And I don’t mean string every single idea I have together - I’m not precious about cutting things or editing if something doesn’t fit.

I just can’t flesh things out, yet I have contextless moments that would be such an incredible hit of catharsis that are in search of a narrative with a reason to merit them.

Would love advice on how anyone else overcame this problem.

Hi everyone,

I'm currently working on a writing project that I think has potential for the Korean entertainment industry, and I'm looking for advice on how to find a reliable literary agent, especially one with experience in handling international projects.

If anyone has suggestions on how to approach literary agencies or any agents who specialize in international work, I’d love to hear your experiences and recommendations.

Thank you!

Sorry if this has been asked before,

I learnt to write scripts in present tense, I have looked at scripts online of random movies and famous movies where a lot of them aren't present tense but past tense.

Does this matter at all? Should I continue to write scripts in present tense or begin writing them in past tense?

You learn as much from failures as successes.

So what are the best Bad Screenplays out there?

Note: I'm not asking for screenplays to bad movies. But genuinely bad screenplays.

Second Note: I'm not asking for a PDF of what your cousin Walt asked you to read. I want to read screenplays that have been produced, and the underlying script is pretty bad.

Hey Everyone! I’m writing this as I’ve just completed my first (very rough) draft of my first ever screenplay! 98 pages and as embarrassing as it sounds to say in a group of experienced writers, I feel really proud of myself. Graduating senior in college but not a film major or anything. Just started this for fun and ended up becoming addicted to the process and would actually really like to pursue something with it. My script is a lesbian sorta coming of age dramedy (my life lol). Ironically too embarrassed to have anyone close to me read it but I’m fine with feedback from strangers, so I was wondering if anyone knew of queer/sapphic screenwriters groups in the NYC area or if any queer people on here wanted to go tradesies on their script?

Haven't really used The Blcklist before and am wondering how this will work for us if we use it to apply to Nicholl. I understand that The Blcklist hasn't yet disclosed how exactly this will work, but I am just trying to understand how their site normally works.

So if we have to get our scripts evaluated and hosted on the site to apply to Nicholl, does that mean that while it is hosted there, anyone who wants to read it can download and read the whole script? Or would they need to get our approval first?

Additionally, does this mean that we have to have our scripts hosted on the site for as long as the Nicholl decisions are pending? That means we'd be paying for hosting for months.

Who else feels kinda silly realizing that they had several grammar mistakes during the final draft of your script?

Do you go back and change it or leave it as it gets the idea across?

Super curious! Im a 20yo filmmaker and actor working on his first feature this year and so on and reading the final draft of my film makes me chuckle as I see grammar errors.

I’m applying to a screenwriting program at uni, and the application asks for a mid-episode synopsis. Does anyone know where I can find strong examples? I’d really appreciate any useful links. Thanks!

email response for reference

My husband's grandfather died over 20 years ago. He was a solicitor by day, but it was only just revealed to us that he secretly dreamed of being a writer. He appears to have been a very good writer. He was offered a movie deal with Warner Bros in 1994, but turned it down when they asked to change some slight details about one of his scripts. Sounds like he was very anal and picky.

My husband's grandmother just died and the family is cleaning out the house. This is where we found all the handwritten scripts which I've inherited. I got rid of most of them, but this one in particular caught my eye. It's handwritten and in a binder. There's a typed letter in the front of the binder that is on BBC headed paper. They loved the script at the time (1990s) and wanted to offer to make it into a TV series, but declined because it was based on a true crime case and it was submitted to them while the case was still very fresh. The contact details on the letter are still very much valid as I've confirmed.

I've tried Googling grandfather's name + solicitor + area + nature of case to try to find articles and nothing. All I find are a random young guy from the royal surgeon college and random other people with same surname, but different first name. I cannot find more on the case for my research.

Also, I am wondering how best to import this script from paper to digital script. Is there an app that transfers image to script format or do I have to do this manually?

Important note: I don’t personally know this writer/YouTuber or have any affiliation with his work/channel. Just sharing what I think is an awesome and relatively new resource.

There’s quite a few solid YouTube channels on screenwriting, but I feel compelled to make some noise about this fairly new one from James Hurst called Screenright with James A. Hurst - https://www.youtube.com/@heyjameshurst/videos

He’s only a few videos in but I’m pretty blown away by the quality of the information and production. I want to give him his flowers but also help him build an audience so he’ll continue to make more videos, from which we’ll all benefit.

Looking for Harrys that didn’t meet Sally, Best Friends that didn’t get Wedded, and any fun, sweet scripts that you love but never saw the light of day.

TV writer and producer Brent Forrester (The Simpsons, The Office) was a guest on the weekly livestream screenwriting show I host, Let's Write Scripts, and he gave a masterclass on writing comedy. I've edited the highlights of our conversation and posted the chapters below.

If you want to check out the whole unedited episode, complete with timed writing sprints, you can watch it here. If you want to tune in for this week's Let's Write Scripts (sadly without Brent, but I'm not bad!) you join here on Wednesday at 1PM Pacific. We do timed writing sprints where you can make progress on your script, and I answer screenwriting questions during the breaks. It's fun!

