Hello ya’ll!

I’ve taken notes I received from some lovely people in this sub (thank ya’ll 🙌🏽), and have worked them into my feature over the past 20-ish days.

For anyone who wants to take a look, I’d appreciate any and all feedback, especially regarding these areas:

Pacing

If the first 10-15 pages hooks the reader enough to keep reading

Dialogue

The authenticity of the women characters

Thank you in advance!

TITLE: Vile Thing

GENRE: Drama, Psychological Horror

LOGLINE: A young photographer's life and sanity unravels when his presumed-dead mother returns, forcing him to reunite with his estranged father and discover his family's horrific secrets.

PAGE COUNT: 95

LINK: https://drive.google.com/file/d/1VylIhmhYJ0ocVFjYUPTtm1olIusYNNc5

For those that find this.

I'm a person who has frequently searched for a truly free screenwriting program. In that time I've often found myself wishing Trelby was easier to install or use on Mac and Windows. Since September 2024 Trelby has been getting some love and a Mac version is available. However it's a bit cumbersome to install and use if you're not accustomed to running commands in the terminal. Because of that I've taken the day to figure out how to build from the source code and create a version for Mac. Not just that but an application version.

Trelby 2.4.14 Mac Application

Here's the github repo of my fork from the latest branch of the official Trelby repo.

https://github.com/Dave-and-Isaac/trelby

this should make it easier to follow the direct readme and build yourself on a Mac, or just use the pre-built application.

Thanks for reading.

A while back I was looking up writing programs from scripts. I ran into Scriptation program, I found its not a screenplay program. Its a script breakdown software. But there add for the program feature images added to the script for description.

So my question is this. Can you add image references in scripts to give the reader a better understanding, and is this a method screen play writers do today?

I host an up and coming Film and Tv podcast called The Fandom Portals Podcast, where we discuss movies that help us learn and grow. With an interest in screenwriting but no experience I’d love to have some Screen Writers in the show as a guest.

Each episode we choose a movie to explore. We discuss its technical impact and then dive into the film theory aspect of the piece with a focus on how it has/can impact its audience.

Along with this I would love to discuss your upcoming projects, experiences and unique screenwriting take on some well known movies. Feel free to DM or reply to this if interested 😊

Hello,

I just started a film class, my professor is a bit all over the place and easily misunderstands my questions lol.

So we were given a final project to do short story adaptations. Found my source material and it’s something important for my cultural identity written about 20 years ago.

Presently the problems discussed then have taken a narrative of their own now. I’m having trouble with formatting it.

I have a premise on it, but I want the conflict to be time. As in the current time period and the current generation in him family conflicting with his own beliefs and comforts. As this is how I’m testing my character to confront his mistakes.

However I’m at max, 12 pages, lol and there’s so much I want to pack and I can toss a few scenes however they’re part of the source material and I’m just curious is there a percentage of the story that needs to be included to be considered an adaptation?

I'm a writer with a background in filmmaking and I'm focusing on writing screenplays more. I'm trying to read more scripts for ideas on style and such. My question is, do conventions and norms change a lot from decade to decade? Should I focus on reading stuff from the last several years to familiarize myself with current trends? Is there a reason to read far older scripts outside of personal enjoyment?

Hey writers - not sure where this one will go yet, but, just finished a pilot! YAY. Apparently, that's all I'm getting this time. Trying to figure out what stole the usual joy & jubilation.

We typically work in a vacuum, so this forum has been a real nice distraction during breaks - one that keeps my head at least adjacent to the game. While not my first script It is the first pilot, and this one is just landing so weird.

Unfamiliar format - sure, fear of rejection - yup, Trump purging the FBI - DEAR GOD... so much FUD weighing me down - but it's not just me. I don't know about your individual process, but mine requires opening the floodgates of empathy and tuning directly into the collective consciousness, and it hurts, bad.

Depression - maybe, probably? Does that even matter? We self create our jobs as writers - I did. The primary tool to get my job done is kicking my ass. I got it! Damn, thanks for letting me work through this in public. I just lost my best distraction.

Enjoy the journey - that's where you grow.

