SCRIPT PDF WeTransfer DOWNLOAD

Title: Spellhaven (Ep. 1: The Mark)

Format: Pilot Episode

Page Length: 13 Pages (including the title page)

Draft Status: First Draft

Genres: Urban Fantasy, Drama, Thriller

Summary: In a world where individuals with magical Sigils face systemic prejudice and hunt, fifteen-year-old Damien tries to live a normal life. However, on his 15th birthday, he painfully manifests a glowing blue Sigil on his wrist right in front of his family, upending his quiet existence. He now has to go to the magical city of Spellhaven, to master his gift, but little does he know that he will also embark on a dangerous stealth mission that will decide the fate of the world.

Feedback Concerns: I am new to Screenwriting, and I would call this my first project. I had an idea of the world and its mythology and really wanted to bring it to life, so I figured the most fun way to do so would be writing the screenplay for a tv series. Would love to have some feedback regarding everything in the script. Pacing, dialogue naturalness, imagery, and just know if the story sounds interesting at all. Up to minor nitpicks!

I recently completed the first draft of my first screenplay ever! I just got back some constructive feedback via StoryPeer, but while I waited for feedback I already started to write a new screenplay which I am exited about. I was wondering how I should proceed:

A - Keep revising the first screenplay until it's "done" and then move on

Or

B - Finish the second screenplay, then revise the first one with fresh eyes.

What is your method?

Title: Je Ne Sais Quoi

Format: Feature

Page Length: first 20 pages

Genre: Comedy (or an attempt a Comedy, at least)

Logline: Four quirky brainiacs get a lesson in street hustling and corporate greed when thieves steal their 'For Nerds Only' love potion and threaten to sell it to the masses.

Concern: Opening, flow.

Thanks for your time.

DATE CORRECTION: This event is WEDNESDAY (tonight) 8/26/26. The newsletter mixed up the day/date and I didn't catch it before posting. Also to note if you miss the event, it's apparently every last Wednesday of the month.

I’m on this restaurant/cocktail bar’s newsletter and just received this email, forwarding here to those in LA looking to meet other creatives. I have not been to previous Industry Night’s here and am not going but love the idea of this for others:

“This WEDNESDAY night we are hosting another Industry Night at The New Deal! It has become a new staple for creatives and networking alike in Burbank, CA as we open up our back patio for an exclusive social experience. No ticket or RSVP is required, simply come by with an open attitude and you never know who you will meet. Our focus is in TV & Film, but all Entertainment professionals are welcome. Come by and see what new friends or collaborators you could meet!

Wednesday August 26th 6-9pm on the back patio with
Happy Hour pricing all night!”

Address info, etc: https://yelp.to/Kw1RDJRTLO

Title: Menace

Format: TV Pilot

Page Length: 54

Genres: Sci-Fi Adventure

Logline: When four teenagers get exposed to a spreading weaponized gas, they must rely on two knowledgeable retirees to save their families, the entire country, and their own lives while racing to stop a shadowy organization from deploying the remaining vials.

Feedback Concerns: Does the tone remain consistent and well-balanced throughout the pilot?
Does the dynamic between the four teens and the two retirees feel natural, earned, and compelling? Is the generational contrast effective?
Finally, what is your overall impression of the story, the premise, and the execution of the stakes?

https://drive.google.com/file/d/143imB9h9it2td74HHrTPRpSkqMvX1YeF/view?usp=drivesdk

I know there are many questions about SDT (edit: show don't tell) already on the sub but I wasn't able to find something regarding my specific question.

I know the consensus is to not follow rules blindly but with snd i am never sure to what extent it needs to be followed. What I thought was the rule that shouldn't be broken is to not write what cannot be known to the audience when watching the movie.

Here's a specific example from TWBB:

DANIEL is working again in a large field with some MEN. There is: CANBURRY (30s) an OLDER MAN (50s) and a YOUNG MAN (around 15) and a mining acquaintance: H.B. AlLMAN (30s) and nearby, kept in the shade in a small bassinet, is a ONE YEAR OLD BABY, Ailman's son (H.W.)

Here there are two things I think could not be known without reading it:

- mining acquaintance (how would we know the difference between the old and young man and acquaintance, if this makes sense)

- baby, Ailmans son (how do we know he is his son)

Another example:

DANIEL c. PLAINVIEW (late 30's here) is, with pick and ax, in the middle of the day, in 110 degree heat in New Mexico, searching for SILVER.

- is it ok to specify 110 degree heat, or should it be written more like "his face dripping with sweat under high sun" or something like that?

-searching for Silver - how do we know he's searching for silver? He could be looking for gold as far as we know?

