Over on the Unproduced Scripts page are eleven original, unproduced scripts for your reading pleasure.
Welcome to SimplyScripts
A database of hundreds of downloadable scripts, movie scripts, screenplays, and transcripts of current, classic and maybe a few soon-to-be-released movies, television, anime, unproduced and radio shows.
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Over on the Unproduced Scripts page are eleven original, unproduced scripts for your reading pleasure.
Part Two – Getting Feedback
At the beginning of this series, we discussed writer promotion basics; how to establish you (and your work) as an active on-line commodity. Assuming you’ve been a busy marketing beaver, you’ve now got your new website all set up and ready to go. And you’re all over Facebook and Twitter like ants at the proverbial picnic table…
So what’s next on your journey towards screenwriting world domination?
Well, you could use some of the great resources out there to get coverage (aka, feedback, notes etc) of your cinematic baby. Rewriting and polishing it until it shines, for that day when you get that oh so precious email: “send us a copy of your script…”
As they say, you only get one chance to make a first impression. So you want that script to be perfect.
Okay, so you’re not going to get professional coverage without paying for it. (Though when you’re ready, don’t forget to take a look at STS’s very own talented and detailed script consultant, Danny Manus, of NoBullscript Consulting!
But there are some great places to get your screenplays read without shelling out your limited dough, complete with feedback and notes.
Below you’ll find a list of sites where gifted amateur screenwriters – and the occasional pro – congregate and provide useful recommendations.
A few words of caution before we dive in: it’s worth pointing out that you’re putting your work (your baby!) online for others to see and comment on.
1) Make sure it’s copyrighted – either through the Library of Congress or at least WGA. And no, not everyone’s out to steal your script or idea. But there are always some bad apples lurking around. Somewhere.
2) Bear in mind: on the net, free expression reigns supreme. Barring any board limits and moderations, people can and will voice their opinions as they see fit. Feedback is usually respectful, but inevitably some trolling and flaming occurs. Following are a few helpful ideas to keep it to a minimum:
3) Check your grammar and spellen. (Um, “spelling”) And then check it again! Readers quickly get distracted with error strewn scripts… and often leave choice comments before they move onto other things. Besides, if you can’t be bothered to run an easy spell check and read through the pages, why in the world would you expect a stranger to do so. For free?!? (An extra tip, if grammar isn’t your thing, there’s some online help… check out Ginger for example.)
4) Make sure the screenplay’s formatted correctly, using screenwriting software to ensure the basics are right. Final Draft is the standard for pros, but a bit pricey. For the cash strapped, CeltX is free, as is the web version of WritersDuet. Making sure your formatting’s up to snuff removes another reader distraction.
5) Save or upload your docs as PDFs. People don’t like seeing screenplays written in Word. It screams amateur.
6) The vast majority of these sites work on – and appreciate – reciprocity. So if you ask for a read, make darned well sure you give thoughtful ones in return.
7) Consider all comments and feedback. No script is so perfect that it can’t be improved on. That said, don’t forget it’s your script. So use the recommendations to improve and polish your work. Not change it into something else.
8) Don’t limit yourself to asking for script feedback. These sites are the online homes of tons of helpful fellow writers. Reach out to them with other questions as well. How to get through a tricky piece of writing, logline reviews, etc. You name it. People will have thought about it, and will be willing to share.
Now for the online resources themselves:
Simply Scripts – http://www.simplyscripts.com/
Kind of an obvious choice, given you’re reading this off the homepage. But it’s a fact that bears repeating: the SimplyScripts discussion board is populated by a bunch of talented writers, most of whom are happy to help fellow scribes out. The site has two primary sections for getting script exposure: 1) A general discussion board for unproduced works – divided by features/shorts and genres, 2) The script Showcase “Shootin’ the Shorts” (STS), where selected short scripts (and one feature a month) get fantastic exposure through in-depth reviews. Please note: STS is for shorts ready to shoot, not first draft works in progress!
