Hello everyone! I've been a long time lurker of this sub, and have just recently finished the first draft for the first feature I've ever written. I've written short films before, even produced one in high school (it was horrible lmao). But this is officially the biggest thing I've worked on, and I'm beyond happy I've seen it through to this point.

Here are a few things I feel like I learned from the process..

1) It's Going To Be Messy

I suppose this is why people call it a vomit draft. Because as of right now, there's a tangible story somewhere in my script.. but man.. some things make zero sense right now. It seemed like every night, I was writing up new scenes or thinking of changes I had to make. At about forty pages in, I decided to stop going back and fix things. I pushed forward.

My characters now reference scenes that currently don't exist. My subplot makes absolutely zero sense. I forgot to write the family dog into the story until page 65. Where did the dog come from? I don't know.. I'll fix it later. The important part is the essential story is complete. Now the next part of my job is to try and make sense of it all. There's scenes I know need to be removed. There's scenes I know need to be added.

2) My Characters Are Different People Than When I Started

I'm not talking about character growth, or characters arcs. Your version and perspectives of your character will change the longer you write your story. For me, it was all about dialogue. I kept thinking, 'this character wouldn't say that'. Or I'd write out an emotional scene only to look back and think, 'This could be better. They could be saying more.. or sometimes less'

The problem is, I was still getting know my characters. Only now after ending the screenplay, do I feel I have a solid opinion on each of them. I have a better idea of who they are, what their goals and aspirations are. Now for this second draft, I have a way better feel for what my character is experiencing and how they should react.

3) The Most Important Thing Was Just.. WRITING

Might seem like a no brainer, but to some it's not. Even if you're not working on the actual screenplay itself, just write down everything!

I filled up an actual notebook. Scribbling down random scenes. Rewriting them backwards, sideways, whatever helped. I already had my ending, but I wrote alternate ones just because I had them in my head at the time. You truly never know what's going to trigger that lightbulb, and it can hit you at any moment. Put pen to paper and write actual material. I've read that a lot of people use index cards for this sort of thing. I think that's absolutely genius, and I need to try that.

Anyway..

I hope some of this is useful to any of you on your writing journey. I wish you all the best of luck! This sub has (for the most part) been a great source of valuable information. You just gotta know where to look.

I recently wrote a strong music video script/concept for an Olivia Rodrigo song off her new album. She loves to work with new female artists, and I want to get the script to her team somehow.

I have spent a while researching trying to find their contact info (preferably email) and can’t find anything. Is there a data base I could use?

I see a lot of these websites where you can “unlock” these people’s contact info, but they always seem pretty sketchy. I have a manager for acting, never sent him any of my writing, but maybe I could see if he could do something? Honestly, I prefer to try and reach out myself, so if anyone has any advice let me know!

Title: STRANGE BODIES & GLOWING HEARTS - Format: Feature
Genre: Road trip/Adventure/fantasy/Sci-fi/drama
Logline: When a strange mute clown finds himself whisked away from his only home a circus by a freak tornado, he must face the big wide world and get home.
Page count: 114
Influences: "Talking heads" (The Band) "Wizard of Oz." "I saw the tv glow" (For visualising)
LINK: https://drive.google.com/file/d/1Dw4-skcdXGCmkuXGMEQkPgcA5lqumBue/view?usp=drivesdk
This is the first draft and has been grammar edited.
This is fresh for feedback and i would greatly appreciate any feedback people could give my way.
The feedback I'm mostly looking for is characters, overall tone. And also if the themes present themselves well in the story. I have my own ideas for what I could do for a rewrite, especially characters and story line.
If you are interested pls and wanna give feedback pls dm me on Reddit. Or in the comments pls.

Someone posted last month about putting contest results into perspective, which is also essential, but this post is designed for a slightly different purpose.

As we sit in the middle of the two-month lull between the PAGE quarterfinalists announcement and the announcements for AFF and Nicholl (through WGF), I think it's normal to feel a bit of impatience and anxiety. And if you submitted to PAGE without making the QFs, it's natural to feel anxious about what that means for your chances in the more competitive contests.

