"describe what the audience sees" is a huge prompt that is always at the bottom of the script. It's infuriating me. I can't disable it as far as I know. Do any of you know how to disable this prompt or should i just dump Celtx? Been using it for years but this new hand holding is stupid and completely distracting.

I'm 15 years old and trying to get started, what's the biggest piece of advise you have for someone taking screenwriting seriously?

I've been kicking around the idea of writing for a long time, mostly as an outlet which turned into a passion as I learned more about myself. I'm on the pragmatic side, borderline indecisive, so I took my time to develop ideas before making any investment in the space. I'm not at a crossroads and am hoping to get some guidance from experts in the field (this is the complete opposite of what I do for a living). Final Draft 13 feels more comprehensive but I wonder if a lot of those bells and whistles are unnecessary for someone at my novice level. I read about Fade In and just don't want to go the cheaper route for the sake of cost. For someone who is so new, naive, and completely lost but with an idea, which would you recommend? I wouldn't think I'd need any production-related functionality but do value being able to 'grab-and-go' with a phone or tablet. Any help would be greatly appreciated!

How long do your reps take to read things these days? I sent a 32-page pilot 2 weeks ago and im still waiting on feedback. Should this be a cause for concern? I understand that this “contraction” probably makes people move slower but I’m definitely growing frustrated and impatient…

Just wondering if anyone had heard back from the National Lampoon #GirlzRule contest? They said winners would be notified end of April. I submitted a feature but still haven't heard anything.

I’ve been fortunate enough in my young career to work closely with a consistent set of collaborators. One collaborator in particular, a director that I’ve routinely developed and produced projects with since college, has been especially intertwined in my work. We come from theatre, and we bring with us a very theatre-vetted way of collaborating, which is to say that our contributions to each others processes are very fluid. I influence what ends up on the screen more than most writers might, and he has massive influence on the written page without actually taking control of it himself.

I recently received a strong score on the blacklist for a script that we developed together for quite some time. We were both thrilled by this, but it did open up the conversation regarding accreditation for projects that are not yet finished. He contributed in some significant ways to the script that I’m receiving praise for (including orchestrating and directing a staged reading for producers and collegeues a year ago), and he, understandably, wants to make sure that his presence on the project isn’t erased if the script ends up in someone else’s hands to produce or direct.

Is there protocol for these situations? Should his name be on the script in some way? We both agree that I am firmly the writer and owner of these scripts, but is there precedent for adding a “developed with” credit or something to that effect? “Consulting director”? I’m not wholly uncomfortable with sharing a “story by”, but that doesn’t feel entirely accurate here.

So I'm writing my first script and even on outlining process the story before and after midpoint were really differed. When I reached 100 pages I realized that that my story needs another ending which will be longer then I thought and will deviate from the story concept even more.

For reference it goes like this: begging - superhero like movie; middle - overthrowing oppressive government; Ending - overthrowing the new leader of the government as he is not as good as he seemed.

Is it ok for me to do so or not?

https://mailchi.mp/586ff71706d4/industry-101-screenplay-101-20299608?e=b309c364ad

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Screenplay 101: All the Basics

Wednesday, May 1 | 5-6:30 PM PT
It seems like everyone has written a screenplay. Or at least started one. Or has thought about starting one. But it's not as easy as opening up a text document and writing, "Scene 1: It is a bright and sunny day outside."
There are a handful of generally agreed-upon conventions and “rules” that screenwriters tend to abide by, but these might not always be clear to writers first starting out. What do "INT" and "EXT" mean? What is an "act?" What is a slug line and why does everyone argue about whether or not you're supposed to bold them? People keep talking about “rules” but what are the rules? And aren’t rules meant to be broken?
This panel will demystify the very basics of screenwriting, starting with the formatting of a screenplay and the best way to get started writing.

