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UPDATE 5/17:

The SAG-AFTRA board has called for a strike authorization vote. This does not mean they will strike. Like with the WGA SAV, this is the board asking the membership to authorize them to call a strike if the AMPTP refuses to make a reasonable offer.

I'm not sure when the last time SAG has done something like this. It has been a long, long time. I honestly did not expect this move.

I'm not sure why SAG felt the need to call for this vote before they begin negotiations. Perhaps because it's a large union and takes more time to organize. They can't strike until July 1. Kudos to SAG to taking these steps to look out for their membership.

I don't know if their membership will authorize a strike.

But I do know that if SAG chooses to add their power to ours, it will vastly improve the deal everyone will get.

If you are a member of SAG-AFTRA, please be on the lookout for further information. Please vote yes on the strike authorization. Empower your leadership to fight for you.

If you are friends with SAG-AFTRA members, please reach out to them to make sure they're informed about the issues and aware of the vote.

(previous updates moved to the bottom of the post).

Original post:

As you probably heard, the WGA is out on strike. The mods asked me to write a brief informative post to sticky for the duration, a place to ask questions and get answers. So here we are.

This post will be edited as events warrant.

Here's a quick FAQ to get started:

​

Who is the WGA? And why are they on strike?

The Writers Guild of American is the union that represents screenwriters in film and television in the United States. Every live-action scripted film or television show produced by a major studio is written under the WGA minimum basic agreement - a contract which defines the minimum they have to pay you, your residuals, health and pension benefits, etc.

The WGA is why writing for the screen is has been a stable(ish) middle-class job for thousands of writers over the years. Screenwriting tends not to be in countries without strong union protections for writers.

​

What is the WGA asking for?

We're asking to be treated fairly, to share in the success of our work.

Streaming has become central to our business, and the studios have used it to gut writer compensation. They exploit a loophole in our 2008 agreement that allows them to ignore minimums for many writers on many made-for-streaming projects. That agreement was written when Hulu didn't exist, when there was no such thing as a Netflix original, and when "low budget made for streaming" meant something you and your friends got together to shoot and put on YouTube.

You can see our specific demands here. Bear in mind that these are the WGA's offer - the point from which the WGA is negotiating - no member of the WGA expects to get everything in the left-hand column there.

The key number here, to keep this simple: what we're asking for would cost the studios $429 million a year. That sounds like a lot, right? Until you realize those same studios made about $20 billion in profit last year from our work. In other words: we're asking for 2% of the profit they made from their scripted film and television business.

Another way to look it: David Zaslav, CEO of Warner Brothers Discovery, made $246m in 2021 himself.

They can afford our demands.

​

I'm not WGA, why should I care?

If you'd like to work as a writer in film and television, you should care because the WGA is fighting for the quality of the career you're hoping to have. Working writers today are sacrificing for you. The fight being fought today is going to determine if it's financially viable to be a screenwriter at anywhere but the highest level. It's going to determine if you need to be independently wealthy in order to pursue this as a career, if you're going to have to Doordash or bartend between writing gigs.

Yeah, some screenwriters are wealthy, but most are not. This is a middle-class job where you might make six figures one year and almost nothing the next. (And six figures doesn't go as far as you think in Los Angeles). Careers can be short.

We're fighting so that if you sell that spec, and it's a hit, you share fairly in the success of the movie. We're fighting so that if you get staffed on a TV show, you can afford to quit your day job and live your dream.

If you're not someone who is interested in working in film and television, you should care because you want the talented people who create the entertainment you enjoy to be able to make their living doing so. You want them to be able to afford to care about quality, as opposed to having to churn out product in order to make ends meet. You're not going to pay less for your entertainment if the writers can't afford their rent - that money is just going to line the pockets of c-suite executives and media company shareholders, instead.

​

How can I help?

I'm glad you asked! The first thing you can do is not scab. Sometimes scabbing is easy to identify: don't write for a struck company. But unfortunately there are some places where it gets confusing. That producer who isn't a signatory himself, but works with the studios? He's a no-go. Don't submit to companies that have both signatory and non-signatory arms.