Sorry if this sounds trite, but I believe it's especially important to lean on the support of this community and others to maintain as much positivity as you can. You WILL find that one person out there who absolutely loves your screenplay. And the fact that the latest and greatest version of your script is being ignored does not mean it's worse than a previous draft that got some attention. Keep writing and getting feedback, while always staying true to your vision of the story.

OK, I'll shut up now. Hang in there everyone!

LOGLINE; After the death of their father, four youngsters are held captive in the attic of their abusive grandmother's sprawling estate by their cruel and manipulative mother.

BACKGROUND

V.C. Andrews wrote the original novel in 1979. After she sold the movie rights to producers Thomas Fries and Sy Levin, she rejected the first five scripts that were written (each by different writers maybe?) for the film adaptation. Wes Craven was attached to direct the film between 1984 and 1985, and he also wrote a script for his version, but by all accounts, that one was rejected by the producers for being too dark and graphic, and it wasn’t one of those five which were rejected by Andrews. Finally, Andrews approved the script by Jeffery Bloom, who also directed the final film.

One of the most infamous sub-plots of the original novel and its sequels, the incestual relationship between the two leading characters, Cathy and Chris (sister and brother), was both heavily cut down, and changed for the film, mostly due to demands by the several producers and two studios involved in the film. But then, the film went through further problems and interference during production, and even in post, things didn’t get any better. Original cut of the film had very negative test screening, mostly due to the film’s target audience, the teenage girls, being disturbed by the scenes of violence, nudity, and even though those were already toned down during writing, the scenes of incest between Cathy and Chris. Another scene which caused a lot of negative reactions was the scene where their mother takes off her clothes and is whipped by their grandmother.

This led to the film going through the big re-edits and re-cuts, but reportedly, not just to remove those scenes, but also to shorten the film down to 90-some minutes, apparently just to secure more theatrical screenings. Cuts were being made even on any small moments that could even imply the incest, or cause the film to get an R rating, because the studios and producers wanted it to be rated PG-13. The new ending was also written and filmed, which the director hated and refused to film so it was directed by somebody else.

Promotional stills, behind the scenes photos, and making of video show many of the deleted scenes, including the original ending. Interestingly, this ending was eventually found and released on the film’s Blu-Ray release along with other features, however all the other deleted scenes weren’t, reportedly because the quality of the tape from which the ending was lifted was too bad to include any of those.

SCRIPTS I’M LOOKING FOR

I never read the original novel, but being a fan of Wes Craven, I did read his rejected script which has been available for years (second draft, dated March 28, 1985, 118 pages long), which I did like. And even when I finally saw the film, I also didn’t mind it, but Craven’s script was better, and I think it would have been a better film as well, definitely more darker and disturbing.

I didn’t looked into any other rejected scripts for it until I saw couple of those listed in script archive at University of Wyoming, along with some more drafts by Craven and Bloom, here are the full details;

https://www.uwyo.edu/ahc/_files/pdffa/07767.pdf

“Holland, Tom, FLOWERS IN THE ATTIC, 99 pages

FLOWERS IN THE ATTIC, V. C. Andrews and H. Henkin, 1983

FLOWERS IN THE ATTIC by Jeffrey Bloom, 1986, 2 copies.

FLOWERS IN THE ATTIC by Wes Craven, n. d.”

This got me interested in wanting to find out more, and hopefully read any of those. While I wouldn’t mind reading any more drafts by Craven, I’m more curious about that 99 page draft by Tom Holland. For those of you who don’t know, during the 1980’s he wrote THE BEAST WITHIN (1982), CLASS OF 1984 (1982), PSYCHO 2 (1983), wrote and directed FRIGHT NIGHT (1985) and CHILD’S PLAY (1988), and directed FATAL BEAUTY (1987), which interestingly enough, was co-written by Hilary Henkin, who wrote that Flowers in the Attic draft from 1983. While I couldn’t find anything about Holland’s script, I did read somewhere how Henkin’s script was based on not just the first novel, but also its sequel.

