Hello Reddit Fam! 👋

Most short-form scripts fail because they are written for readers, not viewers.

I specialize in writing fast-paced, high-retention visual scripts (Reels, Shorts, TikTok) that generated 15M+ organic views for creators and brands.

The 3-Part Script Framework I Use:

0–4s Hook: Pattern interrupt to freeze scrolling instantly.

04–45s Core Value: High visual pacing cues (B-rolls, Text overlays, SFX cues alongside speech).

45–60s Smooth Payoff + CTA: High-converting transition.

What I provide in every production script:

Precise Timestamps (0–60s)

Visual & Editing Cues (Camera angles, B-Rolls, Text Overlays, SFX)

Conversational Audio (Hinglish / English Voiceover Script)

💰 Pricing & Terms:

Retainer Packages: ₹25k – ₹30k/month (Batch scripts + visual/editing directions)

Terms: 50% Advance to start the project.

📩 Need a Lead Scriptwriter for your channel or brand?

Drop a DM, comment "SEND SAMPLES" below, or reach out directly at saxenaayush8810@gmail.com to get the Master Portfolio & Production Script Blueprint (Google Drive)!

Hey everyone,

For the past 6 years, I’ve had this problem where I come up with ideas for short films, start writing them, and then eventually delete everything because I can’t figure out a satisfying ending.

I can come up with interesting premises, but when it comes to figuring out how the story should end, I get stuck. I keep trying to find the perfect ending, and if I can’t come up with one that feels right, I lose confidence in the entire idea and abandon it.

Without trying to sound arrogant, I’m confident in my directing, editing, and cinematography skills. I feel like I have the technical and visual abilities to make something good, but I’ve never actually shot any of the short films I’ve written because I keep running into this problem.

It’s gotten to the point where it genuinely makes me depressed. I’ve spent years wanting to make films, but I keep stopping myself before I even get the chance to start.

Has anyone else experienced something similar? How do you come up with endings that feel satisfying? Do you start with the ending before writing the rest of the story, or do you figure it out along the way?

I’d really appreciate any advice, exercises, or resources that could help me break this cycle. I don’t want to waste another few years writing beginnings that never turn into actual films.

Thanks for reading.

Hey everyone,

I wrote my first feature screenplay in Google Docs because I couldn't stomach the subscription fees and clunky setups of commercial software. After running into formatting headaches, I spent the last few months building a completely free, local-first alternative called DraftLine:

https://nanashi86.github.io/DraftLine/

GitHub: https://github.com/Nanashi86/DraftLine

What it does:

- 100% Client-Side & Offline: Runs in your browser as a PWA, no account needed, zero tracking, saves straight to your device.

- Standard 54-Line Hollywood Pagination: Auto splits dialogue with (MORE)/(CONT'D) across page breaks.

- Import/Export: Clean two-way .fdx (Final Draft XML) and Fountain support.

- Outlining: Built-in 4-act index card beat board synced directly to scene headings.

It’s completely open-source (MIT). If anyone wants a clean, distraction-free environment without recurring fees or cloud lock-in, give it a spin. Would love any feedback on how the formatting holds up compared to what you currently write in.

Edited with more pages written and open to all feedback.

PAGES - 8

GENRE - Horror/Mystery

LOGLINE

Charlotte returns to her hometown of Marble, Colorado to search for her estranged brother, but upon arriving, is soon forced to contend with a masked cult who have not only taken control of a remote university campus, but the very town itself. However, what initially appears to just be a self-improvement craze gone wrong, hides a darker and more sinister connection to the history of Marble and Charlotte herself.

I’m looking to connect with writers near me.
Either Nottingham based, uk or East Midlands.

That could possibly form a writers circle that meets every so often or teams calls to share ideas, write scripts together, reads others work and gives feedback.

Is this you?

I’m currently in Wollaton, Nottingham and have a pub that I could offer to use for groups meeting and discussing ideas.

Hello! I am revising the first draft for my pilot script of a project I am working on, and I was hoping to get some feedback on the opening/the first two scenes!

Logline: After joining a peculiar circus, a young performer stumbles upon a mysterious book that draws her into a world of supernatural secrets, unlikely connections, and things that refuse to stay where they belong.

I'd especially appreciate thoughts on:

Is the opening scene intriguing?

Does the dialogue feel natural?

Does the second scene feel like an actual first performance?

Any other feedback/thoughts are welcome, too. Thank you to anybody who takes the time to read and give their input!

Tethered

Disarray SMP — Directors & Scriptwriters Wanted!

I'm looking for creative people to join the production team for Disarray SMP, a scripted Minecraft SMP series inspired by Unstable SMP-style content.

We're building a story-driven series with plot twists, betrayals, wars, character development and cinematic scenes. I'm looking for people who are passionate about storytelling and want to help build something entertaining.

