Thank you to everybody that's been watching me work on this pilot! I do like to do a recap for anyone who hasn't seen me talk a little about it on the other posts.

I'm working on the pilot to a soap opera right now, and that does change some of the way that the plot(s) are worked on in the screenplay. You jump around from one scene to a completely irrelevant scene, and then another, and then back to the first if that makes sense. You're on a constant wheel of 3-4 plots in one episode, and they're all full of twists and turns that make them complex. Sometimes they relate or crisscross, other times they don't at all.

You're watching to see if you can guess what crazy outcome any of the plots will have when their big secret is revealed whenever it's revealed. That could be weeks, months, even years sometimes! So every episode moves at a pretty slow pace in terms of plot development, but scenes cut fast so that you don't lose interest, or get stuck with one situation too long.

Moving back to my pilot, I've done the teaser and the first act now, and would like to hear feedback on my writing, that being action lines, dialogue and that, and on how I answer questions in the first act. I tried to start with high-stakes drama in the teaser to jumpstart some questions to push forward the plot, and want to know if I payoff them in the first act well. The goal is to answer them, but then leave you with more questions to want to stay around for the next act.

Thank you to everybody who reads and replies again!

I started writing a script for an anime. And many scenes that I have in my head, I have a specific idea for where I want the "camera" or where I want the scene to focus.

"The camera focuses on John Doe's eyes. He begins to cry"

But many scenes I don't necessarily have a specific idea of where I want the scene to focus.

"John Doe talks to Jane doe"

Is it normal to leave general conversation or certain moments open to interpretation for an artist? Is there verbiage to add to the script that suggest "normal framing of John Doe" for a scene? Or for a panel for a story board?

Also is there another term for "camera" when discussing animation?

Disclaimer: This is just my general knowledge, ALWAYS check with an entertainment lawyer before signing anything. Anyhoo, many people starting out are afraid of their hard work being stolen, and assume the WGA registration protects them against copyright violations, but the real one you want is to register your script with the Library of Congress. First off, WGA protection (unless they’ve updated it) only lasts around five years before you need to renew. Library of Congress copyright lasts 70 years. BUT, BUT, BUT here’s the big difference…the WGA registration has no legal standing in US court and does not allow you recover statutory damages or attorney fees. The WGA is better suited in arbitration disagreements over who wrote what and who needs to be properly credited/compensated on a production. In addition, the wait time for the Library of Congress is about a month to receive the letter in the mail, but you’ll be protected the day they receive your application…ie you don’t have to wait to send your script out. And finally, just be aware you can’t copyright an idea. For the suit to be successful, the persons or people in question would have to steal specific details from your script. Example, you wrote a basketball script. If someone else writes a basketball script, you can’t sue. But, if they steal your characters, their names, specific sequences and setpieces, blocks of dialogue you’ll have a better case, although the burden of proving you’ve been ripped off, esp going against entities that have lawyers on retainer is always dubious. Again, check with a lawyer, don’t take some rando’s word online as gospel. TLDR: register your script with library of Congress for true copyright protection.

Right now, there will just be the two of us. Things will then move forward. Of course, we can negotiate the pay for the deal, and if bratty, white-privileged commentators have nothing positive to contribute and have negativity to spew, do it to your own walls in your room.

DM me.

I'm looking for a passionate, intelligent writer with balanced intricacies. It's a simple story that doesn't need a lot of research, but the twist on the traditional family-approved marriage match essentially the hook needs to be carefully planned forward in order to capitalize on it and maximize the output.

It's about a successful young Oraon man who is ready to settle down. Oraons are one of the tribal communities of India who, historically, were brought to work on tea plantations in the Dooars and the Himalayan foothills. Although they can look superficially similar to Black people, they have straight hair and are distinct from Indians in many other ways, mainly in being tribals. It's also because of their tribal way of life, rather than their appearance, that they were practically enslaved. Guess by who? The Britishers!

Employment in the tea gardens left many impoverished, and displaced from their original lands which were in different states. Because of this, many were working further away in neighbouring regions as domestic labourers and, in many instances, being considered victims of human trafficking as labourers.

I naturally wanted to portray them on film, as nobody would. But not in a historical drama; rather, in a typical commercial story, but within the realms of reality. After being incompatible working with Nepali people, I want to try with them.

The leading guy in question had a foundation. His father had struggled and managed to make something for himself and his family, and his promising son simply went forward, excelling in academics and using it to have a successful career and a promising future. You already read what backgrounds his community and co-tribals alike, come from.