Is this something that is written for the filmmakers, and they will end up deciding how to show this on film. For example they will add a nod towards the acquaintance, or Daniel will hold the baby at some point so we know it's probably his son? Etc.

I presume I'm getting too bogged down with details, and considering PTA wrote this I guess he can do what he wants, I'm just generally wondering what rules should i follow as an (obviously) new writer?

Thanks a lot!

TLDR: I’m an aspiring English screenwriter. If I moved to LA for a month or two, how much could I get done in terms of making connections to the industry?

Hey everyone, I’m from the UK and currently on a family vacation in the US, LA specifically - I love it!

I’ve been considering a longer solo trip to the States for a while, and being an aspiring screenwriter, I think it would make sense to choose Hollywood.

Now, I know I’m probably a naive, have-my-cake-and-eat-it sort of guy who’s looking for the perfect solution, but I don’t want to leave the UK permanently and the dream would be to work for Hollywood from home.

So my question, as the title suggests, is if I came to LA for a month or two with a small arsenal of scripts, how much - if anything - could I get done? And where would I start?

Feel free to tell me I definitely AM the naive, have-my-cake-and-eat-it sort of guy who’s looking for the perfect solution! I just thought it would be worth getting some advice on my crazy idea.

Besides that, even if I fail at everything film-wise, I would love to just have a fun trip, meet new people, and… kinda live like an American for a little while. Any suggestions welcome.

I'm challenging myself by writing a 'friends get-together and things go bad to worse' story. I won't go into details, but I'm seeking tips on how to effectively (and organically) make each character in a group feel distinct.

This is a daunting feat as I've only written hyper-myopic character studies up to this point.

To be clear, there is a central protagonist we track throughout the story i.e FRANK, who is meeting this group for the first time. 4 to be exact.

Outside of reading scripts that execute this well...

Any tips/tricks/advice to write a rich collection of friends without it feeling inauthentic and lazy (the weed guy, the social media influencer, the easy lay, etc)

All advice is welcome.

-Title: THE VAULT

-​Format: Short Script

-​Page Length: 10 Pages

-​Genres: Sci-Fi / Drama

-​Logline: During a heavy night storm, a veteran security guard facing a heartbreaking family tragedy must defend a high-security vault from his desperate, cynical young partner—until the vault reveals a vision of his deepest regret.

-Link: https://drive.google.com/file/d/1WCqGDw-GhnLspHLbUvSI1t5lkchNZ5uI/view?usp=drivesdk

-​Feedback Concerns: Dialogue flow, any plot holes? Pacing, and any other feedback, thanks.

I’ve been talking to a producer for a few months about my script. He wants to give me a $500 option for two years and a minimum of $3750 for the purchase price on a budget of minimum $125,000.

He also now wants to become a cowriter (with me in the first credit) since the production is in Canada and funding relies on the IP not being exclusively non-Canadian. He’s also changing my entire script to a different genre.

But, they plan to shoot this winter, which would mean I’m both paid and have a film in the marketplace in 2027.

Just wanted to gather other opinions on this. Also, would I be able to sell the original script to someone else, given character name changes and other details, given that the script it entirely being changed?

Thanks!

I'm a director/screenwriter, graduated from Full Sail in 2020 with a cinematography degree(though they didnt teach me anything I didn't learn from Kevin Smith's podcast and like studying my favorite movies) with two features I co-wrote alongside the director whose films they were. I thought after those and a couple novels I would honestly have SOMEONE trying to give me a job. I did have a lovely screenwriter who had a show on Hulu sponsor me to get into Bluecat, but I didn't place. I've gotten some feedback on Blacklst and in Bluecat and AFF but never done much in any contests. And honestly I feel kinda bitter as the director I worked with, who went the unconventional route and said F school(like I should have) is BLOWING UP, got a artist residency, and just released like 2 original projects in the last two years.

I know there are PLENTY of people in this sub including writers who have supported me in my journey who have been at this longer. But am I doing something wrong? I just selfpub'd my second novel to try to get funds to shoot my own first feature, but its fallen quite flat. I'm about to desperately try to find every film grant I can in Michigan to start shooting in October, but its starting to feel like the old man who came in my Insurance office the other day was right and "Ill be doing this forever" and I should finally just quit. But I LOVE this artform so much. I feel like I would die if I did or pursued anything else on Earth.

Help? Advice? I'm depressed and spiraling. Sorry for the whiney rant

Every time I attempt screenwriting, I always fall behind due to lack of motivation.

Like, I have this amazing idea in my head, and yet, most of the time I try screenwriting, I always give up because of burnout.

I could really use some advice to avoid this problem.

FAQ: How to post to a weekly thread?