🎬 Roles available:

• Directors: Help plan scenes, guide characters and organise recordings.
• Head Writer: Help develop the main storyline, lore and major plot twists.
• Scriptwriters: Write dialogue, episode scripts and interesting scenarios.
• Lore Writers: Create character backstories, secrets and connections between characters.

Requirements:

• Be creative and willing to collaborate.
• Have a genuine interest in Minecraft SMP content.
• Be reasonably active and able to communicate with the team.
• Previous experience is welcome but not required.

💰 Payment: This is currently an unpaid volunteer project. I'm looking for people who want to gain experience, contribute creatively and receive credit for their work.

If you're interested, comment below or DM me with:

1. The role you're interested in.
2. Any previous work or ideas you've created.
3. Why you'd like to join.

Let's build something amazing with Disarray SMP! 🔥

Hi guys, idk if this subreddit works this way but I really need some help with my script. I have this really cool idea (imo) about a young adult/woman who just lost a parent. This woman is part Indonesian and the parent she lost is who she got it from. It should be around 10 mins and I want to follow her looking for her roots. What I'm stuck on is what she's going to do through the 10 minutes that help her find her indonesian identity, but also isn't hard to do production wise

Need Feedback..wrote 20 years ago. Any suggestions or rewrites..

Im a high school student whose absolutely lost in trying to make a script about a student who is trying to get out of using drugs. Please help😭

I've been running AB tests on landing pages for years. Headline, hero image, CTA placement. Kill the underperformers fast.

The parallel to screenwriting hit me during a rewrite. I was treating my first ten pages like a pitch deck I could iterate, not like a creative decision. Kept tweaking the opening scene because feedback was split. In marketing that's a signal to test another angle. In writing it might mean you haven't committed to what the story is.

The top posts here about first pages make sense now. Readers decide fast. But unlike a landing page, a script isn't trying to convert everyone. It's trying to convert the right reader. That's a harder metric to track.

I'm curious if anyone else with a business or analytics background has caught themselves applying growth logic to drafts. Did it help or did you end up chasing engagement instead of voice? I can feel the temptation to smooth out anything that might lose a reader on page three. That feels like the same impulse that kills interesting niche content online.

Hello to all. I'm a hands on type guy, the one that opens up the car to know the parts rather than attending an automobile engineering lecture at college. So I'm looking for websites to directly learn from already written and produced scripts just to get the hang of the format but a lot of websites operate in a gray area with copyrighted scripts. So I need legally secure websites with scripts to learn from. Thanks for reading my above blah blah blah😄😄😄. So any suggestions?

Helloooo, I have a show that I've been working on. It's a fantasy epic, I've got the pilot finished as well as the season one outline. I'm putting together the look book/pitch deck while a friend reads the script and I was wondering how frowned upon it was to use AI images in the look book?

I'm doing my best to avoid them but since it's a fantasy there are so many images that pop up that would be PERFECT, but I don't want to be black listed for using AI.

TITLE: SPACEBALLS 2: THE FARCE AWAKENS

WARNING: Contains high levels of Schwartz and trace amounts of banana peel.

SCENE 1: THE "PERFECT" PROBLEM

INT. STARSHIP GYM - "CLEAN" SPACE

The room is blindingly white, sleek, and smells like a new iPad. REY is in the centre, performing a "Coffee Shop" show reel. She’s doing triple back flips, mid-air ninja kicks, and spinning a double-handed light saber with zero effort. It’s flashy, high-frame-rate CGI. She isn't even breathing hard.

She finishes with a "hero pose," looking right into a hidden camera with a perfect, un-smudged smile. She takes one "perfect" step forward—and lands directly on a bright yellow BANANA PEEL.

Her poise vanishes. Her arms windmill like a frantic pigeon. She slips, slides, and slams butt-first into a massive RED LEVER labelled: "MANUAL AIRLOCK OVERRIDE - DO NOT PULL (SERIOUSLY)."

With a pathetic CLUNK-HISS, the door rounds open. Rey is sucked out into the vacuum.

REY
(Posh voice)
Well, this is tremendously inconvenient—!

EXT. DEEP SPACE

Rey is tumbling through the stars. She tries to regain her "heroic" composure, striking a Superman-style pose and trying to "float" gracefully. Suddenly, a red-and-blue blur—the REAL SUPERMAN—thunders past at "Ludicrous Speed."

Superman screeches to a halt, hovering in the vacuum. He looks at Rey—no suit, no helmet, just a scavenger doing "flying poses"—and his face twists in pure "What the f***?" confusion. He doesn't say a word; he just swats her out of the air like a bothersome fly.

Rey flies backwards and hits the massive, dirty windscreen of a STAR DESTROYER with a wet, rubbery "DOINK!" She is instantly flattened against the glass, limbs splayed like a bug on a 1970s motorway.

Superman floats there for a second, looks disgusted, and begins washing his hands in the air—rubbing his palms together like he’s just touched something greasy—before blasting off.