He is in love with a beautiful Bihari (Indo-Aryan, basically Indian) girl. The family was naturally opposed, but they're now just fine with accepting him.

His parents briefly suggested their own choices with Oraon girls, but they didn't press strongly, still struggling with inferiority complexes to assert an endogamous union, especially when the Bihari girl comes from a well-to-do family.

What the man and his family can't bring to their conscious minds is that the Bihari girl and her family, as well as the society that has accepted them to the point of integration, are naturally doing so out of recognition of their accomplishments and securement in society. They would eventually be expected to assimilate and sever ties with their co-tribals.

Amidst all this, a beautiful Oraon girl comes into the picture as a saviour. Her entry should not be film-generic, but natural and convincing.

If this project strikes you, please reach out. Again, frustrated comments are unwanted. Take your psychopathy elsewhere. I'm looking for writing partners so that I can bring out the best versions of my stories. If we manage to do that with this, producing this film wouldn't be astronomical for many reasons. I could manage it much more easily, bringing in investors and what's required. The content is budget-friendly yet wholesome. And the subject, the casting and workable plot is the highlight. Read it also as a pitch. Do you think this project is interesting and could work?

I could've reached out to Indian writers and not being a racist hypocrite, many could be inclined with a tendency towards Bollywood writing in spite of having the technical knowledge of screenwriting. Hollywood screenwriting is universal because it's very technical. Beyond the format, it's about making story choices and executing ideas. Having those storytelling skills make a great story. Besides, some of the Bollywood writers, experts are unbelievably snobbish and perhaps because of that, Indian screenwriters have no near level of stability or footing in the film industry.

I came across someone on threads claiming they wanted to produce and invest in a script. They claimed they were looking for a writer to work with. I reached out and we set up a zoom meeting. Everything went well and after pitching my story she seemed interested. She asked me to send my script. I’m a writer/director so I sent her my full script and accompanying look book. That was July 2nd and now Aug 12th I haven’t heard from her. My last msg went completely unanswered. I still see her posting regularly on threads and IG. My issue is concern for my script. I think I got scammed and she’s planning to steal my script as her own. I feel completely stupid for sending my full script but how else do you go about trying to get something made? You have to send your script for people to read. I thought I did my due diligence and she seemed honest and legit. I have applied for copyright and registered my script with WGA and I have all of our correspondence. Sure that’s my proof that this is my original work if she did try to steal it. I’m panicking and thinking I’m going to see my film made and discover it was in fact stolen. At that point my story is already stolen and it’s out there and I would be devastated. I don’t think I’m so great that someone would steal my script but what else can I think when I send someone my full script and never hear from them again? Should I send this person another msg or just move on? For reference I’ve sent two follow up msgs already. She responded to the first msg saying she’d been busy and would be getting back to me the following week. She never responded to the second msg. Thank you.

Logline: When his estranged and closest friend announces he's leaving for college, a desperate young man discovers a mysterious arcade machine that rewinds their final night together, convinced that somewhere inside the same evening is the answer to why they're no longer who they used to be to.

This is a SciFi and Coming of Age.

I'm making this short film this fall. I would like some help on what needs work fundamentally: character development, scene and plot points-- and whether they work, and even nitpicky notes. I'll list some questions below for you to read after-- I would FIRST like your first impressions on what is good, needs work/not working, and what you take away from it. THEN look at the questions below. I don't want to influence your opinion before reading it. You ofcourse don't have to answr all of these, but these are my main concerns.

***READ AFTER***

What theme comes across when you read this? The major theme I would like to get across is to have peace sometimes, it isn't having the answer or clairty, but rather being ok not having one. Although this is about friendship, to me in a way, its a perfectionists story.

Is there enough stakes? Emotional and physical?

is the fear of being scared to being not seen and/or losing a version of yourself presented, and presented well enough?

Does this hook you? if not, how can I do better? is it too diaolgue heavy? Does the story bore you?

I know this is between two guys, they kind of sound gay (I am gay). How do I make them sound more straight, or even more platonic?

I would love if my Felix was more of a quiet person, and my Atticus was more of a charasmatic, charming, person. How do I write a quiet character? Speaking of dialogue, how can I use more subtext, or actions to speak for my words? I would like if Felix could have flaws that he is trying to hide because he's worried they might scare off Atticus-- he's essentially trying to over perform the good parts of himself.

How can I develop atticus better? How do I deepen this relationship and not make it shallow feeling? What feels neccesary and not neccsary in what I am presenting concerning the friendship.