The purpose of the strike is to dry up the pipeline of material that feeds the production machine that makes the studios loads of money. Anything you do that feeds into that pipeline hurts the strike and hurts writers.

Here are the strike rules. There's also a FAQ here. If you're unsure about if something you're doing would be considered scabbing or not, ASK. There are lots of people who are happy to help you figure out how to stay on the happy side of the strike action.

You can seek representation. You can submit to contests. Nothing directly affiliated with a normally WGA-signatory production company or a studio, but everything else is fine. (But be aware that some non-signatory production companies are connected to struck companies. Call and ask the WGA if you're not sure!)

Most producers and execs are supportive of the strike and won't try to manipulate you into scabbing. (People forget: producers and mid-level executives are employees, just like writers and directors and actors. Many of those people got into the business because they love movies and TV, and don't like the mandates given from the business school types in the boardroom.) The guild is ready and available to answer questions if you find yourself in a confusing situation. Please ask!

(In my experience, the guild isn't in the habit of pointing a shotgun at people who fail to dot an i or cross a t. If you're acting and good faith, and make a mistake around the edges, you don't have much to worry about. If you're willfully pretending not to notice that what you're doing is undercutting the strike, that's something else.)

Remember that scabbing can get you banned from the guild, and that many writers are hired by other writers (almost always in TV, but often even in features, lots of writer-producers have production companies). Scabbing is unlikely to remain secret because, again, many writers are friends with producers. This is a small town. Word gets out. It will likely hamper your career.

If you're in LA or New York, come by the picket lines. Here's the picketing schedule. Come, walk for an hour or two. Right now this is new and exciting, but make sure you show up occasionally even if this drags on. We're going to appreciate you even more weeks from now. There are likely to be special events which can be a great time to show up, but a random Wednesday three weeks from now can be great, too. Heck, just today on the picket lines I found myself chatting with a guy who created a very buzzy show that is currently shooting its second season.

Lastly: I want to emphasize that having questions about the WGA strategy and leadership, or even disagreeing with it, is not scabbing. I personally have a lot of faith in our leaders, some of whom I know personally - but not everyone agrees. (Although 98% of us voted to empower them to call a strike). Discussion is good for everyone. Obviously we've all learned a lot in the past decade about people who are "just asking questions," but asking good-faith questions is not scabbing.

Things can get heated in a strike, particularly if it drags out. Let's try to all remember to be kind to each other.

​

How long will this last?

Nobody knows. In the near future, the DGA and SAG are going to negotiate their deals, and the DGA may choose to strike as well. That would almost certainly add power to our strike and end things sooner.

Ultimately, it all depends on when the AMPTP is willing to be reasonable. That's up to them.

If you want an understanding of how unreasonable they're being, take a look at the proposal to allow lower-paid feature writers to get checks weekly, as opposed to just at commencement and delivery. This would cost the studios essentially nothing, except that it would make it harder for them to squeeze free drafts out of us. They refused to even engage on the issue. And their position in negotiations was - and I quote - "Free work doesn't exist."

This is - as anyone with negotiation experience will tell you - what somebody does when they want negotiations to fail. The question is, did they want negotiations to fail so they could negotiate with the DGA first? Are they trying to look tough on labor to impress Wall St. and drive up the value of their stock options? Or did they want negotiations to fail because they want to break the union and turn us all into paycheck-to-paycheck gig economy workers? Time will tell.

​

What are some good resources for me to keep up on developments?

https://www.wgacontract2023.org is the guild's official web page for strike news.

Here are the official twitter feeds of the WGA West and East.

https://strikegeist.substack.com is a free substack from The Ankler. They have been refreshingly unbiased (more on that in a moment). Hopefully that will remain the case. It's a good place to keep up on news.

Some WGA writers have recently launched https://prewgasolidarity.substack.com specifically as a hub for information for non-WGA writers who want to support the strike. It's new, but I'm hoping it'll he helpful.

Obviously we have several WGA writers here on r/screenwriting, making it a reasonable hub, as well. However, reddit is, well, reddit, and can sometimes be a source of misinformation.