​

Ever since I was 17 I knew that’s what I loved doing the most (I used to want to be an actress but then I realized I love the creative process more). For me, writing scripts feels like a combination of therapy, journaling and playtime (if that makes sense). I get to use my own personal experiences to create these characters, scenarios, jokes and stories and it feels like a personal escape from everyday life like playtime as a kid. It’s become so special to me and I feel like most around me don’t understand my love for it, but that’s okay.

My question is: what is screenwriting to you guys?

My 20 Something Year Old 5th Grader is my idea for an animated adult comedy sitcom, in a similar vein to shows like Simpsons and Bob’s Burgers, as well as more surreal shows like Venture Bros. and Regular Show. The general premise of the show is that it revolves around a private detective in the small town of Oakville Canada, by the name of Frank McDowell. Whose life is turned upside down when he finds out he has a 20 year old son from a previous marriage named Jake McDowell, and to make matters worse, his son dropped out of school, In 5th grade and never bothered going back to finish. Wanting to avoid the embarrassment of having a son who never finished school, he forces him to go back to finish 5th grade and do all of 6th and 12th grade, and from there, comedic hijinks ensue.

As for the premise of the Pilot, well, the first part focuses on Frank meeting his son Jake, and getting him into back into school, while the rest of it focuses on what Jake's first day entails.

Okay, here's the script, it's 44 pages long, hope you enjoy, let me know if the link works or not, by the way: https://1drv.ms/b/c/9f792ff68fae0e61/EWEOro_2L3kggJ9rAAAAAAABzDqzNvwGpnS24-eXBi4z4g?e=q01gb7

Here's the 1st part - https://www.reddit.com/r/Screenwriting/comments/1cfdlmz/comment/l1qpwgn/

First of all, I think it's time for one small observation I came up with when I've finished the whole thing some time ago - all I wrote may be important as some fundamental and very basic approach but still any theoretical approach that provides understanding of screenwriting is only 5% of success. The rest 95% relies on taste and voice alone, so why actually develop own theoretical approach at all? It may help to understand what we're doing, judge quality of our work critically during outlining phase, be able to explain why we wrote something the way we did or defend it more objectively.

Also this approach, even if I tried to make it as basic and as universal as possible it's still determined by specific, personal factors - taste, process of writing, what is important to me regarding all those theoretical guidelines, also not every story simply fits into this formula - so of course it won't help everyone and I guess the main point of "guides" like this is just to take whatever is useful or appealing (if anything is) and discard the rest to develop your own approach.

So, here's the obvious thing, but I have to start somewhere - story should be entertaining. Right? But is it really the most important thing (more about it in the next part)? And how to be exactly entertaining? And in what ways story can be entertaining?

I will start from the last question and write about emotional side of being entertaining, but to do it I need to start from scratch, which means one thing - structure.

So, I'm not a big fan of that stuff (there are much more important things), but I don't want to explain reasons behind it further to keep it short, so I will just keep that whole sctructure thing minimalistic, exactly the way I like it to focus on more important subjects.

So, story is basically a line (even if it's Memento, Dunkirk or Pulp Fiction without traditional chronology of events), on that line we have beginning, middle and end and they're separated by turning points that change trajectory of that line (story). We can add more turning points, but these two are mandatory in most mainstream movies. It's unusual to make a story without beginning, middle or end, right? Also in the beginning (usually) we have main character, at the end there is a goal and between these two are obstacles that prevent the main character from instantly reaching the goal, so they're also mandatory. I wouldn't say goal - just like obstacles connected with it - is always required, but it's present in most movies (let's forget about slice of life movies for a while). So, that's it. No need to clutter it further.

Also there is an interesting observation here - what actually determines turning points? I like to keep it simple, so from my perspective it's all about character's decisions. First character decides to pursue his goal, so it's the first turning point and later character decides to reach it (after he gains an ability to do it), determining a beginning of an end.

So, main character has to walk that bumpy road and somehow we need to make that adventure emotionally entertaining. So how to do it?

In my opinion through empathy.

Great, but first of all, do we feel empathy towards everyone? To some point, yes, but there's a great difference between empathy regarding a close relative and a stranger on a screen.