I envy writers of the 20th century who could write plots that would actually challenge characters to use critical thinking versus relying on technology. And I feel like today’s audiences are so quick to question why characters don’t just rely on technology to solve their plot problems, versus a strong, second act that shows a character Solving something from within.

I hate writing period pieces because of the investment necessary to paint every scene to represent that time.. The dialogue, set pieces, and accuracy just take up so much time.

Anyway, what are your thoughts?

I am writing a screenplay and it's kind of found footage, how would i say that as a note:

*NOTE* - Everything form this point on will be in VHS quality and be in 4:3 aspect ratio.

or

(NOTE - - Everything form this point on will be in VHS quality and be in 4:3 aspect ratio.)?

Hello everyone.

I find script coverage to be one of my favorite exercises, as it works twofold. I read more scripts and get better at analyzing the symptoms of strengths or weaknesses in scripts.

I mostly write coverage through CoverflyX and have only received perfect ratings on over ten reads. I also interned as a coverage reader after college.

I am wondering if anyone here has experience reading for a coverage service or festival, and if so, how they began that career?

Thank you in advance.

Homepage of WeScreenplay says they are ending their coverage services as of 1/31/25.

Anybody know what that’s about? Going out of business? It’s too bad. I felt they gave the most bang for the buck.

I just finished my screenplay Offbeat Dreams, a story about authenticity vs. selling out, and I’d love your brutally honest feedback.

LOGLINE:
A disillusioned tech worker moonlights as a rapper to escape his soul-crushing corporate job, but when a shot at fame forces him to choose between his art and his girlfriend’s “adulting” timeline, he discovers the music industry might be just another cage.

THEMES:

• The cost of creativity in a profit-driven world
• Millennial burnout and the myth of “selling out”
• Toxic relationships (romantic, corporate, and artistic)

WHY I’M SHARING:

• No industry connections: This script is my love letter to anyone grinding for a dream while paying rent.
• Music-driven narrative: The story blends rap performances, satire, and workplace absurdity. Think 8 Mile meets Office Space with a dash of Fight Club nihilism.
• Feedback needs:
• Does Sam’s arc feel earned? Is the satire too cynical, or does it balance humor/heart? Would the music scenes translate to screen?

SCRIPT LINK: https://drive.google.com/file/d/14e1p3odjpne2gODhu2yQO8zKi2DVyNAw/view?usp=sharing

SPECIFIC QUESTIONS:

1. The third act pivots hard into music-industry satire. Does it work, or does it feel tonally jarring?
2. Kieffer (the stoner DJ) walks a line between comic relief and emotional anchor. Does he land?
3. Is the corporate jargon (TPS reports, SEM campaigns) relatable or alienating?

BONUS: If you’ve ever worked a dead-end job while chasing a creative side hustle, I’d love to hear how you balanced it.

Thanks in advance—roast me, hype me, or just tell me to quit while I’m ahead.

Working on my first draft of a feature and approaching the end. I know what happens in the third act but I don't know the very end -- like the last scene. This becomes a bigger problem the more I think about it, especially since so many movies I admire (and even those I don't) knew exactly how to end.

I don't see this particular thing asked about a lot on here so I'm wondering, anyone have advice on endings?

Or do others write exactly what the movie they want to see as well?

And how does one balance the two?

I'm trying to improve my dialogue writing so I'm hoping y'all could recommend me some scripts y'all have read that have really stellar dialoguem

Hi screenwriters, I’m Brent Forrester, TV writer, producer, and director. For 30 seasons I’ve worked on shows like The Simpsons, King of the Hill, The Office, Space Force, Upload, Love on Netflix, and more.

I’m also currently out there pitching a show, so feel free to ask me anything about TV writing, comedy, breaking in, pitching, the state of the industry, or anything else.

I'll be here at 10 AM PST to start answering!

considering attending the Socapa screenwriting camp considering it's more reasonably priced compared to other options like USC and NYU. is the money worth it?

Title: eSkip

Format: Short

Page Length: 12

Genres: Sci-fi/horror

Logline: An app allows you to skip three life obstacles. Narendra has already used two of his skips, and now, with his brother's death, wonders whether to use his third and final one.