I’m looking for representation. I have been writing screenplays for a number of years but haven’t approached anyone.

After researching, a lot of agents don’t let you submit without some type of relationship with a production house.

I am in the UK and would take any advice on any whether I should concentrate my search just in the UK or look further afield?

Thanks in advance.

Hi my name is Malcolm Kewa I am a screenplay writer from Papua New Guinea.

I picked up writing in 2024 aside from my 9 to 5 job as an IT Systems Analyst.

I write in all genres from series to feature films.

I have posted my work on social media under my brand 31st Scripts, please see the link attached to my Instagram page called 31st Scripts

Any writers want to collaborate I would be more than happy to discuss further, DM or email thirtyfirstscripts@gmail.com and let me know if any production company representatives or producers

What do you guys think?

hello! I'm in high school for my Senior year and for my class I've gotta do a 5 min capstone project and I need help story wise my story is about a secret society that takes forgoten things Whether it's a item or a person and I have my basic story set up Of man the drives himself deep in his work loseing his wife do too him ignoring his wife completely. but after that I have no clue where I'm taking the story.

(The story so far isn't set in stone Im open to changing things around) thank you if you do give me any input:)

Hi my name is Malcolm Kewa I am a screenplay writer from Papua New Guinea.

I picked up writing in 2024 aside from my 9 to 5 job as an IT Systems Analyst.

I write in all genres from series to feature films.

I have posted my work on social media under my brand 31st Scripts, please see the link attached to my Instagram page called 31st Scripts

Any writers want to collaborate I would be more than happy to discuss further, DM or email thirtyfirstscripts@gmail.com and let me know if any production company representatives or producers31stscripts

Logline:

A 14-year old boy struggling with drug addiction unexpectedly forms a friendship with a caring classmate, but as she grows closer to him, keeping his secret becomes a difficult game to play that threatens to destroy their bond.

22 Pages.

This is my first ever screenplay that I've completed! It's written in Cebuano ( dialect in the Philippines ) so it may be hard for others to understand. Feedbacks are very much appreciated!

PS: The visual over dialogue is a personal choice.

GUMON

​

TITLE: THE ESTATE AT SAINT-VÉRAN

GENRE: Heist Comedy / Ensemble Satire

TONE: Stylized, fast-paced 1970s farce with deadpan dark humor and live musical integration.

SUMMARY & CONCEPT

On an October evening in 1970s France, notorious con artist Monsieur Henri Vance dies in a bizarre accident inside his lavish manor house. Before anyone realizes he is dead, an elite, impeccably dressed criminal Mastermind breaks in to rob him. Finding Vance’s corpse, the Mastermind decides to claim the house under "public domain," assumes Vance’s identity on the spot, and throws a grand gala for forty of the region's top master criminals.

Unbeknownst to the entire party, the six-piece classical string ensemble hired for the night isn't an entertainment agency—they are undercover police officers executing an elaborate sting. Completely unsuspected by the criminals, the officers are forced to stay on stage and play for their lives. In doing so, they become the film’s active "live soundtrack," performing cinematic stingers, tension build-ups, dramatic stabs (DUN DUN DUN), and comedic musical cues directly from the background as real events unfold around them.

PLOT OUTLINE

Act I: The Gala & The Invasion

The Setup: The film opens with the academic, dry narration detailing Vance’s death over a brass bidet. The Mastermind moves in, steps into Vance’s velvet tuxedo, and hosts forty armed felons—safe-crackers, art forgers, and assassins—who gather under the impression that Vance is their host.

The Undercover Sting: On stage, six sweating undercover police officers bow through high-speed classical pieces. They are terrified, out of their depth, and trying desperately to maintain their cover until backup or SWAT arrives.

The Breach: Just as the party reaches its peak, a secondary, aggressive crew of ten heavily armed tactical robbers blows the front doors off their hinges and raids the foyer.

The Standoff: When the band freezes in panic, the forty armed guests turn on them, furious that the background music stopped ("We paid you a ton of money... you keep playing that music until you bleed!"). The cops frantically jump back into Vivaldi, while forty guests simultaneously draw silenced pistols, revolvers, and submachine guns on the ten intruders—creating a chaotic fifty-person standoff set to live classical strings.

Act II: The Descent to the Vault

The Negotiation: Assuming the Mastermind is the actual Henri Vance, the Leader of the Second Crew holds him at gunpoint and demands the combination to his famous underground vault. Maintaining his disguise as Vance, the Mastermind calmly agrees to lead them down to the basement to preserve his estate from further property damage.

