r/Screenwriting 12d ago

OFFICIAL Updates & Clarifications - August 2026

29 Upvotes

Some rule updates and reminders.

New Software Post Restrictions

As we are being repeatedly contacted by people vibecoding their own software, we've found it necessary to update this rule. No software posts of any kind may be made without moderator approval. In general we are not accepting new software listings or research requests. We may look at your request, but unless you’re offering something of significant value to screenwriters specifically, it’s likely we won’t consider it.

We’re even less likely to consider your request if you have a brand new account, a concealed/blank post history, or you have spam-posted your app across multiple subreddits. If you’re offering something that is already available to filmmakers generally (ie: production software or organizational apps) slapping “for screenwriters” isn’t enough to make it of unique value to the community. 

We may, depending on our availability, canvas the community for their favourite screenwriting adjacent apps for a future wiki, but for now, users are fully able to research supplementary apps on their own.

Note that requests to post vibecoded software may result in an instant permanent ban. We’re very serious about keeping AI out of this community. 

Post Pages Requirement

This is mostly for the newer writers, so if you're an experienced member of the community, this probably doesn't apply to you.

We’ve updated some of the language around ideas crowdsourcing and pages removal. There has been a considerable uptick in users requesting development help with early stage script planning. This is problematic for many reasons, including putting the ownership of ideas in question, publicly workshopping unprotected material, and attempting to farm out creative labour that rightly belongs to the screenwriter. While script theft risks are minimal, ideas are not property. That begins (in the US) at the outline/detailed treatment stage.

At the moment, the majority of “help me with my idea” or “here’s a hundred words of my idea, how do I make it good” stems from a desire to avoid making a mistake, or to make something perfect before it even exists. The reason posts get the “Pages Takedown” is because the process of feedback can’t really begin until the screenwriter has made an attempt. If you’re so afraid of making a mistake that you feel the need to crowdsource approval, then you’re not ready for the feedback process. Making mistakes is the process.  

Brainstorming

Brainstorming can be a helpful practice, when done in private with a small, dedicated group. It's not as effective on a public stage with total strangers, and again runs into the issue of trading on ideas you don't control, and can't stop someone else from using. There are plenty of private groups and discord servers where this kind of engagement can be done more effectively.

Note: we will be making future announcements about writers clubs and groups. 

If brainstorming is something you feel the need to do here, Logline Monday is the place to do it--at minimum, you’re workshopping something you will actually use.

We will (on a casual basis, or based on reports) be evaluating these early development posts based on whether they’re actually asking a specific question about well-thought out material. If we see evidence that there’s significant work already done and that the question being asked is targeted on a specific issue without being needlessly generalized we may allow the post to stand. Vibe checking or asking for feedback on a single page of prose where you are not asking a very specific question may be subject to takedown.

Outlines

Requests for critique of entire outlines will be more strictly dealt with, as anyone with an entire outline should be moving on to the scripting phase, and not seeking development help on the structure of their script. All structure is execution dependant. Someone can easily recite Syd Field or any other readily available generic text on structure, and your execution can still fail. If structure proves to be your problem, someone will address it when giving feedback on your script--and you’ll have a script to fix rather than something you haven’t started yet.

Minor Business

In addition to the new software rules, we’re blending the script cattle call rule with crowdsourcing ideas rule. The removal reasons will be specific, but they all refer to that rule.

We've also updated some of the language in our removal reasons. Please read them and check out the resources they provide prior to messaging the mods.

It’s worth mentioning here for the people who feel they’re being censored from putting their ideas out into the world — serious industry stakeholders (ie: producers, representatives, etc) are not known for searching this subreddit for development materials. They do not want “ideas”.  They want finished scripts, very few of which they source directly from r/screenwriting. Those that attempt to are do so have dubious credentials, and are breaking our cattle-calling rule.

r/screenwriting is a stop on the path towards marketable product and network connections, not a community that will make you into a writer if you aren't one, or lead you to a career. It's a workshop, not a marketplace. The more you can think of it as a resource for improving your work and your peer connections (and for helping others) the more you'll get from it.

