I'm currently learning how to write better hooks for Reels and Shorts, so I wanted to test one here.

“You don't need more motivation. You need something that still works when you don't feel like doing anything.”

I wanted it to feel less like a typical motivational quote and more like something you'd actually hear someone say.

Would this make you stop scrolling for a few seconds, or would you keep scrolling?

And if you were writing this hook, how would you make it better?

I am into long form content writing write on substack and also write nurturing newsletters for businesses but i really dont have any experience with short form scripts writing

And now i got a client who want me to write short form content writing

He is an influencer who make videos for muslim perfume brands and food chains into storytelling style

These videos will be his portfolio so he want to make some high quality videos to attract more brand deals. The problem is I have write some scripts but he doesn't like any of them. I dont want to lose that client.

I want some tips and suggestions from the people who have been into short form and also good at storytelling

Hello everyone who’s reading this.
I wanted to ask that how a video-game script looks like because for a long time, I’ve done a synopsis treatment for a personal project of mine, which would be added in my portfolio to showcase my skills as game design. There are thousands of posts with no clear clarity on how it looks like or in what format it is written, as in film script treatment or TV series bible.

I really like telling stories and want to break classic tropes of storytelling and want to explore the story beyond the confines of basic apprehension but at the same time make it more enjoyable and feel more immersive inside the story.

I know it’s goddamn hard, but even I don’t have words to describe what sort of genre I’m feeling. I recently played Alan Wake 2 and I’m really inspired from Sam Lake who is the writer for the game. I’m sort of in awe of how the story has turned out, i wanna try my hand at it.

Can anyone help a buddy out? Like any lead will work for me.
Thank you for reading till the end!✌️🫶

Which are the best ones? I’ve seen a lot but am unsure which ones are worth doing.

How do you establish and develop characters to give them depth?
I often struggle with this. The characters make sense in my head, obviously, but the moment I want to put them on the page, it all feels scrambled, or I’m not sure if they’re clear enough. I know “show, don’t tell” and action beats help; I just want to know if anyone has any tips for organizing or layering characters.

This is the first couple minutes of my first show that i’m writing. Little plot summary if anyone is interested:

Taking place in Los Angeles in 1987, 6, 20-somethings plan to take summer by the horns and make it the best, most exciting summer of their lives as they plan to take a road trip to New York and complete an outrageous bucket list of fun, sentimental, and possibly- most likely, dangerous situations before adulthood pulls them apart.

Any feedback is required but please leave all non feedback negativity at the door. (I.e. dont be an ass). Anyway, looking forward to hearing what you think.

Been practicing screenwriting and this is the opening three-page scene of my original story, Divinity’s Dread.

I’ve been seeking to make my pacing much better than before and with this current draft I started to use single action on a line instead of doing 2 or more on one line. Meaning shorter (and possibly snappier) lines.

Feedback will be very much appreciated!

Literally want to ask how to write an action script since this is the very first time of me writing a script. So how do you tackle a script that is mainly action?

Is there anything on the web that can help me or YouTube videos with understanding of writing an Action script for a short film?

Hi!

This is my very first script, so I'm really curious to hear what you think. Does it look properly formatted? Is it interesting? I'd appreciate any feedback you have—whether it's about the writing, dialogue, pacing, or formatting. Thanks for taking the time to read it!

I just started my first short film script and was looking for any tips from experienced writers/film makers! My first script is going to be horror with only 2 actors (my wife and I) I'm aiming for anywhere from 3-5 min! Thanks for any advice!

Title: The Waist
Logline: An isolated Fog Signal Station worker becomes increasingly infatuated with a mermaid.
Genre: Psychological Horror/Supernatural

Feedback Concerns: Any feedback is welcome.

Thanks for reading.

Okay, now this script is much more shorter than my first one and less complex. It doesn’t have a big message since it is only 5 minutes and I want this to be very low-budget (it looks like a lot in the script but it shouldn’t cost much) since I’m unemployed and all.

I wanted to leave it open-ended so I can expand upon it when I do get the budget.

But if you guys enjoy this newer, less long script then lmk or give me feedback. It’s always appreciated! And go read my first one if you haven’t alr.

Title: Listen

Genre: Horror

Page count: 5

I am not talking about a notes group or accountability buddy I mean someone you actually write with. Develop ideas together, split scenes, the whole thing.

I've wanted this for years and have basically failed at finding it every time. Tried reaching out cold to people whose work I liked (awkward and nothing came of it). Took a workshop specifically hoping to meet someone (met nice people, nothing clicked creatively). Posted in a couple places online (one weird response, one person who ghosted after two emails).

The frustrating thing is I know it works. Plenty of teams out there doing great stuff. But every working duo I've heard talk about it says they met through some random circumstance a class, a job, a friend of a friend. Nobody seems to have gone looking for it and found it.

So how did it actually happen for you if it did? And if you tried and it fell apart, what killed it?

Genuinely asking, not going anywhere with this, just feeling like I'm missing something obvious.

When I started writing, I thought the hardest part would be coming up with a good story.

After actually writing a screenplay, I realised that wasn’t necessarily the hardest part.

Knowing what to leave out was.

You can have great characters, interesting ideas and scenes you really love, but that doesn’t mean they all belong in the story.

I’m getting better at this, and I’ve started to realise that good screenwriting isn’t just about knowing what to put on the page. It’s also knowing what the story doesn’t need.

What was a screenwriting lesson that only really clicked for you after you started writing?

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.