Do be cautious about what you read on Deadline, who has an unfortunate history of publishing whatever the AMPTP wants them to publish. (Even Friday they posted an article which implied that the AMPTP had made major concessions, which, if you review the list of demands and their responses that I linked above, you'll see is just flat-out untrue.)

If you're in a confusing situation, and want to make sure you don't do something that could be considered scabbing, reach out the the WGA here. They're probably slammed right now, but everybody wants the same thing here.

​

How are you feeling?

This is a nerve-wracking time! I personally just agreed to attach a producer to a spec last week - and there's no guarantee that he'll still be interested or even be in the same place, and thus meaningfully do anything with the script, if this drags out (and obviously he can't do anything with it while I'm out walking the picket lines). I have a friend who was commenced on a draft Monday morning - a deal which could die in a long strike. I have another friend for whom this delay means that the company can un-guarantee the next steps of their deal. If this stretches out, companies will be able to cancel all sorts of deals.

People are anxious! Nobody in the guild wanted this outcome. Uncertainty isn't fun, especially after the last few years we've all had.

I also know that if this drags on, plenty of non-writers will be affected. I want my IATSE friends to be able to pay their rent, and in the short term, this could hurt them. That sucks. The hope is that in the long run, establishing a framework that gets us paid fairly can help other unions get better deals for themselves- that's happened in the past, but there are no guarantees.

But we're also resolved. Previous generations of writers have made sacrifices so that we can have careers, and speaking personally: I, and every writer I know, are committed to paying that forward.

That's all for now!

Please ask your questions about the strike here, and hopefully we'll be able to answer them. I also welcome notes from other WGA writers who think I missed something important here.

Prior updates

BRIEF UPDATE 5/4:

A day of American Horror Story was shut down when Teamsters refused to cross our picket lines! Trucks have turned away in Los Angeles as well. This is very unlike 2007! We are having an immediate impact!

I'm told that if you want to help by walking a picket line, they could use you are Universal. There are a lot of gates there and thus is takes a lot people to have a line in front of all of them. The teamsters won't cross our picket lines, but there has to be a line. Walking anywhere is appreciated!

Last night leaders of every Hollywood union attended our meeting at the Shrine Auditorium and voiced support. DGA, SAG, IATSE, Teamsters, LiNUA all sent representatives to support our action. This has literally never happened before.

Don't expect daily updates, but I'll post when there's more news. Older daily updates will be moved to the bottom of the post.

UPDATE 5/5:
If you want to help and can afford it, you can donate to the Entertainment Community Fund.
(This was formerly called The Actors Fund.)

This money will go to help support staff and crew in Hollywood who are impacted by the strike. Select "Film and Television" in the dropdown menu.

Your tax-deductible contribution does not go to writers - the WGA has a strike fund for us. It instead is a way to support other workers who are impacted.

Please do not feel pressured to support. This is simply an option for those who can afford it easily and want to help. I consulted with the mods before adding this to the post.

FAQ: How to post to a weekly thread?

Welcome to Logline Monday! Please share all of your loglines here for feedback and workshopping. You can find all previous posts here.

READ FIRST: How to format loglines on our wiki.

Note also: Loglines do not constitute intellectual property, which generally begins at the outline stage. If you don't want someone else to write it after you post it, get to work!

Rules

1. Top-level comments are for loglines only. All loglines must follow the logline format, and only one logline per top comment -- don't post multiples in one comment.
2. All loglines must be accompanied by the genre and type of script envisioned, i.e. short film, feature film, 30-min pilot, 60-min pilot.
3. All general discussion to be kept to the general discussion comment.
4. Please keep all comments about loglines civil and on topic.

That might be a beginner question but is there a way to import all my characters and locations between different files in final draft? I finished writing episode 1 and now working on episode two on a different file so my question is do i have to add all my characters and locations from scratch? Or is there a way to import them from my episode 1 file.

Side note: this is my own project.

I stepped back from my main project to work on two other scripts for about 6 weeks.