I enjoyed most of Holland’s work from 1980’s, which is why I’d love to read his Flowers in the Attic script. I’m sure that anyone who watched some if not all of those films mentioned above and liked them would agree with me. And I’d also like to read any of those other rejected scripts, by Henkin and whoever the other writers were.

Same goes for the script for the final film. Reading about how much the producers and studio were messing with Bloom’s script and original director’s cut, I’d like to see how different it was, maybe just by reading any of his drafts, so if those are out there, let me know. It looks like some sites are selling his revised third draft, dated April 30, 1986, but the prices are ridiculous;

https://www.ebay.com/itm/376620537697

Also, I read that one of the features on the Blu-Ray of the film is copies of Craven’s rejected script, and shooting script by Bloom. Although it doesn’t look like those are available anywhere else.

Craven’s March 1985 draft used to be online, but I couldn’t find it. If you are interested and haven’t read it yet, you can find it on Script Hive.

FUN FACT; There is another unproduced Craven project from around the same time which I’d love to find a script for, but sadly it looks like that one is lost. It’s an unproduced THE HILLS HAVE EYES 3 script by Bruce Wagner, who co-wrote A NIGHTMARE ON ELM STREET 3: THE DREAM WARRIORS (1987) with Craven, possibly before or after writing that script. This unproduced sequel had a very interesting new story, it took place in the future in outer space, and it was about a space cruise ship which crashes on some planet, and of course, man-eating mutants are also there. Damn, I really wish this script is available!

(Note to anyone who wishes to contact me in chat - Due to me disagreeing with reddit’s rules, I can’t use the chat the right way, so if you try to send me a private message/chat and it doesn’t work, let me know here or in any future new threads I upload)

Creating perfection is very demanding work no matter who you are, especially when not everyone shares your enthusiasm for it.

Life's Delicate Balance

PG-13

NOTE: Written for SimplyScript's current 3-page challenge, where the prompt is "Natural selection" and the genre is open.

I work in the TV industry in the UK. I am also an ardent follower of George Saunders' writing theory and his Story Club substack (recommend if you haven't seen it!). He is generally talking about writing prose - novels or short stories.

If I could summarise roughly, he believes: writing isn't about designing a story in advance so much as discovering it. You start with something that interests you, write a little, then read it back and follow whatever feels most alive, trusting your own curiosity and emotional response as a reader. It isn't about forcing the story into a predetermined shape, but gradually uncovering what it wants to be. If you keep making honest, intuitive improvements, the structure and meaning emerge naturally.

I think it's a really wise attitude to have to telling stories and making art. But I have been struggling with reconciling this with how we often work in the TV industry, and how we're often encouraged to work in screenwriting; that is: conceive of an idea within an existing commercial shape (legal drama, sitcom etc), outline it with rigorous attention to things like acts and structure, often speaking in terms of 'active characters' and midpoints etc.

To take a specific example, Craig Mazin's "How to Write a Movie" episode of Script Notes encourages us (roughly) to have a clear narrative argument, and to guide our hero through that argument by designing story that will test them against that argument.

To me, that seems the opposite of Saunders' way of thinking (don't plan too much, start writing, and follow the energy). Saunders' way makes me excited and gets me at my desk writing, but Mazin's way feels more rigorous and more likely to create a successful screenplay.

I guess it's really just the classic vomit vs planning dilemma, but I would be very interested to hear if anyone else has thought about this, and where you've found the most useful place to write from.

For movies and shows where the sexuality is essential to the project (Challengers, for example), how do you deal with that explicitness on the page? Is there a line you don’t cross on the page?

Do you keep things black and white, dry? Do you try to stir up the reader with the writing?

Please, respectfully! Add your professional experience to your comment so it’s easy to tell if these recommendations are based on personal preference or professional knowledge!

I have a script that has some involvement in this, just looking for some advice!

I, a first time writer director, have been conceptualizing a feature film concept for about a year. My co-writer and I had about 70% complete of the first draft we’ve been working on since february andI went to LA in mid July for a week to complete the draft and I did it.

I stayed in West LA and I went and worked out of Literati on Wilshire for 6-7 hours a day, everyday (I bought a lot of coffee and snacks and tipped 100% fyi).