If you want more information on how best to proceed, check out these posts:


r/Screenwriting 4h ago

WEEKEND SCRIPT SWAP Weekend Script Swap

2 Upvotes

FAQ: How to post to a weekly thread?

Feedback Guide for New Writers

Post your script swap requests here!

Alternately, if you are on storypeer.com - call out your script by name so people can search for it.

Please do not identify yourself publicly if you claim a script on storypeer, but follow the "open to contact" rules.

NOTE: Please refrain from upvoting or downvoting — just respond to scripts you’d like to exchange or read.

How to Swap

If you want to offer your script for a swap, post a top comment with the following details:

  • Title:
  • Format:
  • Page Length:
  • Genres:
  • Logline or Summary:
  • Feedback Concerns:

Example:

Title: Oscar Bait

Format: Feature

Page Length: 120

Genres: Drama, Comedy, Pirates, Musical, Mockumentary

Logline or Summary: Rival pirate crews face off freestyle while confessing their doubts behind the scenes to a documentary director, unaware he’s manipulating their stories to fulfill the ambition of finally winning the Oscar for Best Documentary.

Feedback Concerns: Is this relatable? Is Ahab too obsessive? Minor format confusion.

We recommend you to save your script link for DMs. Public links may generate unsolicited feedback, so do so at your own risk.

If you want to read someone’s script, let them know by replying to their post with your script information. Avoid sending DMs until both parties have publicly agreed to swap.

Please note that posting here neither ensures that someone will read your script, nor entitle you to read others'. Sending unsolicited DMs will carries the same consequences as sending spam.


r/Screenwriting 13h ago

NEED ADVICE Landed my first big pitch meeting! Any tips on how to prepare?

47 Upvotes

I've been on a nice lucky streak recently and it led me to my first real meeting! It's something really new to me, as I started writing in 2024.

Basically I just recently graduated from UCLA's Screenwriting Professional Program, wrote two features there and came back to my home country. The second I wrote as a low budget feature that I plan on directing. The first good sign was that it got accepted into a well-known Directing Lab here, and now a very established production company wants to talk to me. Added context: it got chosen as part of the business rounds of a festival. You could send it to 40 "players" and they were the only ones who picked me, thankfully it was the best fit and the one I wanted the most!

Besides being a production company with some shows and films on their belt, they're mostly known for Youtube comedy sketches. Something that I also do and had some success on, which I noted on my application, so they might have seen my online comedy work.

I've done some pitched in classes and stuff, but have no idea on how to prepare for something like this. I don't really expect anything crazy to come out of it, but I'm excited to talk with them and put my best foot forward. Any tips from my favorite subreddit?


r/Screenwriting 14h ago

COMMUNITY London writers groups

23 Upvotes

Hey,

Would love recommendations for writers groups / circles in London. Am writing (film scripts) in a vacuum and craving community.

I’m upper -intermediate; nothing produced / optioned but also have had some training and not starting from the basics. Groups at that level or a little bit above (if they’d have me) would be perfect.

Thanks in advance!


r/Screenwriting 13h ago

DISCUSSION Rough Draft v. Final Draft -- sounds about right.

7 Upvotes

Elle Cordova does a lot of funny stuff. This is some of that.

https://bsky.app/profile/ellecordova.bsky.social/post/3mumluvrgus27


r/Screenwriting 17h ago

COMMUNITY Looking for writing buddies

15 Upvotes

Hi! I just finished my second script and I'm looking for writing buddies. Problem is that I don't know where writers are or even really remember how to make friends. Does anyone have a writing buddy? How'd you find them? How are you supposed to get friends in this world?


r/Screenwriting 17h ago

DISCUSSION Help?

13 Upvotes

Two BL 6s + Slamdance feedback: How do I actually improve the plot?

I taught myself screenwriting starting in March 2026 while I was on medical leave and have written three features since. I’ve had one QF at PAGE, another script SF at Scriptapalooza, and a couple festival selections. Obviously nothing crazy or life changing, but enough encouraging signs to make me want to keep developing my craft.