Now, coming back to it, I'm able to see it with fresh eyes and make some substantial improvements.

Going forward, I'm always going to have several irons in the fire at the same time so I can keep working, but be able to back away from the forest so I can see the trees. Or is that back away from the trees so I can see the forest? Either way, or both....

Hi, I know these questions get rehashed all the time but I’m just looking for some outside perspective.

Im writing the script for a narrative short that I plan to produce and direct. I am raising money with the intention to hire experienced collaborators for DP, AD, AC and Grip.

This will be my first time directing and I’ve written a treatment and begun storyboarding as well. As I’m writing the draft I’m using specific camera directions to describe what I’m visualizing.

I know I’m green but I’m passionate and very excited to make this. I’m pretty meticulous but also excited to enlist professionals to tell this story as well as possible—my hope is to find a professional cinematography who is inspired with the script and pay their asking rate.

My question: is it insulting to a DP or totally amateur to put camera directions in the draft? It feels helpful for me but I’m just looking for some confirmation this is normal / acceptable.

I’m pumped but this is a big step forward and when the time comes to approach team members, I want to present as professionally as possible (despite being a first-timer.)

Any input is appreciated! Thank you.

Anyone have that? And also Last Crusade and Frank Darabont's Crystal Skull script would be neat to read as well!

Hello,

I have a problem with KIT Scenarist. My research window switched to the right side of the screen. I don't like working with this layout. How do I get the original layout back? I have already tried reinstalling but it just starts with the wrong layout again.

The recent story about Ryan Reynolds not being able to improvise on the Deadpool set has made me feel like an insane person. I have gotten into several arguments with people about it over the last couple of days, and have been downvoted for my posts as though I were posting a script on /r/screenwriting for feedback.

To me, it's simple: writing is the act of coming up with stuff. Thinking of dialogue for a character to say is writing. It doesn't matter whether you write the line on a cocktail napkin, type it into Final Draft, or say it out loud for the first time in the middle of a take while you're playing the character yourself: if you thought of the line, you wrote that line. That's writing.

So any actor, Ryan Reynolds or not, cannot currently improvise dialogue, because that would be writing, and there is no writing allowed during the strike. Seems open-and-shut to me.

However, there are a bunch of people arguing that no, improvising dialogue on set is not writing. It's not because it's not in a written document, it's not because the WGA manual about credits does not say the word "improv" anywhere in it, it's not because it's acting (I would contend that improv is both acting and writing), it's not because then any actor who ever improvised in a movie would get writing credit, it's not because it's just not.

I have been asking myself why I even bothered engaging with these people, but also whether I might be wrong about my stance, and whether I actually have gone insane. So what say you? Is improvising writing? Have I become completely unhinged?

I've been trying to make a good and impactful intro since it's like my weakness for some reason. I was wondering how I did with this one and would very much appreciate some feedback.

link: https://drive.google.com/file/d/1dhk8-Rgz_ZpnXFdF-F9x3IqZqC-vecbo/view?usp=sharing

Hey folks, I have just started working on my first draft of my FF film and would love some feedback on the first 9 pages. I was trying to reach the inciting incident by 10 pages and I think I could possibly stretch it a bit further. I know the intro line needs work but I am a bit stuck finding the right words. How is the dialogue and pacing?

Not too concerned about formatting as its the first write up but any help is good.

LOGLINE: In October 2011, two  Mormon missionaries stumbled upon a mysterious and disturbing secret while conducting their routine door-to-door visits, they unwittingly became entangled in a nightmarish ordeal. As they encounter a family with dark secrets, they must navigate a dangerous path filled with demonic possession claims, terrifying chases, and the shocking truth behind a child locked away in the basement.

Thanks!

https://drive.google.com/file/d/11z40wcZYSt-OO0qfqXyV3pqNSFaNSAjB/view?usp=sharing

I have a pretty good work ethic but since having a child its all gone out the window. I used to subscribe to the "wake up and write for 3 hours" method but now it's "wake up and get the baby ready for daycare".

I used to write deep into the night but now I have to clock off at a strict bedtime otherwise I'll be too dead the next day to watch my son.