Reddit has a few different areas (fondly known as sub-reddits) for writing, and two or three that focus on screenwriting in particular. I’ve found that the link provided above is the most suitable one for your needs. The feedback is usually decent. Not as good or in depth as SS – and there’s the occasional troll or flame war. But you’re on-line. You should be used to that!
IndieTalk – http://www.indietalk.com/forumdisplay.php?f=43
A movie making Forum with a relatively healthy screenwriting section. If you ask for script feedback, you’ll generally get 5-10 responses. Not to the same depth as SS, but pretty decent all the same.
AbsoluteWrite – http://absolutewrite.com/forums/forumdisplay.php?f=12
A broader forum that contains a wealth of info on a number of writing specialties (including Screenwriting, of course.) It’s worth a look – but less detailed than some of the other options here.
The Black Board – http://theblackboard.blcklst.com/forums/forum/screenwriting/
This is the Forum site for the Blacklist. Yes, the Blacklist. As such, it’s pretty active with five screenwriting boards. But it’s more business related – less on the “how-to” of the craft, and more on the “getting things made” end of things.
Stage 32 – http://www.stage32.com/lounge/screenwriting
A great resource for connecting people involved in film making, in all the various disciplines. Acting. Directing. Cinematography. Producing. And, yes, Screenwriting. It’s a little like Facebook or LinkedIn, but specifically for film makers. Each discipline has it’s own “Lounge” for discussion and online interaction. There, you’ll find a variety of exchanges: requests for feedback on scripts, loglines and more. As is true everywhere, there’s a ton of opinions on S32… so please remember Rule #5. It’s your script. Take constructive criticism and value it. But remain true to your vision.
Screenwritinggoldmine Forum – http://www.screenwritinggoldmine.com/forum/forums/screenwriting.14/
There are extensive sections on screenwriting in this active site. Definitely worth looking at for advice and reads.
MoviePoet – http://www.moviepoet.com
This one shares several members with SS – and has generated some serious talent. Scripts are limited to five pages or less. They’ve got a great monthly competition, where everyone gets to vote and comment on your script. The only downside: that you don’t see anything until the results are announced, then you get all the feedback at once. More on Movie Poet in the Competitions article.
Zoetrope – http://www.zoetrope.com
Yep, Copolla’s site! You need to join officially. But then you can post scripts and get them read. And you do need to read scripts in return. This is one site that I’ve limited experience with. More notes on it at a later date…
Screenwriter’s Utopia – http://www.screenwritersutopia.com/
Has a Script Swapping Forum for people to exchange scripts, get notes etc. The forum doesn’t seem very active, but the site has other resources worth checking out, too.
Well, that’s enough sites to start with (search on-line and you’re sure to find even more!) If you do find a gem, please let us know.
In the meantime, start digging around in these sites – they’re all essential tools to improve your script, your craft… and provide valuable networking opportunities too!
Next up: Where to publicize your scripts, once you’re good and ready…
About Anthony: Anthony Cawood is a new(ish) screenwriter from the UK with two produced short films, two in post production and another seven sold/optioned. His script, A Certain Romance, recently won in the Nashville Film Festival Screenwriting Competition (short script category), and two other scripts have recently placed 2nd and 3rd in the FilmQuest Screenwriting Competition and Reel Writers Screenwriting Competition respectively. Links to his films and details of all his scripts can be found at www.anthonycawood.co.uk
Over on the Unproduced Scripts page are fifteen original scripts for your reading pleasure.
Welcome to Development Hell
Part III: Game over, man. Game over!
Over the last 10 years, I have optioned nearly every single script I have written. And outside of a few short scripts, I have NEVER seen a feature script make it to production. I have watched each script painstakingly go through the development process, only to fall apart with little to no warning. That means that I’ve done years of re-writes multiple times for multiple scripts, with next to nothing to show for it.