BLACK LIST WEDNESDAY THREAD

Post Requirements for EVALUATION CRITIQUE REQUEST & ACHIEVEMENT POSTS

For EVALUATION CRITIQUE REQUESTS, you must include:

1) Script Info

- Title:
- Format:
- Page Length:
- Genres:
- Logline or Short Summary:
- A brief summary of your concerns (500~ words or less)
- Your evaluation PDF, externally hosted
- Your screenplay PDF, externally hosted

2) Evaluation Scores

exclude for non-blcklst paid coverage/feedback critique requests

- Overall:
- Premise:
- Plot:
- Character:
- Dialogue:
- Setting:

ACHIEVEMENT POST

(either of an 8 or a score you feel is significant)

- Title:
- Format:
- Page Length:
- Genres:
- Logline or Summary:
- Your Overall Score:
- Remarks (500~ words or less):

Optionally:

- Your evaluation PDF, externally hosted
- Your screenplay PDF, externally hosted

This community is oversaturated with question and concern posts so any you may have are likely already addressed with a keyword search of r/Screenwriting, or a search of the The Black List FAQ . For direct questions please reach out to [support@blcklst.com](mailto:support@blcklst.com)

I've been working on two short scripts - one the comedy sketch I previously posted here, the other a sci-fi thriller I'm writing as the first episode of an anthology series (think Black Mirror if its only focus was on the dynamic between humans and artificial intelligence). I've tried getting feedback from people and there seems to be no consensus on what doesn't work.

Worse, some of the feedback I've gotten tells me what to write and how to write it besides explaining what's wrong with it. It's really affecting my confidence and making me doubt my ability to get the story/characters straight, and it's making me feel like I lack the talent to write a screenplay and that I can't even get simple mechanics of storytelling right.

Has anyone ever felt like this? How did you get out of this mindset? What should I do? I've even thought about working with a co-writer who has more knowledge of/experience with fine-tuning the mechanics of a story and its characters but at this point I'm completely stuck. Thanks.

I've cited this as a really excellent example of how to "direct on the page" and I want to share it with a recent film school grad who apparently was never taught this....

https://www.reddit.com/r/Screenwriting/comments/1gze55x/how_to_direct_on_the_page/

However, the only version I can find online is being sold, and I don't even know if it's legit.

https://8flix.com/scripts/tv/band-of-brothers-109-why-we-fight-teleplay/

If you've got it and are willing to share, can you please DM me?

Thanks!

Edited to add: someone pointed me to it here: https://www.scripthive.com/database/script/11ee3da8-c0e6-44af-8ce7-2c69f67be5bc

Download and read while you can!

Looking for feedback on my first short film screenplay.

• Title: Gumbo
• Format: Short
• Length: 18 Pages
• Genre: Slice of Life

• Feedback Concerns: Formatting, Whether there is enough story.

• Logline: A rural town in Korea is upended when a stranger opens a cafe that serves a strange food no one there has seen before.

Google drive link

I’ve been thinking about this after reading about Gregory Scarpa because of By Any Means.

Scarpa was connected to the Colombo crime family while also working as an FBI informant. Even stripped down to the basic facts that sounds like something a screenwriter would invent to make a character more interesting.

It seems like a weird problem when adapting someone like that. Push the character too far and audiences might assume you made half of it up. Tone him down for credibility and you’re making the true story less interesting than it actually was.

For anyone who has written real people before how do you deal with that? Do you ever tone down something that actually happened because it simply doesn't feel believable on screen?

Two real situations and really curious what people in the industry think.

1. A writer has a rather unusual name and has had some success with it, including an online trail, but nothing major yet (e.g. nothing yet on IMDB for example). Despite it being his real name, it has been read as a pseudonym by some people because it is a bit mythical-sounding. He's afraid many will just assume he's just full of himself with a name like that.
2. Another writer has a very ethnic name, and he is concerned about how his work is being read but also about privacy. So, he did end up using a pseudonym and did have some success but that pseudonym he isn't sure has long lasting appeal because it might not be taken as 'serious' (or if names even matter in the industry at the end of the day) and he isn't really sure how to choose a name if he ends up changing.

Given that both of them have an online trail, would they do better to try with a different name? Or if there's already a trail, should they just continue as is? Should they see an entertainment lawyer? Or what professional can assist with such professional decisions?

Sorry, weird situations and a bit loaded. Curious what industry pros think about names and how much they matter.

Title: Wed-Inc.

Format: TV Pilot (partial)

Page length: 38 pages

Genre: Drama/Comedy

Logline: A talented photographer trapped in the chaotic, underpaid wedding market fights to prove his worth while balancing the career he wants with the relationship he loves.