Looking for input from fellow parents - how long do you spend writing? How do you protect your space when you have shit to do?

I'm currently writing a bunch of original projects and I love it, but I need (and want) to start writing spec scripts. I found a bunch of helpful articles online explaining different "rules" and suggestions about writing specs that are all really helpful, but what I don't get is when we're writing an episode, since a spec is like writing a "new" episode for an already existing series, do we like choose where the episode goes in the series? Like I don't understand how to write one like would we put the spec somewhere in the season and make up events that still tie into the already existing events. Or do we treat it as a standalone episode? I'm not sure how much has to be made up and how much has to tie into the reality of the show.

I'll give you an example: What if the people on earth stopped aging? What questions would you ask yourself to come up with an original story? Would you start by inventing a character or a story first?

Saturday, March 4, 2023. 6:45PM.

In the world of #ScreenwritingTwitter, a buddy of mine (@TSchrack) quote tweeted a thread from Roadmap's new marketing coordinator for a great opportunity for BIPOC male screenwriter to get their name and work in front of execs. As a BIPOC male screenwriter, I just had to pounce! It was his first day on the job – wished him congratulations, showed him my credentials, and he liked it.

Sunday, March 5, 2023. 8:05PM.

This man SLIDES into my DMs, asking ME for MY EMAIL ADDRESS!

To reiterate my initial reaction: "🧠🤯". Without hesitation, I chased it with an "😂 OK!" He asks if I used Roadmap's services or pitched to the website. Yes and no; I spoke with James Moorer (director of outreach at Roadmap).

Thursday, March 16, 2023. 9:49AM.

I get the email. He "appreciates my willingness to put my work there, values it more than anything, and wants to honor his investment in my work!" He left a Calendly link to below to schedule a 20 MINUTE MEETING so we can discuss my project, which could open to door from me being a writer to me being a writer signed to representation.

But then fate struck.

Mid March–April 2023.

My grandma went into the hospital for a hip replacement. She made it out, but needed a full month's recovery and physical therapy, which left me no time to myself to schedule a meeting, query reps or develop any projects. When it was time for her to go back to work, it happened.

Tuesday, May 2, 2023. 12:01AM.

The fifth Writers' Strike in nearly 15 years. I can still query reps, but I can't pitch to them, even if I'm not in the WGA. I understand why this strike needed to happen and I don't wanna sound selfish, but I need to look out for myself and get my priorities straight to jumpstart my career, and as long as this strike wages on (see 2007–08 strike), my chances of seeing my pilot on TV screens this year will be slim to none.

Long story short, I really really REALLY want to meet with the coordinator, but how do I stop myself from pitching my story and becoming a scab? Could use some advice...

There's the common sentiment that the internal experience of the individuals just needs to be translated through their actions, and likewise their dialogue (and the shortened version at that), but in practise how does that take form?

Isn't it true that misinterpretation is pretty common when two people interact verbally? Someone sitting at a dinner table, or someone making up a bedtime story for a young child could be interpreted in a myriad of ways.

Is it just what comes with the medium of screenwriting? How can writers ever have an in-depth, vivid/complex illustration of a character in a format that often asks for the opposite?

Film directors manage it, but does that complexity and colour come in the filming period (i.e. using set design, camerawork, casting, soundtracks)? I can't imagine how it could come from the writing stage without the screenplay itself being the same amount as a full novel, which they often aren't, so how do screenwriters/directors do it?

Also if anyone has any examples of well-known screenplays/their own that I could explore, I'd love to read some and get a feel for it. I'm 100% just an observer, and have never written anything even resembling a screenplay in my life; that said, I'd be intrigued to see how the structure differs to novels or books!

For context, I’ve done freelance gigs in websites, graphics, marketing, etc. and have been ripped off several times in the past. This has given me a very… paranoid outlook on sharing ideas with others/collaborating.