Thankfully, as mentioned several posts ago, I no longer work for free (and you shouldn’t either). My last option that collapsed lasted for THREE YEARS. And think about it honestly: would you do ANY job for three years with absolutely no pay? Sure, I could go on a tangent about how it’s my passion and the joy of writing should be good enough for me, but screw that, I have a family, and three years is a long time. I can’t imagine if I looked back on the entirety of that time and realized I literally had nothing to show for it.
And THAT’S why they’re paying you. Not only for your time (and the time the script is off the market), but for the off-chance that NOTHING happens with your script. If nothing happens with your script and you have no money to show for it, what can you actually say about the last three years (give or take) of work you’ve done? I’ve done $0 options before, and when the years have passed and the project collapses, you look back and realize that is time you can’t get back. And worse, your idea might be outdated by that time. Several years ago, the three year option script was original and had a unique selling point. Now, when I try to pitch it, I get responses like “I’ve had two people try to pitch a script like this in the past couple months.”
The biggest thing independent filmmakers love to fall back on are points, instead of pay. The very first option I had was for one dollar, but man, oh man, did I have lot of points on the back end. I remember feeling pretty damn proud of myself, negotiating the percentage of my points higher than what was originally offered. Unfortunately, the filmmaker held onto the script for a couple years and eventually gave it back to me, thus making my points completely and utterly worthless. You can have a million percentage points, but it’s pointless (heh.) if you don’t end up with a film. (Add that to the fact that even if you DO get a film, those points are probably worthless. Seriously, get cash up front.)
It’s going to be hard to tell people your option fell apart. You know how I said, in the last entry, that you’ve probably told your friends and family, and they’re most likely always asking for updates? Well, now you get to tell those same skeptical people that your project fell apart. It will come to the point, if you’re like me and have had several options that didn’t work out, that the people you know will become skeptical of optioning/development. It’s like how people get less and less excited with each kid you have. Everyone’s pumped with the first one – sending you congrats and what not – but by the forth, it’s like “Alright already, you can have kids. Hooray. Let me know when they do something worthwhile.” Same thing with optioning. I can see it in people’s eyes now. I tell them I optioned something, but all I see is “Yeah, yeah, yeah. Let me know when it’s a movie.”
The biggest fear you will have is people thinking your script didn’t get made because it isn’t good. That YOU’RE the problem. Let me just say: that’s bullshit. It’s not your fault if your script doesn’t get made. There are so many factors at play in securing funding for a film, that it is horribly simplistic to blame it entirely on the quality of the script. It’s not just the good scripts that make it to production. Don’t believe me? Take a look at ANY section on Netflix Instant. If it WAS your script, odds are it was because your script didn’t fit a particular mold. Your script isn’t the type of script you can point to and say “THIS is why it will make money.” And when you’re trying to secure funding, it’s all about finding out what is “sellable” about your script. Your script being “good” sadly isn’t enough. My last story session with the director concentrated more on “what would sell” than what would make for a good story. (Spoiler alert: any scene over two pages – doesn’t sell)
I’m more confident about my current project in development than I have been about any project before it. I would be shocked if I received an e-mail telling me they were pulling the plug. I fully expect it to go into production. Which is great, because they told me I could have 125% of the film’s profits. Suckers.
About the writer: A talented writer and 10 year veteran of the industry, “P.J. McNeill” has seen it all (and he’s ready to kiss and tell.) Got a question, a comment or just general bile /praise you want to spew? Email PJ at firstname.lastname@example.org. New to P.J. readership? Click here for more articles!
Over on the Unproduced Scripts page are 23 original scripts for your reading pleasure.
Part II: The Waiting Game Sucks, Let’s Play Hungry, Hungry Hippos
The production company I’m currently working with has (at least) 12 other projects in development; ranging from television to feature films. And only one – count ‘em – one development executive. Granted, he has a slew of interns working for him, but the bulk of the work rests solely on his already heavily weighed down shoulders. So what does that mean for me? It means, when I send in the latest draft of my script, I have to get in line. It might be days, weeks or even months before I hear back. And you, as a writer, have to really become OK with that: the waiting.