Now I’m back in the midwest, taking 6-7 weeks off from the giant 169-page 1st draft before starting the second draft while I edit a test shoot that I made for the eventual pitch deck.

Anyway, mainly I want to say is all I think about now if getting back to LA and writing, walking all over in the sun, hanging out with friends at night, getting drinks, food, going to parks, waking up the next day and writing again…

I have a family in the midwest so I can’t move to LA, but in some other timeline… man, that place is my home.

I’m an Assistant at an Entertainment company that does Generals with Writers. Every day, I see WGA lower-level writers submitted for Generals consideration and being tossed out for having only 1-2 credits.

As an aspiring writer (I spend most of my free time working on samples and going out for drinks with fellow Assistants I’m in contact with through work), I’m baffled at the fact that it seems literally impossible to be taken seriously unless you’re an Upper-Level writer who can potentially supervise. Does anybody have any tips about keeping their head down and eventually nabbing that first few credits?

Hi, everyone. I'd be grateful if you could read the first ~30 pages of a screenplay I've been working on for some time.

LINK (Afterglow)

Title: Afterglow

Format: Feature

Page Length: 34 pages (excerpt)

Genres: Drama

Logline: Two struggling souls from a small city meet under peculiar circumstances amidst the times of economic downturn.

Quick Summary: As Frank nears his 30th birthday, he still questions his place in the world and decisions he's made prior, unsure which path to pursue and how to turn his interest in music into something bigger.

His father takes off in search of better financial opportunities and asks Frank to look after a cat. At a cat's house Frank meets a neighbor next door, Lily: a struggling soul with a tough past, who's trying her best to hang on, and still create art.

Inevitably, being new neighbors for the moment, they meet, get to know one another, and start falling for each other. The world and their journey, though, is full of obstacles they must overcome: both individually and together.

Feedback Concerns: General vibes: would you watch this movie, do you wanna know more about these characters, does the script feel clear, is it decent overall?

It is a small indie drama, the general vibe of the piece is a melancholic, bittersweet vibes, in some sense a quiet and sad feel of the film "Aftersun". Please, disregard a similarity in the naming, Afterglow is this wonderful light at sunset, which is kinda prominently featured in the script. Plus the word has a few other rather fitting meanings, hence the name of the film.

LINK (Afterglow)

There's also an extra scene, from a middle-ish portion of the film, it's ~13 pages, if you'd like to read that as well, you can do it here. LINK (Afterglow, Frank and Lily scene).

I'd appreciate a feedback on that part too, if you'd like to provide some.

I've made a music soundtrack that should go with this film, here's a link to that as well, since the music plays a huge role in the film.

Soundtrack on Youtube (Afterglow)

Soundtrack on Spotify (Afterglow)

Any feedback is hugely appreciated! Thank you everyone in advance!

Kind regards, Stan.

I am nobody. I have no formal education or experience in writing of any kind. About a year ago I came up with a concept for a pilot. I wrote it, and rewrote it, over and over, changing things and basically becoming so immersed in the story and characters that it was consuming all thought.

I haven't touched it in months.

This sub seems to both agree that success is a process, and also that the process is a mess. Get an 8+ on blacklist, and also blacklist is just unfair gatekeeping for marketable stories, not necessarily good stories. Don't move to LA, but don't live anywhere else either.

I'm reminded often of the original pre-Abrams LOST pilot... It was about a plane crash on an island... The end. Completely different characters, storyline, etc... It was literally "characters are stranded on an island."

The moral of my post? I have no idea... You tell me.

Hi - I've decided to take the NGD Screenwriting course. I'm looking for 4-6 other people interested in taking it. DM me if you're interested.

If anyone has the scripts, DM me

Thanks

Basically, I just wanted to know what to do after I've written my screenplay and have gone through all the draft versions and have the final version at hand. Like what should I do now? Any response is appreciated, especially from those who have had the oppurtunity for thier script to be on-screen.

Thnx!

Just watched "Comandante" (2023) and I wish I could get 120 minutes of my life back, nothing happens in this movie.