My current script has now gotten two BL evaluations: BL #1: Overall 6 | Premise 8 | Plot 4 | Character 7 | Dialogue 7 | Setting 7

BL #2: Overall 6 | Premise 7 | Plot 5 | Character 6 | Dialogue 7 | Setting 7

The second evaluation called it a “great, pitchable idea” with “originality, a strong sense of voice, and interesting characters,” but said it needs a stronger throughline and more cohesive main conflict. I also got short feedback from Slamdance, which called the premise “genuinely sharp” and praised the central relationship, dialogue, setting, and character work, but similarly said the larger structural issue is that the conflict that truly tests the protagonists arrives too late. They felt the earlier material can become episodic and suggested bringing the central moral pressure forward/trimming some earlier cases.

So…three reads later, I think the message is pretty clear: plot is my weakness. My problem is I genuinely don’t know what to do with that information and I feel stuck as fuck. I can see what the readers are identifying, but I don’t know how to add, remove, move, or restructure things without taking away from the character development, relationships, world-building and slower material that, IMO, makes the story what I want it to be. And some suggestions for additional explanation feel like they would just make me spell out things.

I wish I had a mentor or programs I could bounce ideas around with and learn from developmentally rather than kind of trying to find my way in the dark.

Are there any fellowships, mentorship programs, workshops, or other resources you’d recommend for someone at this stage who wants help developing their craft and specifically getting better at plot/structure?


r/Screenwriting 23h ago

Workshop Screenwriting Programme for UK screenwriters from working-class and lower socio-economic backgrounds

23 Upvotes

https://www.arvon.org/asp/

Over two years, Arvon will support five screenwriters to attend in-person and online writing courses, and work towards completing a spec script with one-to-one mentoring. They will gain vital insights into the TV industry, and specifically the drama and comedy-drama landscapes.

Thanks to the generous support of Prime Video Pathway, the Arvon Screenwriting Programme is free to take part in. Arvon will additionally cover travel costs, and has a small fund to put towards other costs incurred by spending three weeks away from home across the two-year programme.

Applications are now open until 5pm BST on Wednesday 30th September 2026.


r/Screenwriting 18h ago

FEEDBACK BLUE JEAN DREAMS (Pulpy Crime Drama, 107 Pages)

10 Upvotes

LOGLINE: When a struggling single mother falls for a recently imprisoned livestream reseller, she takes over his nightly auctions to earn the bail money for his freedom. But as the cash pours in, she's forced to choose between the life she's always wanted, or going down with him.

This is supposed to be a lurid, neo-noir adjacent, street-level melodrama in a similar mold of films like Remember My Name, Bleeder, Bound, among others.

Would appreciate feedback on anything and everything, and shoutout to all the great notes from readers on StoryPeer! Thanks in advance!

https://drive.google.com/file/d/1hMv01pdTDPvOxBEdxNB9zF29rTU7J-oY/view?usp=drive_link

CW: Crude content, graphic nudity, language, violence, drug use, etc…


r/Screenwriting 16h ago

CRAFT QUESTION What format is this story best suited for?

5 Upvotes

Dear more experienced screenwriters,

When you have the concept of a story. What specifically tells you:

- this is a series (and what length of episode)

- this is a short

- this is a feature length film

Do you determine this from the beginning? Or do you just outline and get writing with the idea that it will reveal the best format along the way?

Thank you in advance for any insight you can provide.


r/Screenwriting 19h ago

NEED ADVICE Moving your script along advice

8 Upvotes

I have been writing scripts for fun and submitted a few on the BlackList. I kept getting 6-8 scores across the categories and thought, this is interesting, because I was expecting 3-5. :D

I then signed up for coverage on Stage32 and kept getting consider/consider (and one consider/recommended for the writer) and thought... ok... there is something here.