One time, I turned in the latest draft of my script, and started the process of waiting. Two weeks later, I received an e-mail from the executive apologizing and telling me it would be awhile before they would get a chance to read it because they just entered production on another film. Production time: TWO MONTHS. That meant, for two months, I was being pushed to the back of the line. (NOTE: So think about THAT when you’re waiting for a production company to get back to you while querying. You know how I’m at the back of the line? Well, you’re not even IN the line.)
Most companies won’t talk in depth about what they have in development, and it is certainly not your place to ask (unless you’ve developed a good relationship with them). You’ll start to wonder where your project ranks. And even if you had the gall to ask them (which you shouldn’t), they’d most likely tell you that ALL their projects are equally important. Which is BS, just like when your parents say they love you all equally. (Spoiler alert: they love your sister more.)
The worst part is that you’ve most likely told your friends and family that you’ve optioned a script. And what do they want? Updates. And why wouldn’t they? It’s exciting, and they’re excited FOR you. But what they don’t understand is that development is a slow-going process every step of the way. Even in the studio system, most films spend YEARS in development, unless they’re the lucky few to be on the “fast track”.
So whenever you’re at a party or a family function and every-single-person opens with “So, what’s going on with (insert script name here)?” and you have NOTHING to tell them, it’ll start to nag at you after awhile; especially as the months go by. And every time you talk to that person, and have no updates to give, you’ll start to see their interest fade and give way to good ol’ skepticism. You’ll try to think of things you can tell them that put a positive spin on it all, but if someone doesn’t understand development, it just sounds like a lot of nothing.
Because of this all, you’ll be tempted to contact the company. Don’t. If they have something to tell you (about your script drafts, the state of financing, actors attached, etc), they’ll tell you. You don’t want to become the needy writer they quickly become sick of working with. Because REMEMBER: you want to keep a good working relationship with them. They just might make your next film. But they won’t if they remember you as that writer who wouldn’t leave them the hell alone. If you do e-mail them, make it short and sweet and only do it EVERY SEVERAL MONTHS. But I really would advise against this, unless you have the type of relationship that merits it.
The best thing you can do – and the thing I even have a problem with – is to throw yourself into something else, like another script. It’s tough though. Having your script in development IS exciting. You want to know what’s going on with it. After all, this could be your big break, and the “green light” could happen any day…in a couple years.
About the writer: A talented writer and 10 year veteran of the industry, “P.J. McNeill” has seen it all (and he’s ready to kiss and tell.) Got a question, a comment or just general bile/praise you want to spew? Email PJ at email@example.com. New to P.J. readership? Click here for more articles!
A man awakes from a drunken binge to find his abused family has evened the odds…
Written by Rustom Irani, “Glued” is a dark masterpiece!
A twisted story of domestic revenge, the script opens as Bubba (40s) awakes in his mobile home – hungover, naked, hairy and disheveled… to find he’s been glued to the floor.
His abused wife and son bustle around him. “Mama’s” sporting a huge shiner – a souvenir of her husband’s drunken, abusive behavior from the night before. As the gravity of the situation sinks in, Bubba’s insults turn to panic. It’s the weekend – no-one’ll miss him for several days. He threatens unspeakable violence when he breaks free – but his family continues about their business unphased. The Kid watches Saturday morning cartoons. Mama searches for cigarettes under the couch, and scrapes the waffle iron clear of gunk for breakfast.
As he bellows, Bubba slowly works himself loose; one painful patch of torn skin at a time. But everyone seems blissfully unconcerned. Dad’s gonna kill us? Oh well…
Why aren’t they worried? Well, that’s a zinger we ain’t gonna tell.
Domestic abuse and peeling skin: not your normal family fare. And yet – Glued is a screenplay gem. Filled with deliciously twisted dialogue, Glued sets up dark comedic scenes that are priceless. Let’s face it, revenge is sweet…
…and gluing Bubba to the floor was just the set-up. Grab this script before he (and it) breaks free!