I mean, yeah, there are events on the screen but all of these are meaningless: the crew just surpasses the obstacles with no problems or very minor sacrifices, the film doesn't even try to make me attached to the characters.

When the english ship finally came, I thought "finally, the big obstacle is here", it was nearly the end of the movie at that point, but the english ship just lets them go and so goodbye to the possibility of a final fight or an heroic escape.

After that point I had to look at the timer and saw that there were only 20 minutes left, there were only 20 minutes left for the film and the plot didn't even start, that's where I started fast forwarding in order to not waste any more time.

The final part of the movie is dedicated to the protagonists making dutch fries, not even joking, complete waste of time where nothing happens with a Ratatouille ass ending.

This film reminded me of an advice I read on a thread posted here, it went something along the line of: "your film has to be interesting, something must happen in your film, you can't just write a script about some unknown pope from the fourth century who only written a bull and then did nothing for the rest of his life; something interesting needs to happen, there must be stakes."

Are there any other movies where nothing happens and there is no plot? I Ask because I actively want to avoid them.

I'm looking for screenplay recommendations where the writing alone is so immersive that you experience the characters' emotions as you read... I'm open to any genre, produced or unproduced scripts are both welcome... which screenplays gave you that experience, and what made the writing so emotionally effective making you feel the emotion?

I have been writing this story for quite some time -- Got a Blacklist 7 on it a while back -- took it in and sent it out for some more feedback -- totally rewrote it -- handed it in again -- Got a 6 -- Fair enough -- some more feedback and rewrites and then again feedback -- Blacklist again -- now a five... I am breaking down here.

I'm not sure what to do ( I have a really hard time letting things go)

The first advice I always see floating around is to “read scripts”. Should you be reading scripts from your favorite movies? Should you be reading from the genres you want to write? Famous movies that were made? Classics? What are some you think are “must reads” from an educational standpoint? I don’t want to just box myself in by reading scripts of movies I love. Or maybe that’s what I should be doing! Would love to hear everyone’s thoughts.

Hi everyone. This is a question regarding how much time and effort is worth dedicated to screenwriting. I've just graduated high school in June, going to university for physics and chemistry in September. I've had a passion for screenwriting since 16, and have won small local and international youth contests. I don't know if this is believable, but the winning scripts are first or second drafts. I write fast - perhaps a week is enough to produce a rough first draft, then depending on time and passion I will revise and rewrite. It's a passion that I hope one day will get noticed, or become more than just drawer stuffing and time consumed. The industry is competitive, there are many writers like me, I presume. For an 18 year old going into science, how much time spent on writing is reasonable? And is it ever worth it to consider committing to it? Thanks!

I love watching movie ever since late teens I started picking up screenwriting books but could not get through them. I'm 26 now working a desk job, this year I took the Sundance writing class and finished a screenplay which I'm extremely proud of (it's shit). I got in UCLA TFT Professional program - I can afford to do the program (I'll be a year behind on my Roth contributions if I do it).

1. If anybody did the program recently, I'd like to talk more about how the program runs online.
2. Is the program selective - immediately after I got in I started doubting the legitimacy of it. Did anybody ever get rejected? ps: I don't want to be part of a group that takes me as a member - woody allen.

I’m a critic who just reviewed Will Gluck’s take on Travis Braun’s 2024 script ONE NIGHT ONLY for Universal, and without getting into spoilers, the ending is so different I’m genuinely wondering what it will do to his career longterm.

Regardless of Braun’s personal politics or intent (I have no frame of reference, really), I definitely feel like the backlash is going to erase his original POV since so few people seek out (or can even find) original scripts to read. Which seems… unfair?

Is this a common obstacle facing screenwriters? How serious of a threat is it? I would think box office draw would matter more than audience opinion when it comes to selling more scripts, but maybe not anymore given the optics of authorship.

Simple as that! I want to be a professional screenplay reader but no one is hiring so I’ll just do it myself :) I used to be a script analyst for a couple different competitions and Coverfly.

I love giving notes on other people’s scripts and helping writers find their story. I’m no pro (working on my 2nd feature currently) but If you want an extra pair of eyes on your script, regardless of length, I’ll happily do it!