So to enhance that empathy we need to create emotional connection between viewer and character. And here's the time to go back to (the most basic) structure I mentioned.

It's really easy, character wants to reach a goal (any goal, even if it's only inner goal he doesn't know about till he reaches it). To do it, he needs to overcome obstacles, which leads to...

Conflict. So, what it actually is? I can imagine any character struggling with various obstacles. Jammed lock? A character trying to convince someone else to do something? Fight scene? It can be really anything, so conflict basically is a process of overcoming an obstacle. Now that's important - each time, when a character tries to overcome any obstacle a lot of things may happen...

• First of all, he fails and he's not happy about it.

• At the same time he has doubts - how much he can lose emotionally if he tries to overcome an obstacle.

• At the same time he has some motivation (another side of the same coin - opposite to doubt) - how much character can lose if he won't overcome an obstacle to reach a goal (again, emotionally and within stakes, so it's not about losing a house, it's about losing house that will lead to losing family he cares about) and how much he can achieve emotionally, reaching that goal.

Now it's time for important observation - as you can see everything revolves around a chain of decision made by character, that also determine fundaments of most basic structure. So it's all about that and the goal itself is just a pretext to show what kind of decisions character does and what affects him during that process, while he overcomes obstacles. I also wrote about it in previous part and I will write about in the next one.

So, now, here's the important question. Do we want him to succeed or do we hope he will fail?

To figure it out that we need to establish positive or negative emotional connection between viewer and character. But what determines it?

Usually it's just unfair that good character fails and evil character wins and we emotionally hope that at some point good character somehow will change emotionally or intelectually (or maybe just his situation changes) to finally overcome final obstacle and reach his goal and evil character to pay for his evilness. So basically it emerges from a sense of injustice.

But what determines who is perceived as good or who is seen as bad? I believe it doesn't require much explanation and simply leads to theory of ethics and common perception of morality.

But here's the question - can we support evil characters? Obviously there are plenty examples of that, so it's not necessarily about perception of good and evil characters, but about getting to know a believable (intelectually and emotionally) character, who is properly established as human being and has some reasons behind his actions, so maybe he does bad things, but he believes he does it to help someone etc. (that would be a matter of voice and taste, which is just the most common answer to how to write something that works, no matter what it is)?

So, again if you have any comments or doubts, maybe you disagree with something or have different approach, just let me know. All of it will be forever work in progress, so there's always room to improve something.

Okay,

So I was going on my Google Drive and was going to work on one of my stories/screenplays but it keeps telling me that I now need a username and password?! Which is weird, cause I've always used this for free and it never asked me to sign in, unless it was with my Google account. Now until I make an account to this gets fixed, I can't have access to my stuff. Why is it doing this? I want my stories back. What's worse is every time I try to make one or even get on the website, it just keeps asking for user and pass and when I cancel it, it won't let me in. [I'm really hoping this gets fixed]

Click and see for yourselves (or copy/paste): https://youmescript.com/

Maybe kind of a strange question. I've been planning my script forever, I do a ton of outlining and have 100s of pages of notes, but when I get to the actual ground level work of trying to write the screenplay itself it's overwhelming. I am confronted with the fact that I am just bad at this because, though I've read dozens of screenwriting how to books and understand their concepts, I lack real practice and experience. I feel great about the structure and outline for my script, but on the ground level writing scenes I'm dying.

I know to get better I need to just keep writing, but I'm wondering what improvement actually looks like? Is it easier to make choices? Does dialogue come more naturally? Are you able to break stories faster? Are you able to write faster? What does improvement really look and feel like? What do professionals do that amateurs lack? Are there exercises I can do to get better at different areas? Will it eventually not seem overwhelmingly hard? What actually improves when you improve?

Hi all! So this is the first 37 pages of a LGBTQ+ Drama feature I've written, and I'd love to get feedback on how the first third works. I want to make sure there is a strong opening and if there are any improvements I can make.