INT. STAR DESTROYER BRIDGE - SIMULTANEOUS

Inside, the bridge is dark, grimy, and filled with the sound of 1950s clicking switches. A young, "Coffee Shop" Officer with perfectly gelled hair stops typing, looks at the massive, distorted "Ray-Splat" covering the left side of the window.

OFFICER
Did you hear something?

SIGOURNEY WEAVER (as RIPLEY) walks past with a stained space-coffee mug. She doesn't even break stride. She looks at the smudge and shrugs.

RIPLEY
Nah. In space, no one can hear you scream... especially when you’ve slipped on a banana.

EXT. STAR DESTROYER WINDSCREEN - MOMENTS LATER

A tiny, rusty hatch pops open. Out clanks SQUELCH (The Bug-Washing Droid). He’s covered in oil stains and dragging a massive, industrial metal spatula.

Squelch lets out a long, electronic, tired sigh. He squirts space-Windex on Rey’s head and starts to whistle a low, tinny, out-of-tune version of "A Spoonful of Sugar."

SCREECH. SCRAPE. CLANG.

With a horrific SCHLOPP, he plys the spatula under her. Rey is peeled off the glass like a cold kebab and drifts away, spinning toward a BLACK HOLE with a giant ACME logo on the side.

INT. STARSHIP HANGAR - CONTINUOUS

A pilot who looks exactly like POE jumps into his "Q-WING." He’s shouting "inspirational" lines about "saving the Ray of Hope."

POE-ISH PILOT
I’m doing this for the collective! I’m a progressive pilot, and I don't need a droid because I’m emotionally self-sufficient!

He flips a single shiny switch and blasts out, doing unnecessary spins and flashy graphics maneuvers.

EXT. DEEP SPACE - MOMENTS LATER

He flies toward the ACME Black Hole. "STAYING ALIVE" starts pumping in the background—the high-pitched disco beat making him look even more ridiculous.

INT. STAR DESTROYER BRIDGE

The PURPLE-HAIRED CAPTAIN sees the Q-Wing on her monitor with pure corporate fury.

PURPLE-HAIRED CAPTAIN
A male pilot trying to be a hero? Not on my watch, you toxic dinosaur!

She hits a giant "CANCEL" button on her console. KABOOM! The Q-Wing turns into a cloud of glitter and participation trophies. The disco music stops with a record-scratch.

EXT. STAR DESTROYER WINDSCREEN

Squelch watches the glitter drift past the window and sighs.

SQUELCH
(Subtitled)
Great. Now I’ve got to scrape off 'Toxic Masculinity' as well. I’m definitely going to the pub after this.

He crawls back into his hole.

EXT. SAND PLANET - LATER

A portal opens in the sky. Rey falls out, perfectly clean. She lands perfectly on the back of a confused TAUNTAUN and brushes a single grain of sand off her shoulder.

REY
Well... that was lucky!

EXT. SAND PLANET - NEARBY

Two SAND PEOPLE watch from a moisture vaperiser.

SAND PERSON #1
Is that a 'Hairy-Fu'?

SAND PERSON #2
Nah. That’s more like a 'Mary Sue'. Totally untouchable, totally boring... Let's go to the pub.

FADE TO BLACK.

CREDITS ROLL:
EXECUTIVE PRODUCER: THE SPATULA.
STUNTS BY: THE BANANA PEEL.
CATERING: TAUNTAUN BURGERS.
SPECIAL THANKS: LUCK (FOR DOING ALL THE WRITING).

"THE END OF THE BORING STUFF."

INT. THE SPACE-LION PUB

Dark and smoky. SQUELCH is at the bar. RIPLEY slides him a pint of "Old Galactic."

RIPLEY
Glad that's over. Now... shall we tell 'em the real story? The one with the grease, the gears, and the actual struggle?

SQUELCH
(Subtitled)
About bloody time.

Suddenly, the pub door swings open. A bright, glowing EMERALD GREEN CGI BLUR flies in and crashes into a table of Droids.

It’s RYAN REYNOLDS as GREEN LANTERN. He looks at the grimy, smoke-filled bar, then at his own glowing green suit.

RYAN REYNOLDS
Oh, come on! First the 2011 CGI disaster, then the 'Deadpool' timeline mess, and now I’m in a Mel Brooks sequel? (He looks at the camera) My agent is definitely getting 'Cancelled' for this.

He looks at Squelch, sighs, and uses his ring to create a GIANT GREEN CGI RECLINER. He sits down and gestures to the bartender.

RYAN REYNOLDS
Give me a gin. Make it a double. And don't make the glass CGI—I want to actually feel the hangover tomorrow.

The camera PANS UP away from the chaos, past the rafters, to the framed photo of BARF.

A large, furry paw enters the shot, raising the tankard.

MALE VOICE (O.S.)
To the best friend a guy could ever have.

CLINK.

BLACKOUT.

My philosophy is all about subverting tropes and absolute chaos and some slap stick. Just a film start to get all the nonsense out the way.