Screenwriting

I think the first goal of short film scripts is to stay focused as much as possible. Don't get carried away on the story or characters.

Bill Albert I agree. It seems like some of the 5 minute shorts focus, but longer ones may pack in one too many added ideas, and that takes the audience a moment to digest.

I've had Huthi Rebels and African militants try to blow me up; Saddam Hussein's soldiers arrest and want to shoot me, and not-so-Secret Police shoot up a nearby Range Rover - not to mention another time being surrounded by tanks and half an Arab army - - - and I'm still here. Oh, I forgot to mention being accosted by African Ministerial Security who also wanted to shoot me because I was wearing the wrong shirt. Just ignore the missiles and they'll go away. Either that or run to the hills - writing in the mountains can be very peaceful.

We all go toward massive things - the Lord decides when to take us, we have no control over the matter, so look like he still wants you here

Leonardo Ramirez Thanks. Every time I catch that scent, the same emotions come back. And now… Summer is coming : )

I like this. It's more than just a dream state, it's trying to create new realities for us.

Alex Bridge Really fascinating perspective, AB—and it makes a lot of sense from a storytelling point of view.

As writers, we’re not just remembering things, we’re constantly rebuilding and reinterpreting them. That’s probably why two people can live similar experiences but create completely different stories out of them.

I also love the idea of imagination as “simulation.” It explains why writing can feel so real emotionally—we’re not observing, we’re experiencing situations in a constructed reality.

For me, that’s where the power lies: blending memory with intention to create something that feels true, even if it never actually happened.

Yes Abhijeet Aade , the mind can be a wonderful, infinite place.

Could not agree more. If you imagine a scenario 'upside down, inside out, and backwards', you are far better placed to make a far better choice about the options you the choose to tell a/the story,

Jaz Lagrimas Huge congratulations to Ted Sperling on the win TREASURE INC. sounds like an absolute blast with a really fun, high-concept setup. Love that mix of action and comedy with ensemble energy.

Also big kudos to Lissette Jean-Marie and Emma Pyne & Sarina Taylor those projects sound bold, current, and tonally unique, which is not easy to pull off.

And of course, congrats to everyone who placed—getting recognized in a contest like this is a big achievement. Great to see such diverse and original voices coming through!

Eric Charran thank you for your very valid point

Göran Johansson low budget is the best education :)

I completely agree that these points are very true and important in the industry.

However, I would also add that the challenges can be very different depending on where you are. For example, in my country, Afghanistan, we face a completely different reality—there is no access to cinema, and many people are not familiar with or connected to the arts, especially filmmaking.

In such an environment, the struggle is not only about the industry itself, but also about building awareness, interest, and basic infrastructure for storytelling.

So while these truths are very valid, for some of us the journey starts even earlier—before the industry, before the market, and before the audience

All very good to know, thank you.

Alexia Melocchi This is incredibly on point especially #1, #3, and #6.

If I had to pick one writers need to understand early, it’s #6: relationships build careers more than projects do. As writers, we often believe the script alone will open doors, but in reality, it’s trust and collaboration that keep those doors open.

Also, #3 (distribution determines destiny) is something not enough writers think about. We focus so much on telling the story that we forget who is this for, and how will it reach them? That awareness can actually shape stronger, more market-ready writing.

At the end of the day, it’s really about balancing art with awareness of the business. The writers who understand both tend to sustain longer in the industry.

Exciting day. Pumped that "Yankee" made the cut. Congrats to all who made the quarterfinals! These next two weeks are gonna feel like forever. Keep pushing.

“Quarterfinalist – Stage 32 Period Piece Contest

THE HUB

How cool is that?

Congrats to all the quarter finalists. Somehow managed to sneak 2 in. First Spear - A hardened Roman centurion races to seize a hidden treasury while a corrupt general, an enemy spy, and his past turn on him, and Selection - In WWI Belgium, an American zoologist uncovers his research is fueling the German war machine and is dragged into espionage and betrayal.

Congrats to all quarter finalists. Somehow managed to sneak two in. First Spear - A Roman centurion hunts a hidden treasury as betrayal, espionage, and guilt close in, and Selection - In WWI Belgium, an American zoologist uncovers his research is fueling the German war machine and is dragged into espionage and betrayal.

