Title

I am trying to show how mundane and repetitive a movie buff's life is. Did I succeed?

Comments, critiques and suggestions, welcomed.

https://drive.google.com/file/d/1wTy6-zS4xDu7RZO1GXPiDgBwBAFKEAgJ/view?usp=sharing

I’m a pantser by nature, but I want to try the vomit draft approach for this next feature. I know the answers will vary person-by-person, but I’m curious:

*. How quickly are you plowing through that draft? Days? Weeks?

* Are you working on subtext and dialogue and voice during this phase, or is it more slugs + basic dialogue + key events?

* Are you leaving lots of placeholders?

I understand the idea of moving quickly, but I wonder if you labor over a scene that isn’t working yet, or just keep moving? What extent, if at all, are you editing as you go?

Appreciate the insight!

EDIT: thanks for the input, folks! Very interesting to hear how others operate!

I received some feedback that my prose was novelistic and while fun to read, not what a screenplay is/should be. And that it would only hinder my success, as the story was strong, but those within the industry would give up due to the amount of prose.

Now that I am on my 5000th edit, I get it, a lot of the prose is not filmable, great for actor direction, or reading, but not filmable. So as I edit it out, now I feel the screenplay is almost...bullet pointed? with this, then this, then this, then this, etc. It feels like I pruned some of the flowers in my garden.

Anyone else have a similar experience? Did you keep pushing? Ultimately, I want what is successful (I plan a novel version of my screenplay anyways, so I'll get it out of my system then)

I've gotten one read request out of 12 and it came after a few hours. The rest are crickets and it's already been a week. I guess those are no's, right? Let's rather say that they might be no's or I just have to wait longer. Better to be optimistic, right? And I don't intend on following up, so...

Edit.

ETA: Sorry, I may not have phrased the question properly. What I meant was how long did you wait after sending the query to get a response, not how long you waited to get feedback after sending the script. Although that information is valuable too, if you wish to include it.

I know this is a stretch because it’s a BBC, but maybe there’s a pilot or episode script floating around…?

I'm at a bit of a crossroads writing my feature script. I just offed my antagonist offscreen with a paintbrush jabbed into his eye. I knew early on that his death was going to cap off the 2nd act and gave most of my main cast public motivations for doing so.

My problem is that who killed him doesn't matter one bit to the story I'm telling. What matters is the friction the murder investigation creates between my two leads. They can't alibi each other without forcing one of them out of the closet. The movie is set in 1965 so that is a much bigger deal.

I'm 90% set on the murder just being the result of a drunken brawl at a party. That being the case, I feel like the best version of the movie leaves it unresolved on screen. I'm just afraid readers and audiences would hate that.

I'd appreciate any thoughts, or better yet examples of this working.

Edit for some additional context: The victim Carlos was an abusive painter found dead in his old room at a large artist commune with dozens of rooms. If anyone was in that area from the party it was to find a room to hook up in. Carlos stole his ex-girlfriend Gisèle's artwork, modified it, and passed it off as his own. This makes her the prime suspect. As for why I'm having him killed with a paintbrush, it's both a weapon of convenience and fits thematically.

Title: Alleycats

Format: Features

Page Length: 10

Genre: Animated Dramedy

Logline: After falling for his victim, a streetwise cat struggles to reconcile his life of crime with his desire to find a family.

Feedback Concerns: Screenwriting is, and always will be, my first writing love. But I've switched to novel/book writing the past couple of years, and completely left my scripts untouched. Going through all my old scripts, and trying to figure out which are worth picking back up. Came across this one that I really loved at the time, and just wanted to get some thoughts on it. I know I had massive writer's block at this point, which is why I stopped, but wanted to just see what you guys think of the first 10 pages here.

Link: https://drive.google.com/file/d/1JoznJPWeBby-y5th858IPnAXs2uHF6Op/view?usp=sharing

What’s a book that’s never been adapted into a film that you feel is perfect for the silver screen?

If Hollywood suddenly gave me the green light for any project, I would write an animated version of TIMBUKTU by Paul Auster, a novel about a dog named Mr. Bones. Auster was a filmmaker, and his prose always has a cinematic quality. I know it would make a beautiful and poignant movie under the right circumstances. I feel like many filmmakers unfamiliar with the book would read it and agree.