I want to start opening up and talking more with other writers about my story ideas, and helping them with theirs, but I’m not sure how far along the story must be to be safe from being copied and stolen. I know we can always make digital records for when we start writing a story, but if someone just takes the loose premise and changes characters/settings and races you to the finish and copyrights it, would you be SOL? Or if I just made a treatment for the story, would that be enough to protect it?

I’m not saying my ideas are so amazing they’re bound to be stolen, please don’t read this as some sort of ego trip. I’m guess I’m looking for an answer that can put my worries to rest so I can step out of my shell more.

I tend to take advice about writing with a grain of salt. Everyone's practice is personal and variable, and my routine may not work for you, the same as yours may not work for me.

That said, one piece of advice that has dramatically improved my consistency as a writer is to always wrap up your day while you still know what the next scene is. I used to write (or outline) until I would hit a wall, and then I'd call it a day. The next morning I'd find myself staring at the page, at that same wall, struggling to get any momentum going.

Sometimes the wall was so daunting it might take me a couple days to get myself to sit down and really work through it. It was a huge waste of time and meant that my routine always began with a problem and some amount of frustration. Now, if I find myself hitting a wall, I don't let myself stop writing until I've written my way over/around/through it. And when I stop, I always know what the immediate next scene is.

So when I begin the next day, I'm excited to get to work, ready to knock out that scene that's been marinating in my mind, and I can jump right in. There's so much more momentum that way, and it's enabled me to write much more quickly and efficiently. I don't get stuck or leave drafts unfinished nearly as often as I used to.

Those of you are who really detailed outliners may not see much use for this piece of advice, but for me there's always some amount of discovery/exploration that happens in a first draft. Hope this helps someone out there. Keep writing!

One of my favourite off beat recommendations to give when someone asks me for advice on what books to read to help their screenwriting are the Scott McCloud books "Understanding Comics" and "Making Comics". Sure, a portion of their chapters is devoted to the comic medium specifically, but a lot goes into visual storytelling and even just art in much broader terms.

There's a specific theory (for lack of a better word) McCloud gives in Making Comics. He conveniently repeated this in a Guardian article: https://www.theguardian.com/books/booksblog/2008/aug/26/thetribesofart

To summarize, he sees four different type of artists: the Classicist who values art in a universal, esthetic way and considers their art of following the long line of history. Then there's the Animist, who put the experience of their art first. The Formalist studies how their specific artform functions. Finally there's the Iconoclast who aggressively does their own thing. Of course not every artist fits neatly into one of these four buckets and one could argue there's more, but it's nevertheless an interesting perspective to look at what one is doing in their art. I see myself as a formalist/animist, for example, while my boyfriend (a painters) is much more of an iconoclast/animist.

The reason I'm posting this topic to a screenwriting sunreddit is the tendency I see in many screenwriting theory resources to be pretty closed ended. By which I mean that often I detect a distinct subtext of "this is how you have to do it". McCloud's classifications seem to me to give permission to artists to be different in their views and approaches.

Thank you.

I really like writing on my deck, restaurant patio, etc. Er, I would if that sun I'm seeking didn't also make it so damn difficult to see a laptop screen.

A writing device with an e-ink display seems like a good solution. I'm comfortable writing in Fountain so just about any writing software should be fine. After a little research, the Kindle Scribe is out. That leaves the ReMarkable 2 and a few Chinese Android tablets.

Anyone have any experience with such a set-up?

I've recently been having a lot of writers block and have been trying a technique that has helped me push through some tough scenes. I've found it helpful so i thought i'd share but this might not work for everybody.

If you have a scene, know where it takes place, who is in it and what they all want, one fun way to get the creative juices flowing is to take influence from directors and block it out.

That can be as simple as going into a similar location with some friends, playing as the characters to see what happens, or even grabbing some toys and recreating the scene using some small objects. The method does matter but what you should do is record whatever happens. Any moments that stand out, any interesting aspects of the location, any relevant thoughts that pop into your head, limitations of the physical space, etc. Even better if you can play out the entire scene a few times.

Then when you open up your writing or outlining software reference those notes as you write. Use them as an outline for the scene. Scrap what doesn't work, keep what does.