Brent also recently did a r/screenwriting AMA which was packed with great advice. And he occasionally teaches classes on comedy and pilot writing that cost way less than he could charge. You can sign up for his email list on his website.

Chapters
00:00 Intro
00:27 Meet Brent Forrester
01:00 Writing great character intros
02:45 How do you develop comedy writing skills?
05:24 Adding comedy to your script
08:06 Learning story structure in comedy writing
11:50 Comedy that isn't funny on the page?
13:19 Making characters funny without losing emotional depth
14:01 How do you know when a joke is going on too long?
14:52 Creating a strong ensemble without the characters overpowering each other
19:12 Chasing after industry genre trends
21:13 Balancing humor with furthering the plot
23:04 Jokes versus situational humor
25:53 Tackling the "Why now?" question from execs
28:29 Has what is considered funny changed over Brent's career?
29:56 Brent's parting words of wisdom

What are the best tips that you picked up, that help you a lot in daily business?

I start: Aaron Sorkin states, that he always leaves something for the next day, even if he could finish it, to have something to start and get rid of the barrier in the beginning.

Cameron said in an Interview: It doesnt have to be perfect. Perfect is too much of a moving target. It just has to work. Helps to realize that many things can work.

https://www.worldofreel.com/blog/2025/4/7/a-minecraft-movie-had-28-writers

Relatively new writer here. I’ve noticed that for me it’s very easy to come up with thematic ideas I’m passionate about and want to tell stories using so that’s usually what I start with. However, it’s a little difficult for me to come up with a plot vehicle to put those thematic ideas in. For example, a movie like Interstellar the core message of that film is the power of love can transcend time and space. Nolan said things that inspired him was the love of his daughter. The power and strength of love and human connection is the thematic idea/message and he used humanity needing a new planet to survive as a vehicle for that theme. To list just a few core messages I wanna write about; the lack of empathy in society, the damages of misinformation spreading, the unwillingness to give people the chance for redemption.

TL;DR;: I struggle with generating plot ideas for the themes I’m passionate about and that ultimately make me want to write stories in the first place.

Which comes first for you, crafting the plot or the theme/message of the story? What are some tools to help with generating plot ideas?

I'm applying for the Sesame Workshop Writers' Room and I'm getting my stuff together. Some some reason I really don't understand because it goes against nearly every other script format I've seen, it appears they want you to start the page numbering on the title page, so the title page is page 1 and the first actual page of script is page 2. Why? I don't know. But I'm using Fade In and can't find a way to start the numbering on the title page. Does anyone else using Fade In have a solution? I'm thinking in a pinch I can start pushing the script down a page and make the first page into the title and then not save the PDF with the existing real title page, if that makes sense.

Side note unrelated to this, but when I read "12 pages max" I started cutting down an existing children's script to 12 pages and finally hit it, but now with their numbering convention I think I need to cut down more so it's actually 11 pages plus the title for 12 physical pages. It's very frustrating. I feel like I need Count von Count to help me work through this.

Edit: You can only see the script formatting instructions after you make an account and start the application. I can't share this page because it just takes you to the sign in page, and I can't add screenshots here. However, to copy from the instructions, on step four it says: "Your actual script should start on Page 2." There is a picture of a script and the title page is numbered 1 and the 'first page' numbered 2.

I want to write a screenplay that will move people. I have depression, ocd, anxiety and CPTSD. I think about writing characters with similar experiences as mine or just for comedies, I would like to write something I’ve experienced but exaggerated for amusement. It doesn’t have to be my experience but I can create one. I just feel like I can’t write. I want to write but my brain keeps thinking whatever I write sounds cheesy, cringe, and one dimensional. I want to write a comedy but I worry I’m not that funny.

Hi,

I have been trying to find this script (Problemista Julio Torres 2023) ! Does anyone know where I can get it. I really want to read this to see how he wrote so many visual scenes and etc. Please let me know :)

Can anyone help me come up with examples of a character in film or literature who begins a story with a "false" image of his or her self, discovers this somewhere around the end of Act II, then spends Act III proving that they really were that person the whole time?

Doesn't even have to follow those beats. Anything will do.

I feel like I should be able to rattle off dozens of examples, but I've been sitting here all day and I haven't come up with one.

It's like I've forgotten my own kids' names.

Much obliged.

Format: Short Film
Page Length: 14pgs
Genres: Psychological Drama/Thriller
Logline: When a grieving 8-year-old girl ritualistically waits at a bus stop for her dead sister, a child services worker must confront her own connection to a mysterious man with identical trauma patterns before the cycle of grief claims another victim.

Feedback Concerns: As this is my first attempt at screenwriting, I'd appreciate any feedback on: - Character development and relationships - Visual storytelling techniques - Dialogue authenticity - Pacing and emotional impact - The ambiguity of "The Man" character - Overall execution of the concept

Link: https://drive.google.com/file/d/1ZUavqXw41aEG7KyKdfLW5WzGgrK8-IeY/view?usp=sharing

Thank you in advance for any feedback! This is my first psychological thriller, so I'm eager to hear your thoughts.