My scripts were all TV pilots. I dumped all the coverages into you know what, and found commonalities in the underlying gaps flagged. I also had a few exec coverage calls, noted the feedback, and it was the same thing. They would see gaps or suggest this scene is missing - and I already wrote it - but cut it out because it was a TV pilot.

I then thought, why don't I just write a feature, because then all these scenes would be there already and it would be a lot more focused. Also more creatively satisfying because I actually can finish the story, and I'm only doing to this for fun, not because I am looking for a writing job.

I then had a call with a manager/producer who loved my horror feature script (and wasn't aware this was a pilot first) and now I'm debating what is the best next step.

My goal is to sell these scripts as features (I have 4 ready to go, and 2 in the pipeline I'm writing - 2 murder/thriller, 2 horror, 1 romance, 1 I'm figuring out but likely sci-fi) rather than looking to be a full time writer (as I love my career). I'm getting all kinds of advice in terms of finding an agent/manager, pitching directly, etc and am quite confused, given my journey so far has been super organic and unplanned.

Any guidance would be greatly appreciated.


r/Screenwriting 17h ago

DISCUSSION Does a story with deep thematic meaning absolutely need to be clear?

5 Upvotes

I'm working on a story that's about someone meeting his double. It's about how we treat ourselves, especially those of us with bad mental health. Every scene is meant to represent a different way someone may treat themselves. It's about how he harms himself and why he does it, and about his repressed guilt. And it's about how he moves on from it hopefully to have a better future.

I'd say about 15-25% of people that read it actually understand it, or at least a large part of it. Most people don't really get it. For them, it's about the weirdness/creepiness of what's happening, but more on a surface level. The thing is, pretty much everyone has given me positive feedback. Even the people that don't get it are entertained. I hate student films that are vague and make no sense and I'm trying to avoid that, but it seems I may have fallen into that trap to a certain extent.

I like the idea of something that you have to analyze and think about to fully grasp, something that sits with you, and it seems like I may have a screenplay that does that.

My question is: should I make it more clear what exactly is happening on a thematic level in the next draft? Or would I be ruining an art piece that works as it is now.


r/Screenwriting 1d ago

DISCUSSION SANDBLAST – Unproduced 1990’s “Die Hard in a sandstorm” action thriller, starring either Eddie Murphy or Wesley Snipes, and Jean Claude Van Damme – Original spec + later drafts finally available on Script Hive

49 Upvotes

Finally, after years of people and collectors searching for those, drafts of this famous unproduced action thriller are publicly available, and you can find those on Script Hive. In case if you never heard of it, or are just curious about it after hearing the main concept, make sure to read this, I tried to go into as many details as possible about the history of the project;

https://www.reddit.com/r/Screenwriting/comments/1q9u6uo/sandblast_1993_1996_unproduced_die_hard_in_a/

The drafts which are available on Hive are Steven Maeda’s original spec from 1993 (probably October or November), and later drafts by Andrew W. Marlowe (September 1995), and Channing Gibson (November 1995). Without spoiling anything, I’ll just say that I really enjoyed Maeda’s spec, Gibson’s draft was pretty good, but Marlowe’s draft is the absolute best. If they had Snipes and Van Damme attached to that one, and some other really good director who knows how to direct big action sequences, this could have been a big hit. I can’t recommend all of these enough, so go ahead and check those drafts out, and if you wish to share your thoughts about each draft and which one was your favorite and why, go right ahead!

Also, I just found out that some concept art for Sandblast was shown in "The Movie Art of Syd Mead: Visual Futurist," it's only one page but you can see it in this video at 9:22, so take a screenshot of it to read it better;

https://www.youtube.com/watch?v=egxuhZvE0so

And if you are interested in reading about even more unproduced Die Hard rip-offs written since 1980’s, here’s a work-in-progress thread/list of those, along with info about each;

https://www.reddit.com/r/Screenwriting/comments/1u4q6on/unproduced_die_hard_ripoffs_work_in_progress_list/


r/Screenwriting 23h ago

AMA CROSSPOST [Crosspost] Hi /r/movies, I'm Casper Kelly, writer/director of Adult Swim's TOO MANY COOKS and BUDDY (out in theaters everywhere now!). AMA!