'In Somebody's Arms' follows Harry, a young man stuck in gay hookup culture. By meeting Carson, he is introduced to the idea that there is more to love than he thought, all whilst dealing with loss, dreams, and forgiveness.

This is also my first time writing a feature, adapting my knowledge from short film writing that I've gotten from studying Film production.

Below is a link to the script, if anyone has the time to give feedback, even if it isn't on the full sample, it would be more than appreciated! Thank you :)

THIS SCRIPT CONTAINS DEPICTION OF SEXUAL ACTIVITY.

https://drive.google.com/file/d/1hJ_8ZX7rTPeqoKZSH30x1xFSg6BivLT9/view?usp=sharing

I'm looking to either join writer's groups or peer review workshops so I can actively be around people also looking to improve their skills, share their inspirations and insights, and hopefully someday make my own show or open a production company.

I'm also considering starting one but still working out the kinks and logistics. Not sure where to start.

I adore science fiction, horror, fantasy/adventure/children's stuff like Disney and Pixar, and Don Bluth.

My biggest dream is writing scripted cartoons, but I don't know how to draw. I know that being able to draw and storyboard would help me.

I'm not opposed to putting in the work to learn but I always struggle at starting and committing.

Right now I'm working on a few different projects on and off.

I have a science fiction cartoon pilot 30 min that I wrote and am editing slowly.

I am currently writing a horror comedy movie script. Wrote the first act and am trying to get myself to keep going.

I have a sitcom about my life working in a credit union that I've written a premise for and started chipping away at.

So if anyone is looking to join a writer's group or a peer review workshop style group, or is currently in one and open to having new people let me know!

Focus exclusively on one story until it finishes.

Or working on multiple script and if you hit the wall with this story you move to other stories.

What is yours style ? Which is more productive and effective in your opinion ?

Hey guys! I've been planning a story for ages. I love thoroughly going into my characters and thinking of dialogue scenes to help me further develop them even if they won't go into the actual script themselves.

I guess I've taken a break from it because as I was trying to come up with a story plan, ie, planning the journey of the story, I've come across certain snags in what I want to happen, when I want something specific to happen, and I'm kinda stumped with how to move forward. Basically to get from point A to point B and the journey to get there is what I can't decide. Like I know lots of different things that happen through my story, but where I am now, I don't know what comes next, or where to even put those scenes I've got planned. The order.

Any useful tips?

This is the planning stage btw. I haven't written anything yet, properly. I just wanna know if anyone has any story planning tips. I tried going by Save The Cat's beat cheat, but maybe I just need to stop procrastinating and just work it through.

I've always wondered, why does everyone says that horror movies scripts are generally shorter, like 90 pages at best? Cause of course I've found some script longer than that (Midsommar, Scream 5, I even think Scream 6's script is something like 140/150 pages long), and others even a bit shorter, but why there's this general consensus?

I also say this cause my first draft for a horror movies, it was way longer than 90 pages (don't worry, I already know what to cut), but even there, I could aim for 120 pages at best, not less.

I'm asking because I figured out very early who it was and so I'm wondering if many people also felt the same way. Whether or not people saw it coming doesn't take away from the masterpiece of a film it is btw.

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As i juggle a few scripts (i probably will only finish one of them), I wanted to see what scripts y'all are working on currently. Me personally am currently working on a bunch but aside from my pilots for sitcoms to varying quality, i am working on a romantic comedy about two former co-stars who are reunited for a reboot of the hit show they starred in as teens and they despise each other still because of some teen drama that spilled into their adult lives yet their chemistry is that of two people who cannot get enough of each other. So, yeah, I was just curious to see y'all's WIP's.

https://youtu.be/rrNdbJN73tA?si=virSKJiwUlth7Xgk

One step to great writing. When people say “great writing is needed”. They want some concrete examples. This is one small thing that is a step in the right direction.