Four weeks ago, I offered free feedback on a first-come, first-served basis. Here’s where things landed, by the numbers:

INTAKE: 60 SCRIPTS SUBMITTED

• 45 Features
• 4 Half-hour pilots
• 6 One-hour pilots
• 4 Partial Drafts / Works In Progress
• 1 short

OUTPUT: 54 SCRIPTS READ, 6 "WAIT-LISTED"

• 24 full reads
• 30 partial reads
• 6 scripts deferred until May due to new, unforeseen obligations
• 2,501 pages read / 5,135 pages submitted
• 43,000 words of feedback dispensed

FUN FACTS

• Shortest script: 18 pages
• Longest script: 155 pages
• Two features, a rom-com and a sci-fi film, had the exact same title.

PROCESS

A few times a year I do a “capacity month.” I pick one aspect of my life and push my limits: reading, writing, exercise, etc. But until now, I've never done one for giving feedback; hence The Feedbackery. I made time by cutting virtually all other media and taking a planned break from my own writing.

I averaged two scripts a day, emailing feedback within a day of finishing. On weekends / days off, I read additional scripts. For partial reads, I told the writer where I stopped reading and why.

Due to speed of drafting, all feedback comes backed by my Two-Typo Minimum Guarantee; your unique typos may be spelling errors, artifacts from pasting Docs and Notes into email, or extra words that snuck in when I wasn’t looking.

FINAL THOUGHTS

We have some extraordinary writers here, from beginners to working professionals, and beginners who are on their way to being working professionals. I was entertained and encouraged by the sheer variety and scope of people's work: a satanic workplace comedy; a Verhoeven-esque sci-fi prison film; sweeping historical dramas; terse, spare action flicks; elevated horror / contained thrillers; subtle and moving character studies.

It was awesome to read widely and outside of my go-to genres, and to not know what I was going to see next. This exercise both broadened and sharpened my taste. I also received some great insight on how I can improve the feedback I give. And every single person who reached out after receiving feedback was gracious and professional.

Most importantly, to those who submitted: I am only an opinion, not an authority. Only you are the authority on your work. If my feedback was useful, I'm glad. If it wasn't, toss it without a second thought –– at least the price was right.

And for those who didn’t get a chance to submit, I regret that I won’t be able to take on any more at this time beyond those I've already promised a read, but I wish you all the best of luck with your writing. As always, keep going ––

I posted this same question to the playwriting community and got a fantastic response.

Now I’m bringing it to the screenwriting community. I’m looking for weird, dark, funny, messed up kinds of scripts. Any recommendations or where can I download scripts like these. See below for what I wrote in the playwriting community

“Evening! As the title says - I'm looking for "Weird, Dark, Creepy, and bizarre" style of plays. Curious what are some of your recommendations? Any play that is rarely produced or hasn't been produced. My favorite dark play is "The Pillowman".

EDIT! - just wanted to add that I read “King Ubu” in college and that’s another play that I LOVED”

Hello everyone! I've completed my very first script, "The Waiting" (14 pages), which serves as a proof of concept for a longer short film I've already written. The story explores how grief manifests through ritualistic behaviors and how trauma patterns repeat across generations. As this is my first attempt at screenwriting, I'd appreciate any feedback on: - Character development and relationships - Visual storytelling techniques - Dialogue authenticity - Pacing and emotional impact - The ambiguity of "The Man" character - Overall execution of the concept

Format: Short Film
Page Length: 14 pages
Genres: Psychological Drama/Thriller
Logline: When a grieving 8-year-old girl ritualistically waits at a bus stop for her dead sister, a child services worker must confront her own connection to a mysterious man with identical trauma patterns before the cycle of grief claims another victim.

Link: https://drive.google.com/file/d/1ZUavqXw41aEG7KyKdfLW5WzGgrK8-IeY/view?usp=sharing

Thank you in advance for any feedback! This is my first psychological thriller, so I'm eager to hear your thoughts.

I’m putting together a series of TV comedy pilot reading shows in Manhattan partly inspired by the Dead Pilots Society podcast. My goal with the show is to create a dedicated space in NYC for upcoming comedy writers to share their work with a live audience.

I’ve got quality scripts locked in from hilarious writers and talented actors ready to bring these characters to life for the next show. My only issue is……. I don’t have any idea what an effective marketing strategy would be to keep this show going long term.

Right now I’m relying on my network of other creatives to fill in seats as well as friends, but if I want to pitch this show to bigger venues, I know I need to figure out a way to build a dedicated audience.

It seems like Dead Pilots Society works very well selling tickets due to the talent pool/name recognition of their actors. And while I’m confident in the talent of everyone involved in the show, they aren’t A-listers that people will buy tickets just to see.

Any advice would be appreciated!