Feedback Concerns: TIA to all those who can take time out to help my noob self. Despite this being a sci-fi short, the story is deeply rooted in real-world India and I’d love to know if it has any global appeal at all. So please be brutally honest. Any and all criticism is welcome.

- What do you think of the premise? Is it 'new' or have you read too many like it?

- What do you think of the narrative style?

- Would you consider the script a little 'too' experiemntal?

- Does the ending feel abrupt?

- Do you have any suggestions for improvement?

- The theme is >!"The opposite of sadness isn't joy, but numbness."!< Does this come through in the script? Should I emphasize it more in the logline?

LINK: https://drive.google.com/file/d/14AqLQEuK4GW6-Z8K1ptY90mkQzzr-2hi/view?usp=sharing

Just wondering on the off chance, as apparently it might be available in Milch's Yale collection but I have no idea how to get access to that. I only know some things.

I was thinking about how the trope of, ‘it was all a dream’ is generally a really bad idea.

But then I thought Wizard of Oz had that ending and it’s still really good. I was wondering if there are any other films that actually pull this off? Or was Oz is unique in this.

Would love some feedback on the first 20 pages of my first screenplay. I still haven't completed the script, since the idea is still quite fresh in my head.

SCI-FI/THRILLER/DRAMA

Logline : A small-town cop investigates a mysterious lab outbreak, uncovering deep secrets about his quiet town—and himself.

https://drive.google.com/file/d/1EhI0PNKZUG36mB4JKp3XuKf084ugJD91/view?usp=drivesdk

I know most artists hate AI—at least, that’s what it feels like. But I didn’t have a choice.

Last year, I reconnected with a high school friend and found out he was making 3D animations. That got me thinking—we could collaborate. I took a feature-length story world I had already written and pulled a short story from it. Before I even started writing the script, I told him he’d be animating it. He agreed.

Then life happened. By the time I finished the screenplay, he told me he didn’t have a computer to animate it.

So I thought, okay, maybe I can turn this into a comic instead. I reached out to comic artists, but their rates were way out of my budget. I'm from Nigeria and I'm not particularly financially gallant.

At that point, I just said, fuck it. I’ll use AI to visualize parts of the story. As long as people enjoy it, I’ll be fulfilled. I think.

It would’ve definitely been more fulfilling if it had gotten animated.

Please let me know what you think about the screenplay and how I can improve my screenwriting. The screenplay itself is just 10 pages.

https://docs.google.com/document/d/14q_1GuL_QkgPfqZLkUgVn_6G4q96G8yw/edit?usp=drivesdk&ouid=105005880726644869526&rtpof=true&sd=true

I just finished watching the first episode of Yellowstone, and aside from other thoughts I had about it, I realized it highlighted my personal blind spots.

A script I've been working off and on for a few years could definitely benefit from the MC having a sibling. But because I'm an only child and don't fully understand or default to that kind of relationship, it doesn't come naturally in my creation.

I'm also not a mother, so I don't fully understand what it's like to have children. Again, by default it doesn't come to mind when building characters and stories because it's not in my inner knowledge.

That's not to say I don't or can't write about things in my blind spots, but I find it interesting to examine. These are just two examples of course. I don't know what it's like to be an ethnic minority, a refugee, a 7 foot tall man... lots of things aren't first hand knowledge. But I think the more I'm aware of these defaults of mine, the better writer I'll become.

Have you ever experienced the same awareness?

Would love to know if anyone starts to hear about the second round!

FAQ: How to post to a weekly thread?

Feedback Guide for New Writers

Post your script swap requests here!

NOTE: Please refrain from upvoting or downvoting — just respond to scripts you’d like to exchange or read.

How to Swap

If you want to offer your script for a swap, post a top comment with the following details:

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• Feedback Concerns:

Example:

Title: Oscar Bait

We recommend you to save your script link for DMs. Public links may generate unsolicited feedback, so do so at your own risk.

If you want to read someone’s script, let them know by replying to their post with your script information. Avoid sending DMs until both parties have publicly agreed to swap.