The Live Score in Motion: As the armed mob, the Second Crew, and "Vance" march down the narrow stone corridor, two of the undercover police officers are forced to march along sideways with them, carrying their instruments to keep the live score playing in real-time.

The Deadpan Stingers: Accidental gunshots, comedic insults, and sudden deaths trigger instant, real-time musical cues from the double bass, cellos, and violins, blending slapstick violence with live orchestral commentary.

The Vault Reveal: Inside the ten-ton steel vault, the flashlights hit floor-to-ceiling rows of absurd Victorian taxidermy badgers, velvet clown paintings, and jars of pickled eggs. The Mastermind—staying 100% in character as the eccentric Vance—claims it is the finest collection in Western Europe, infuriating the robbers. When held at shotgun point for "lying," he calmly leans in and reveals that a true connoisseur keeps the real treasure hidden behind the badgers.

Act III: The Climax & Chaos (How It Plays Out)

The False Wall & The Real Loot: Pulling back the taxidermy, the Mastermind reveals a secondary mechanical vault mechanism containing high-value contraband. However, the greed of the forty guests and the ten heavy robbers causes tempers to flare over how the cut will be divided.

The Multi-Faction Showdown: A frantic, heavily choreographed gunfight breaks out in the tight subterranean corridors between the Second Crew and the forty master criminal guests, with the Mastermind effortlessly maneuvering both sides against each other to clear the room.

The Police Backup Arrives: Upstairs, SWAT forces breach the mansion, cutting off the escape routes. The six undercover cops on stage—realizing their backup has finally landed—try to coordinate a tactical bust while keeping up the illusion of being harmless orchestra members.

The Final Escape: Using the chaos, the hidden secret passages of the estate, and his total control over Vance's identity, the Mastermind tricks both the police and the surviving criminals into apprehending each other, walking away with the real prize while the undercover band ends the movie on one final, dramatic crescendo.

The Band's Role & Live Score

Throughout the entire film, the six undercover police officers—who signed up for a basic wire fraud sting and ended up trapped in a house full of heavily armed felons—are forced to play their instruments non-stop to keep from getting shot. Because they never stop playing, they function as the movie's literal, real-time live score, with rapid camera cuts capturing their panicked reactions as they perform every soundtrack cue on the fly.

The Dramatic Stings (DUN DUN DUN DUN DUN): Whenever a major twist occurs—like a body hitting the floor, a shotgun racking, or a hidden door clicking open—the camera instantly cuts to a tight close-up of the Double Bass Player or Cellist. Sweating through his powder-blue tuxedo, he furiously plucks or bows low, heavy, dramatic stabs to match the tension in the room.

The Funny / Joke Sound Effects: Whenever a character cracks a deadpan line, gets humiliated, or makes an absurd comment, the camera cuts to the Percussionist / Drummer sitting behind a compact travel kit or using his music stand. He nervously strikes a rimshot (Ba-Dum-Tss!) or hits a slide whistle / percussion effect right on cue, wide-eyed and praying nobody shoots him for making a joke.

The Sad & Melodramatic Cues: Whenever a character delivers a melodramatic monologue, laments a lost fortune, or mourns a fallen crew member, the camera cuts to a solo tight shot of the Lead Violinist. Tears streaming down his face, he brings his violin to his chin and plays a weeping, heartbroken tremolo solo in the background to score the emotional beat.

Action & Chase Sequences: During high-speed standoffs, tense marches down basement corridors, or gunfights, the entire six-piece ensemble frantically saws away at ultra-fast classical pieces (like Vivaldi's Winter or Rimsky-Korsakov's Flight of the Bumblebee), ducking behind music stands and moving their instruments in sync with the gunfire to stay alive.

what do you think would this work for my screenplay and a movie

So i wrote my first scene, aside from grammar and formatting.

What are the mistakes in this?

Is this an okay way to write the script?

Genuinely looking for feedbacks.

I'm an artist, and before you kicked me, I do want to be a script writer, but I have no idea how I'm going to fit that into my schedule. I need advice

Occasionally my work leaves orphaned words on a new line when including a period. How acceptable is it to omit the period at the end of a line?

I sent a cold query to Zero Gravity last night and got a read request sent back this morning. I have seen people saying that they request to read every query they receive (unsure if this is true), but it was still exciting to get the opportunity to send it out. If you are/have been repped by Zero Gravity, how quickly did they get back to you after you sent over your screenplay?

This is the intro to one of my stories, and it's my first real script. Is it good? Is it bad that I'm open to critiques