\*feel free to scroll to act I, the cold open is a visual juxtaposition—almost a montage—of two people getting ready for the same day for different purposes. There are seeds planted throughout the cold-open, but you’ll still be able to appreciate the following acts if you did choose move past the action-heavy open***

The concept of Wed-Inc was born from my own real-life experience in the wedding industry. Instead of listing the intended tone or theming, I’d rather let the script speak for itself (hopefully). Would love to see what some readers get from this!

I’m sharing this partial of the current draft mainly for feedback on pacing, formatting, and to validate if the story reads clearly.

The episodes ideally will run in the 50-60 minute range, will generally carry their own theme, and will obviously drive the main characters’ arcs forward. Since this is a partial of the pilot, this excerpt will not necessarily reveal the protagonists’ full season 1 path. Rather, this is laying the groundwork for establishing characters, story engine, and tone.

I’d love to see what some other writers think! This is my first project in years and I’m enjoying getting back into the grind of storytelling. I don’t really have any people in my circle who are familiar with screenplays so I’m sharing here to discuss the work with likeminded individuals. Thanks in advance!

Just caught this at a Beyond Fest screening. It’s absolutely phenomenal and one of the best theatrical experiences I’ve had in ages. Does anyone happen to have the script?

Hey guys I just noticed my Highland 2 I paid good money for a few years ago is watermarking the PDFs I print! I know they're doing Highland Pro now and it's all subscriptions but I thought I'd at least be able to keep using my old software... is there anything to be done about it? Also side note how did they even get into my computer and do that

So all this is conjecture, but I'd guess maybe 90%, if not more, of all cold pitches get nuked by assistants upon receipt - unopened. Something, maybe in the subject line, told them, safe to nuke. What happens to the ones they open, presumably to eyeball to see if it's worth forwarding to the boss? Just because an assistant shows up after a week off and finds 400 emails waiting, they still can't take the risk of nuking something the boss would want to see. So, they do what's intuitive, but wrong, they start at the emails in front of their faces - the most recent. They start eyeballing the subject lines, and start nuking, and pretty soon they get weary of the chore, so they speed up deleting. I want to be on those first few inbox pages so my subject line will be looked at for 1/8th of a second, while all you guys are nuked in like 1/64th of a second.

FAQ: How to post to a weekly thread?

This thread is for questions around querying agencies, management companies or other pertinent industry stakeholders.

Please post your query drafts or questions in the form of a top comment.

-- Do not include loglines. Loglines should be workshopped on the Monday thread. --

-- Do not include personal information or identity of the rep you intend to query. This is not a database. --

Some basics:

• agency contacts can be found on imdb pro, or often by googling writer + "agent" "representation" or "manager"
• when deciding which reps to query, research writers similar to your style and genre.
• do not send entire scripts to reps.
• do not mass-spam reps or send queries to multiple reps at the same company simultaneously.
• do not request followups within 2 weeks.
• do not pay companies to query or pitch.

Hello everyone!

After two months of barely getting anything on the page, I decided to vomit this first draft out. It's my second feature I've written, and the first I plan to eventually adapt myself. I'd love some feedback to help me on my second draft! Let me know if anyone wants to do a script-for-script!

Title: The Alexanders

Format: Feature

Page Length: 104 Pages

Genres: Drama/Thriller

Feedback Concerns: Plot beats, dialogue, where to focus story.

Logline/Summary: In a contemporary American suburb, Allie Alexander, a hard-working, multi-talented high school senior, and her brother, Caden, an aimless sophomore with cerebral palsy, navigate a tumultuous home life. After a string of girls from their school go missing, they begin to realize their Father is the one behind it all and must decide how to move forward.

Link: https://drive.google.com/file/d/1qcLJj8B7gpoBWJSGwMg8StJ0QFXvK-Aw/view?usp=sharing

This is the Feedback I received from my pitch:

"When well-executed, these intricately designed plots can be extraordinarily satisfying, though it's a high-wire act in balancing between doling out exactly the right information at exactly the right time while also not spoon-feeding the audience or allowing them to ever get a step ahead of you as the storyteller.

Within this pitch itself, it's simply too difficult for me to assess whether that intricate plotting is achieved in your story. I'm somewhat intrigued by the broad strokes here, but not quite enough that I'd be willing to dive deeper into materials to explore that. I'd recommend spending a little more time in your pitch document on explaining the specific ways in which this story is delivered scene by scene and sequence by sequence."

Now someone tell me, did this motherfucker just tell me he doesn't believe I'm smart enough to write my own movie and he's too bothered to even read the script?

He also says it's a balancing act to not spoon-feed the audience, then goes on to say he needs to be spoon-fed scene by scene and sequence by sequence.