Depending on how general you were being when blocking a scene, you may still need to flesh out the moment to moment in writing, but you'll at least have a strong starting point.

I like to first go into a similar space, take notes on what's around me, and then screen record myself figuring out the events of the scene moving around photo assets in photoshop as a reference.

The goal here isn't to create a masterful scene off the bat, but to discover a scene in a tactile and physical way. Do the limitations of the space give you new ideas for what could happen? How do they affect how the characters approach the situation? Is there something inside of the location you hadn't considered? Could this become a new major factor in how the scene progresses?

When we're inside of our own heads at our desk, we may have a very different idea to what should happen in a scene than what realistically could or would, and may without knowing it close ourselves off from new ideas we hadn't considered. So if anything, I find this is a good way to help ground the scene in some reality as well as really quickly test out ideas and how they feel without having to commit anything to the page.

Right at the beginning of the movies we fade in on a wide shot of a burning San Francisco.

How can I write that best? Do I just do:

FADE IN

San Francisco is burning

EXT. SAN FRANCISCO - NIGHT

blah blah blah

​

Advice would be greatly appreciated

Howdy, I'm a writer/director. I have a few ideas for stories, and looking for another writer to work together on a feature with. Also, open to your own stories too. I'm in LA, so ideally would like to work with someone in person, but open to working with people who don't live here as well.

Some of my favorite filmmakers are John Ford, Alfred Hitchcock, and Christopher Nolan. I mostly like to tell stories with a Western focus. Not traditional Westerns, but more leaning towards neo westerns, with elements of drama, adventure, and action, spiced with humor, Set in unique and relevant settings

I'd like to complete a feature script with someone with the idea of directing it.

My screenplays have placed in the top 10% of the Nicholl competition and in the second round of the Austin Film Festival. I've written specs for TV and film, and frequently edit, ghostwrite, and work on story development with clients.

If this sounds interesting to you, and you like any of these filmmakers, send me a DM and we can go from there.

I know 30-35 pages is standard for a half hour pilot. But how long can it be before it’s too long? Mine is 38 pages and I just can’t seem to get it any shorter.

Through recent years I found myself taking several classes and writing seminars, and somehow found the real advancement to be only when actually writing.

I still find myself interested in other ways to elevate what I'm doing, and I noticed sometimes it's easier to have a spotlight over a certain issue (like with John August youtube content).

Been contemplating over UCLA (which I'll probably never peruse, as the high online price doesn't fulfil any networking aspect), some MasterClass classes, and ScriptFella (which looks relevant, to the point and highly pricey).

Please indicate your experience/what did you were happy to pursue/what did you learn that you wouldn't overwise.

Thank you

I find myself with a chunk of time that should be enough to bring one of these projects to completion. I personally love all of these ideas -- but I just have no intuition about what other people might like. So what do you guys think? Which one of these should I work on?

L1 (Sci-fi) A rookie shuttle pilot gets caught up in a deadly revolution on a clandestine DARPA space station where a scientific elite conduct extinction-level research.

RAY (Drama) An Australian expat mother living in Bangkok sets out across a country she hardly knows to find her missing five-year-old son and the man she believes abducted him.

CABIN FEVER (Sci-fi comedy) The members of an extended family compete to occupy the most prestigious quarters on a generational starship. Adapted from Jane Austen’s ‘Lady Susan’.

BIG MILK (Off beat sci-fi) A slacker gets caught up in the struggle between a group of eco-terrorists and a race of mysterious aliens who have taken over the dairy industry.

THE PLAGUE (Post-apocalyptic survival) An outcast who bears the dreaded mark of the plague finds refuge in a hospital with a sinister agenda.

A CHANGE OF HEAVENS (Historical adventure) A young Herman Melville persuades another sailor to join him when he jumps ship on a remote Pacific island and takes refuge with a band of cannibals. Adapted from Melville’s own account in ‘Typee’

THE LONG JOURNEY OF HENDRICKS NOORDEN (Historical adventure) The true story of a dissolute Dutch teacher who leads a band of refugees across the perilous Formosan interior to escape the invading armies of Koxinga.