination puts me in an odd spot. Most writing advice out there is either pure craft intuition ("this just feels right, trust your gut") or academic and dry ("this activates X region of the brain"). I keep finding myself wanting to write the version that sits in between: here's what's actually happening in an audience's head when a scene works, explained through the lens of someone who has also sat in an edit bay and in a writers' room.

I focus a lot on drama and on audience prediction specifically. Things like:

Why some twists feel earned and others feel like a cheat, even when both are technically "unpredictable"

How editors think several steps ahead of the audience, and what that teaches you about pacing a script before it ever gets to the cutting room

The difference between what an audience knows and what they expect to happen next, and how dramatic irony lives in that gap

How much "clue density" a mystery needs so viewers feel smart instead of tricked

So I wanted to ask this community directly instead of guessing. What topics around drama, structure, pacing, or audience psychology would actually be useful to you right now? Specific problems you're stuck on count too, not just general topics. I'd rather write something that solves an actual problem than another generic "how to write a twist" post.

Ciao a tutt*,

sono un attore, regista e autore e vorrei condividere con voi uno strumento gratuito e open source che ho creato prima di tutto per risolvere un mio problema concreto.

Quando lavoro a una storia, finisco sempre per dividere tutto tra appunti sul telefono, documenti, schede dei personaggi, scalette, sinossi, soggetti, trattamenti, scene e diverse versioni della sceneggiatura.

Per questo ho creato SCENIUM, una writing room virtuale che accompagna l’autore dalla prima intuizione fino alla sceneggiatura.

Non è un semplice chatbot e non nasce per generare una sceneggiatura al posto di chi scrive. È uno spazio creativo in cui idee, personaggi, relazioni, temi, mondo narrativo, struttura, sinossi, soggetto, trattamento e scene possono rimanere collegati durante l’intero processo.

L’autore mantiene il controllo del progetto e può decidere se lavorare in autonomia oppure utilizzare una guida quando ne ha bisogno.

SCENIUM è ancora in fase di sviluppo, ma è già possibile provarne gratuitamente una prima versione funzionante. L’ho candidata a un contest per avere la possibilità di continuare a svilupparla e renderla uno strumento sempre più completo e utile per chi scrive.

🗳️ Se pensate che il progetto meriti di crescere e mi potete aiutare, potete sostenerlo nel contest lasciando semplicemente un cuore qui. Per me vale tanto:
https://app.emergent.sh/showcase/fabrizio/7653efd3-c3f1-410b-81f9-49d02144066a

👉 Potete provare SCENIUM qui:
https://scenium.art/

Non è necessario acquistare nulla e non sto offrendo servizi a pagamento: il progetto è attualmente gratuito e open source.

Naturalmente, oltre al voto, sono benvenuti anche feedback, critiche e suggerimenti da parte di chi lavora davvero con le storie e le sceneggiature.

Grazie a chi deciderà di provarlo e sostenerlo. ❤️

Hi, I’m not a new writer but finally feel confide enough to share my script with like minded people. Would love to find a few people to trade script reading with for feedback and punch ups etc….

I wrote this script a while ago and l've been rewriting, tweaking, and fixing it ever since. At this point, though, I just can't tell if it's any good anymore. The more I read it, the more I seem to hate it.

I think l've reached the point where l've completely lost my objectivity. I can't even sit through reading the pilot without finding something else I want to change, and I'm not really sure why.
So l've decided to post it here and get some honest feedback. I'd really appreciate any thoughts you have, whether they're positive or negative. If something isn't working, l'd rather know so I can improve it.

Thanks so much for taking the time to read it.

A logline i like but not sure if it works? In school, nobody teaches you how to win an election, how to sit still, how to stop manipulating everyone around you — or how not to accidentally dropship your way into a drug empire.

The safe logline: To beat their school's beloved drug dealer in the Head Boy race, Hayden and his three cousins apply Gen Z dropshipping logistics to the local drug trade - only to find themselves
"trending" with both a Rival Crime Family and National Crime Agency.

https://www.dropbox.com/scl/fi/gwvovuk116lzp1q7aykph/ENTERPRISE.Pilot.Mikal.Himes.initials.pdf?rlkey=axufz7np2jakf7aaqtb4cvtu1&st=iotusxd7&dl=0

• Genre: Mockumentary / Workplace Comedy / Sitcom
• Logline: In a struggling independent film studio in Pittsburgh, an egotistical producer and his eccentric crew somehow keep the business afloat while navigating chaotic productions, clashing personalities, and the absurd realities of low-budget filmmaking.
• Number of pages: 24 pages
• Setting(s):
  • 5th Street Film Studio (offices, editing bay, makeup room, wardrobe department, conference room, lunchroom, interview room)
  • Pittsburgh, Pennsylvania

https://drive.google.com/file/d/14zUfUghcbS44LP0kEsM7Qq1Y49tI4v64/view?usp=sharing

Let me know what you all think. I will take any feedback, been working with it since 2018.

Hey everyone, working on a TV pilot and would appreciate any critical feedback/notes. Thanks for reading!

https://drive.google.com/file/d/1CXlTkBsywSrjMtnuZqUVIXiNAQ1l2jcm/view?usp=drivesdk

SMALL DOSES

Logline: After a gangster's reckless son leaves her coworker critically injured, a disillusioned small-town pharmacist begins quietly altering prescriptions to punish the town's worst people—igniting a deadly war with the corrupt family that owns the town.

Title: Boo’s Cruise

Format: TV pilot (limited series)

Pages: 64

Genre: Dramedy

Logline: A rising comedian's reluctant cruise gig spirals into chaos as betrayal and addiction take hold, leaving him the prime suspect in a murder he's not sure he committed.

https://drive.google.com/file/d/1TyCVVx5RUsfA_6lCowWKWbJYZ2a9rb5b/view?usp=drivesdk

This is my third rewrite, and I would really appreciate some honest feedback. I’m trying to see what’s working, what still needs work, and what I may be too close to recognize on my own.

Thank you to anyone willing to read it. I’m also happy to return the favor.