8 Upvotes

I organized an AMA/Q&A with Casper Kelly, writer-director of 2014's Adult Swim special TOO MANY COOKS and BUDDY, which is a horror that premiered at Sundance earlier this year and is out in theaters everywhere now. It stars Cristin Miloti, Topher Grace, Keegan-Michael Key, Clint Howard, Patton Oswalt, Michael Shannon, and Eric Bauza.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1w661n7/hi_rmovies_im_casper_kelly_writerdirector_of/

He will be back at 3 PM ET today, Thursday 9/3, to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

Synopsis: Dressed as a unicorn, a beloved children's TV host reveals his true self as a dark and violent force of nature.

Trailer: https://www.youtube.com/watch?v=2sBRb7Mbg0A

His verification/proof photo: https://i.imgur.com/V0S7DyC.jpeg


r/Screenwriting 15h ago

NGD SCREENWRITING COURSE Looking for members to do NGD course with

2 Upvotes

Hey i would like to form a group to complete the NGD course with anyone down


r/Screenwriting 19h ago

COMMUNITY Telluride FF

3 Upvotes

Anyone going this year? Would love to say hi!


r/Screenwriting 1d ago

RESOURCE: Video Screenwriter Brent Forster analyzes how he wrote "Lemon of Troy," one of the most beloved episodes of "The Simpsons."

19 Upvotes

https://www.youtube.com/watch?v=5yHLoPKdzRY

Screenwriter Brent Forster analyzes how he wrote "Lemon of Troy," one of the most beloved episodes of "The Simpsons."

From the original idea to the plot unraveling in the writers' room, Brent shares the creative process, the lessons he learned, and what any screenwriter can take away from writing for one of the greatest TV series in television history.


r/Screenwriting 1d ago

ACHIEVEMENTS My Drama Short is a Finalist in a 2026 Scriptapalooza Competition! Movement...

82 Upvotes

Yesterday my drama short landed as a Finalist in the 26th Scriptapalooza Screenplay and Shorts competition. Suddenly, for five hours straight, the loglines of five of my features were viewed on InkTip and messages flowed in from a variety of sources. The festival is known for promoting screenwriters. I am grateful for these new opportunities. Woo!


r/Screenwriting 1d ago

DISCUSSION In Fitzgerald's The Last Tycoon, is the “nickel” scene meant as a revelation about filmmaking or is it the characters' own possibly deluded understanding of filmmaking?

3 Upvotes

I’ve been revisiting the famous coin/nickel scene in F. Scott Fitzgerald’s The Last Tycoon, and I’m beginning to wonder if I initially misunderstood what the scene is doing.

On the surface, almost nothing “happens” in conventional plot terms. The scene is ostensibly concerned with a very small, mundane object—the coin—and yet Fitzgerald gives the moment considerably more attention than its apparent narrative importance would warrant.

What interests me is whether the scene should be understood primarily as character revelation, thematic dramatization, social observation, or something more fundamental about Filmmaking as F. Scott Fitzgerald spend his later days wrestling the craft upside down.

Here is a link to the scene, if anybody wants context.
Robert DeNiro in The Last Tycoon, Nickel scene


r/Screenwriting 1d ago

5 PAGE THURSDAY Five Page Thursday

5 Upvotes

FAQ: How to post to a weekly thread?

Feedback Guide for New Writers

This is a thread for giving and receiving feedback on 5 of your screenplay pages.

  • Post a link to five pages of your screenplay in a top comment. They can be any 5, but if they are not your first 5, give some context in the same comment you're linking in.
  • As a courtesy, you can also include some of this info.