Hey hive mind, was looking for a little advice. I’m an aspiring writer & director. Feel fortunate that in the last few years I’ve been able to do both and get paid from it. And so far I’ve only directed things I’ve written.

But the opportunity has come up recently to potentially direct someone else’s script.

Now, I’d sort of mentally committed to the idea that I needed to keep writing and trying to get my own stuff made. And that was probably the best use of my time.

But as it stands, right now, I don’t have anything I’ve written that is at that stage where I think okay I could try and sell this. Or hopefully go make it.

And this other script has come in from someone I know and admire and they want me to direct. And I really like it! It’s not something I would have come up with myself, but I can certainly see the movie and think I can hopefully do a good job.

But I know directing something is a full time commitment! And I expect that if this project gets going, it’s going to take up most of my time.

So I suppose my question is, to all you writer/directors out there - do you see advantages or drawbacks to directing other peoples stuff?

And I suppose my real question is - the stuff I write tends to have quite a specific tone. And the projects I’ve managed to get made got me noticed a little for this tone and I’ve felt encouraged. But this script obviously isn’t my voice, I just like it.

So does that matter?

There are a lot of screenplay contest but it cost a lot of money. Is there any options towards getting discounts or lower pricing or more for paying for Screenwriting contest ?

Genuine question. If anybody hasn’t read it, the screenplay for The Quiet Place is nuts (rule-wise). It’s got photos, whole pages with single words, and all kinds of other random (but generally pretty helpful for the reader) stuff.

My question is- if you’re a newcomer and write a screenplay with a similar rule-breaking layout, does that hurt your chances of being picked up? I know the guys who wrote The Quiet Place weren’t really established writers and they got picked up with their nuts screenplay, so are they proof that rules don’t matter as much as a lot of people say they do?

This doesn’t pertain to my current spec script right now, but it may in the future- so I was just curious. What do you guys think?

https://deadline.com/2024/04/zoya-akhtar-fawzia-mirza-roshan-sethi-fourth-1497-features-lab-mentors-1235898699/

Zoya Akhtar (The Archies), Fawzia Mirza (Queen of My Dreams) and Roshan Sethi (A Nice Indian Boy) are set to join the 1497 Features Lab as mentors.

Returning for a fourth year, the nonprofit 1497’s annual Features Lab will again offer mentorship, script development and industry access to elevate and advance the careers of screenwriters of South Asian descent. After expanding the lab to a fully in-person format last year, this year’s program will include an intensive Retreat and subsequent Pitch Day. The retreat will take place October 23-28 in Malibu.

applicants must:
be of South Asian descent
be 18 years of age or older at application time
be eligible to be in the United States for the duration of the Lab
have a completed draft of a narrative feature screenplay with an anticipated budget less than $5 million

Application fees are waived April 19-May 5, after which there is a fee: $25 May 6-11, $50 May 12-18, $70 May 19-25

https://www.1497.org/1497-features-lab-23

I'm just wondering how, specifically, your acumen when watching movies has increased since getting into screenwriting/filmmaking. What kind of things do you see or look for that you previously overlooked? Does your attentiveness to specific elements depend on what you've recently been reading and thinking about or do you seem to ask certain questions of films which allow you to glean a lot of insight for the advancement of your craft? Any tips?

I'm making a video for school where I'll be talking in a grocery store, then cutting to footage of nutrition experts speaking about various topics.

For example:

Cut To: Dr. Alan Goldhamer speaking about the SOS diet.

Do I need to make a new scene heading and shot?

Sorry if this is a total noob question. I'm a business major, but I did a film program one summer when I was 13, and always enjoyed the creative process. Also, I am using a free trial of Celtx.

I’m fairly new to screen writing and I have no clue how to properly Google this question so I hope someone on here can help answer.

So there’s a part in my script where a character is explaining something that happened in the past, but I want it to switch from us seeing him talking to actually seeing the flashback with voiceover.

I have absolutely no clue how I format this so if someone could give me some advice on that it would be greatly appreciated. Cheers:)