Jaz Lagrimas Big congratulations to all the Quarterfinalists! Period pieces are never easy they demand such depth in world-building, authenticity, and storytelling, so this is a huge achievement.

Would love to hear more about the stories that made it through always exciting to see what worlds and eras you all are bringing to life.

This is a good question - I don't have an answer but I'm looking forward to the responses. Thank you for asking!

For comps you need produced works that signal what kind of screenplay you're presenting, preferably those that are well-known, critically acclaimed and/or a box office success. The only time I'd use your own work as a comp is when pitching someone who has read previous scripts of yours--and liked them.

Makes sense, Eric Christopherson, thank you. Obviously doing so right now would be pointless lol but I'm thinking down the road, especially since I don't tend to keep up with trends, my only real comps for some projects are ones I've already done. I wanted to see if anyone even does that or if it's tacky to do so. But it definitely makes sense to only really do it with someone who's historically liked your material.

No worries Lauren Hackney~ like I mentioned above, certain projects of mine are very much my creations and I tend to be in my own bubble when it comes to media consumption so the only real comps I can honestly come up with are my own works. If it's fair play to do so and I'm skilled enough, it would be cool to be able to do that lol

Happy to help Georgette, and Yes ! for sure . You need to tweak these things so they feel just right and more importantly capture the essence of your story.

Ethan Michelle not wise (or professional) to copy & paste a comment made on another thread - makes you look like a spammer, which I'm sure you're not

Gigi Skolnick Great premise!

You could also punch up the blackmail angle if you want more of the con-artist energy to come through:

A Japanese man who perished evading WWII internment blackmails a chain-smoking angel into helping his dog find a home — because he's not setting one foot in Heaven until he knows that dog is safe.

What tone are you going for?

Thanks Geoffroy.

Michael Thorn-- glad you have my back. Thanks

@Ashley Renée Smith

Thank you, I really appreciate your perspective.

I think I’ve been approaching this with the idea that I needed to complete the entire project before sharing it, but I’m starting to understand that this might actually slow down my progress.

At the moment, I have a full synopsis of my first episode, so I think a good and manageable first step would be to start by sharing that. It feels like the right way to step slightly out of my comfort zone while beginning to open the project up to feedback.

From there, I’d feel more confident gradually sharing more of the work.

Thank you again for the encouragement — it really helps.

Great point, Grace! I'm also working on a crime series right now, and I've realized that opening up for feedback early on actually helps refine the story's direction. Taking that first step out of the comfort zone is where the real progress happens. Best wishes

Time Management. I plan nights that I’ll stay up to work on projects for 2-3 hours but really wish I had more time overall.

Ashley Renee, a "writing first" night or two isn't a bad idea at all...and in fact, I tried that a couple of days ago. (Can't wait to get back to that.)

Thanks so very much for the tip!

I can relate to this. Managing time alongside creative work is definitely challenging. I’ve found that even small, consistent sessions can make a big difference over time, especially when working on long-form stories.

All the best to those who submit!

Perhaps that's my opportunity Eric Charran Just finished a new pitch for a feature film. Already had the tv series pitch. Based on a series of books I wrote. Low concept, highly character-driven. Friendship, martial arts lore, flights/fights, lots of secrets, and invading bad guys.

Congratulations to all!

Terri Morgan that sounds like it has the thing managers keep saying they want and rarely see on the page. Character pressure carrying the story instead of plot machinery. The martial arts lore angle can become a huge asset if it shapes how people move and decide rather than just how they fight. That layer is where most action scripts skip right past. Hope one of these lands for you.

Thanks Eric Charran. The martial arts lore in my stories includes fighting, but isn't as much about fighting as it is character. Character development is one of the key themes in the story and is essential in traditional martial arts. The heroes don't want to fight. They'd really rather not. But if they have to, they are extremely effective. It's not a fight. This concept is part of the martial arts tradition I have followed for 40 years. I'm a teacher and international champion. What the characters do and don't do comes from my own deep personal understanding of the martial arts and the traditions.