    Title: Format: Page Length: Genres: Logline or Summary: Feedback Concerns:

  • Provide feedback in reply-comments. Please do not share full scripts and link only to your 5 pages. If someone wants to see your full script, they can let you know.


r/Screenwriting 1d ago

COMMUNITY Hi, I just wanted to make a quick update that the screenwriter's event in toronto is cancelled today

23 Upvotes

The weather is far too dangerous and I got thrown into a hail storm. I will try rebooking it another day.


r/Screenwriting 1d ago

FEEDBACK ROOM 22 (PILOT)

3 Upvotes

There haven't been significant young adult sports shows like Friday Night Lights (at least that I know of) that capture current social issues in certain situations. Room 22 delivers basketball, trials, tribulations, and redemption. This show highlights kids from different backgrounds and race and their fight for redemption. This show is about the kids in Room 22.

Title: Room 22

Format: TV Pilot

Page Length: 51 (first 15 posted)

Genres: Drama

Draft Status: First draft

Logline: After an elite high-school point guard is wrongly implicated in his cousin's armed robbery, he builds a disciplined basketball team inside juvenile detention and earns a second chance at professional basketball, only to become the target of a gang leader who sees his public redemption as a threat to Southside Chicago gang life. Thank you for your feedback on the first 15 pages.

Concern: Logic, dialogue, continuity

Link: https://drive.google.com/file/d/17rkx_Z2uA8xyq3xiEoBkgU3w-hRMxMiT/view?usp=sharing


r/Screenwriting 1d ago

FEEDBACK Horror script.

1 Upvotes

Hello. I just recently finished the rough draft of my horror script I hope to bring to life in a full length feature film. I was hoping to find some horror enthusiasts that could spare some time to give me feedback. Warning! This content contains some gore so if that's not your thing I'd skip.

I'd be willing to give feedback on a project of yours as well. The title so far is Mr. What? and is 88 pages.

Logline: A loner girl moves to a new apartment and encounters a very creepy mysterious man. Soon following, she starts experiencing some seriously jacked up psychological trickery.

Overall concerns: 1. Does the main protagonist have a strong voice and character, do you think she has appeal as a final girl? Is there anymore you'd like to know about her or her background? 2. The villain switches personas a lot: silent, loud, goofy, menacing, serious and I want to know if the horror lands or is he too over the top or comes across as corny? 3 Is too much explained or underexplained? 4. Does the ending land? 5. Does the lore building around her necklace of protection make sense or does it feel like there's holes?

If interested let me know. We can set things up.


r/Screenwriting 1d ago

FEEDBACK Rundown - TV PILOT - 34 pages

7 Upvotes

Title: Rundown

Format: Pilot

Page length: 34 pages

Draft: First

Genre: Workplace Dramedy

Logline: A burned-out network news veteran takes over a dying Peoria station at his dying mentor's request, and finds a young producer who still believes the work matters — the belief that cost him everything.

Feedback concerns: My first attempt at a TV pilot. I have a lot of experience working in live TV, so I figured... write what you know. It's not autobiographical, but it may be soon.... I'm looking to see if the dialogue works, and if the storyline has a good hook. My bigger concern is that for a pilot it may have a lot of setup, but there are three acts here, so I want to ensure that it is working as a story and that the characters are likeable. Thank you!

https://drive.google.com/file/d/1uSynaa-AjATwPWVLZvYFNmJDo-fZNVNb/view?usp=sharing


r/Screenwriting 1d ago

CRAFT QUESTION Exposition and how it interacts with story structure

4 Upvotes

I feel confident in my understanding of how character desire, need, and change interface with story structure, but not with exposition/information.

I've noticed, especially in television (I just finished Pluribus), that much of the story is driven by the audience's desire to know more. Granted, this is also the character's desire to learn more, but that doesn't interface neatly with arc and theme the way other goals do. I can't shake the feeling that there are two distinct mechanisms keeping the audience engaged here.

My biggest influences on story structure are Robert McKee's story values and Craig Mazin's lecture on theme. Is there a book or lecture you've found informative when it comes to how the writer should think about and structure information/exposition? Do you think of it as a separate mechanism from your protagonist's arc?

EDIT: When I say, exposition, I'm not necessarily referring to dialogue. I mean any information learned by the audience, whether that is through dialogue, action, or something the character sees.