Please note that posting here neither ensures that someone will read your script, nor entitle you to read others'. Sending unsolicited DMs will carries the same consequences as sending spam.

Many writers don't bother shooting high but I think it's a real missed opportunity.

Small producers just don't have the bandwidth or resources to help most writers sending cold emails. They're operating on thin margins and tight slates. But here's the thing - bigger companies can actually afford to take chances, and even if the big producer passes, they might send it to their rising executive who's hungry for material.

I've got two real life examples of this:

When I needed distribution for a feature I was producing, I literally just cold-emailed 200 distributors on IMDBPRO. Only 20 replied, 15 said no, 5 were interested. But....it was the biggest distributor of all 200 who took it.

2nd example. I was looking to get my script into development with a prodco. Emailed nearly 100. Got 10 read requests. 2 from renowned producers. The reads are still in play but many smaller producers didn't reply or flat out said they can't.

I know of writers who have got signed at reputable places off cold emails too.

It makes sense when you think about it. Big companies / producers have the resources and slate space to take risks. They're not sweating the frontend and backend costs that would keep someone smaller up at night.

They have the infrastructure to actually do something with your material. Smaller producers are more likely to sniff around their immediate circle because that's all they can handle.

Just an observation

I'm wrapping up with school, finishing out my undergraduate degree in Cinema Studies. I'm graduating with honors, and a senior thesis, but it seems almost impossible to find a job. I'm in a middle of nowhere town in Oregon, but I am so willing to relocate, but honestly that doesn't even matter. No one at my school, no career advisor, even the professors, have no resources for looking for jobs that lead into writing positions. Everyone just keeps suggesting going into editing or camera/lighting work, but I have a physical limitation that makes those impractical, or even impossible, for me to do.

I have a remote internship with a smaller production company completing coverages and script reading and research projects, but it still seems to not matter to places.

Can anyone suggest places to look at, people to reach out to? Everyone keeps telling me to look at fellowships, but then doesn't tell me where to look for those.

Anything that is suggested would be greatly appreciated!

I've written many a TV pilot over the years, but after thinking and making notes on the same feature idea for nearly four months, I finally decided to sit down and try to put it on the page. Three weeks and 98 pages later, here we are.

Anywho. Just needed a place to express a little joy for accomplishing what I set out to accomplish, which was to write a feature to completion, warts and all. For now, I'm gonna bask in this small victory. Happy writing, y'all!

I've rewritten it over and over and over again. But every single time, it just doesn't seem right, you know, that feeling where you just go, "THIS is perfect." Even if essentially, of course, it can never be truly perfect. It will still feel like the story is being portrayed right. And for some odd reason, I can't seem to get that right now. The story just doesn't fall into place and doesn't align with the rest of the segments. How do I not give up on writing this?

Hi all! I’ve had my dark comedy/thriller feature SOUTHERN GOTHICK up on blcklst for a few months, and in that time have recieved three 8s, a handful of 7s, a couple 6’s, and a 5.

I thought it would be interesting to share what an 8 and 5 eval look like on the same script (same draft as well).

My logline: An ex preacher and ex pornstar form an unlikely bond when terrorized by a small town criminal who believes himself to be the messiah.

EVAL #1

Overall 5 Premise 5 Plot 4 Character 7 Dialogue 6 Setting 5

Pages 109

Logline: A Pentecostal minister-turned-ex-con is roped back into a life of crime by an old connection, but when his actions put a new friend in danger, he must decide between running from his own sins and doing the right thing.

Strengths Quirky, funny, and surprisingly sweet, this dark comedy deftly blends drama and humor in a story that is absolutely off-the-walls while remaining true to its redemptive thematic core. The premise is familiar enough to feel accessible -- we've seen plenty of movies about folks forced back into crime while trying to stay straight -- but the originality in the characters and the writer's own voice help it feel fresh and new. The dialogue feels natural, is loaded with plenty of jokes, and imbues the characters with distinct, compelling voices. Teo is a great protagonist -- likable and sympathetic, but rife with flaws and contradictions that lend him depth and give him room to grow and arc. And the cast of characters that surround him are so unique, eccentric, and entertaining, everyone from our second lead Robin to minor characters like Don imbued with rich specificity and detail. It's so interesting to see how even in a comedy this broad, the writer manages to use these characters to have a grounded, powerful conversation about religion, hypocrisy, and redemption. And the ending expresses the thesis of that conversation wonderfully, giving us a sense of catharsis without feeling too neat and tidy.

Weaknesses Structurally, it takes too long for the story to get going in earnest in this draft, primarily because our protagonist Teo doesn't feel active enough. He wants redemption and forgiveness for his sins, but in execution, he doesn't have a clear, external, active way of achieving that in the narrative right now. He's beholden to Mondo's whims, letting the antagonist move the story rather than driving it himself with his own choices and actions. His first truly active choice doesn't come until he decides to wrest free from Mondo's influence by visiting Japheth on page 74, which feels like too long for the audience to wait and leaves the first half of the film feeling a bit too episodic, without the kind of escalation we're looking for. There are also a few moments that feel a little too incongruous tonally, particularly surrounding Mondo. He's a true villain, of course, but some of his behavior feels too dark for the comedic tone, dark as it is (the crucifixion of Leanard and his attempted rape of Robin stand out as a bit too upsetting in a way that takes us out of the story). Lastly, the setting feels a little underutilized here, without much to really emphasize the southern gothic feel that audiences will expect from the title.

EVAL #2

Overall 8 Premise 8 Plot 8 Character 8 Dialogue 8 Setting 9

Pages: 109

Logline: An ex-pastor teams up with a quirky barista when they're caught in the web of a dangerously unhinged small-town criminal.

Strengths With a fresh narrative voice, SOUTHERN GOTHICK tells a riveting and original tale filled with memorable characters, vivid settings, and interesting twists and turns throughout the plot. There is so much to praise about this script. The settings are highly visual and eloquently described, but it's the little details that make them really pop. All-encompassing country darkness, Robin's colorful tornado of a room, a red puddle beneath a telephone pole... there are countless examples of how this script excels at painting strong cinematic pictures. Characterization is a major strength as well. Teo and Robin are phenomenal characters, each with clear motivations and distinct voices. The choice not to take their relationship in a romantic direction is a wonderful one that sets this script apart. Mondo is introduced with such gravitas on page 7 that readers basically fear him before they truly know him. His dialogue, like that of basically every character, absolutely leaps off the page. The toaster callback is a stroke of genius, and the puppet through-line is strange in the best way. Overall, this script is a delightful read.

Weaknesses There isn't much that doesn't already work well in this script. The revisions that could be made are relatively minor, but there are a few changes that could strengthen this script even more. Officer Calvin Cop feels a bit less distinct and developed than some of the other characters in the piece. While this might be intentional, finding little ways to make him stand out more, even if they're small, could be beneficial and make him feel less convenient to the plot. Ernest Elnore's death also feels a little too conveniently timed. to land the way it should. Lastly, there are also some minor spelling and grammar errors scattered throughout the script. They don't take away from the general impressiveness of the project, but they could take away from the professionalism of it. Another close proofing pass wouldn't hurt.

Prospects The sheer uniqueness of this script makes it difficult to point to specific comparisons. It has elements of THE DEVIL ALL THE TIME, MANDY, PREACHER, and even IN BRUGES. The writer's plan to direct may (just realistically) make the path to production a trickier one, even with the low budget potential, but with a script this phenomenal, it shouldn't be impossible. Securing funding and/or producing attachments from big names could help move the project in the right direction. Joel and Ethan Coen's work feels like the right direction as well, and Boots Riley might be another name to look to for producing help/funding. Attaching name actors could always move the needle as well. With writing like this, if the writer can get this script on the desks of relevant actors, there's a good chance they'll connect with the material. One thing is clear, this script is the work of a distinct and exciting voice.

This is my favorite project I’ve written and it’s been an absolute delight (and quite frankly a surprise) to see others connect to it the way some do.

I’m currently shopping the script around, seeking representation, producers, and attachments. If anyone would like to read, please DM me!