About the writer: A film and video aficionado based in Mumbai, Rustom Irani works as a freelance editor and screenwriter for projects ranging from narratives, commercials, and documentaries to corporate and music videos. His website is available at www.planetrusty.com, and he can be reached at rustyirani “AT” gmail.com!
Budget: Low. Find a mobile home, three great actors and you’re done!
About the reviewers: Scott & Paula Merrow are a husband and wife screenwriting team. Since 2006, they’ve written over 50 short screenplays, several of which have been produced. They tend toward family-friendly scripts, but they’ve written a little bit of everything: horror, fantasy, sci-fi, comedy,… the whole nine yards. They’re reachable at scott-paula “AT” comcast.net
READ THE SCRIPT HERE – AND DON’T FORGET TO COMMENT!!
One week ago, we reviewed Kevin Revie’s Static Town – our third (but far from final) feature showcase. As readers of Shootin’ the Shorts are aware, our goal at STS is to find new and promising writers, and provide them with the platform they need to get their work seen (then hopefully optioned, and produced!)
One of our not-so-secret weapons in this quest is Danny Manus of No BullScript Consulting. Having worked as a development executive in Hollywood, Danny is an in-demand script consultant, named by Creative Screenwriting Magazine at one of the “Top 15” consultants in their “Cream of the Crop” list. Partnered with STS, Danny provides wonderfully detailed and helpful notes for the monthly STS feature script.This coverage is provided free to the writer, and can be posted our site or kept confidential – at the writer’s discretion. But wait – there’s more!Any script that gets a coveted “recommend” from tough but eminently fair Danny will be featured in his monthly newsletter and may also receive further exposure to his production contacts…
Below, please find Danny’s notes/coverage for Static Town. Read, learn, comment…. and don’t forget to submit your best work for possible review!
**To submit a script, please visit STS at the page listed HERE. Danny can also be contacted directly via the No BullScript Consulting website at http://www.nobullscript.net/contact/. Or on Twitter @DannyManus.
NO BULLSCRIPT ANALYSIS
Title: Static Town
Type of Material: Screenplay
Author: Kevin Revie
Number of Pages: 84
Submitted To: Simply Scripts
Location: Linden Mills, Suburbia
Coverage Date: 8/22/14
Budget Range: Low
COMMENTS:Kevin, thank you for submitting your script, “Static Town” to Simply Scripts. The following notes and comments will go through what works well and what still needs to be worked on or changed in order to make this a more viable and commercial script.
I think overall the writing is strong and there is definitely a voice and a timely message that comes through the pages, and it’s a generally enjoyable and fast, easy read. A quirky comedy about a teen who is so sick of the disconnection that exists between people these days due to technology that he causes a severe blackout in his town, is a strong set up and premise. It’s not an insanely original theme or message but it shines an LED-Screen on our society and how tech-obsessed we’ve become and how we have suffered for it in a fun way, and certainly this is a theme we can relate to these days. It presents a strong question of what would happen if a town was suddenly without power and had to start reconnecting on a personal level.
Your characters are largely likable and I think there are a number of strong lines and very funny moments within the script. That being said, I think there are some ways to make this feel like the story has a bit more depth and MEAT to it, perhaps flesh it out the plot a bit more. For me, what’s missing most in the story is conflict. And because conflict is generally really what drives plot, the lack of conflict equals a lack of plot and stakes. I think the voice and tone feel like a nice mix of Juno, Safety Not Guaranteed and Perks of Being a Wallflower, but without the major stakes, twists and drama those projects had
Your concept could lend itself to a more satirical feel, and I wonder if there’s some more comedy that could be mined from that. This town is without power and computers and cell phone towers – but we never really see what happens to the people in this town other than Wyatt and his close group of friends. Yes, we see people go outside and play and start enjoying each other’s company later in the story – but that probably wouldn’t be the immediate reaction. There should be a larger downside and a level of chaos before the people begin to embrace it. I think you could take the level of satire up a bit by showing some funny extremes or people reacting or what people in this town resort to, to try to get power. Right now, the only moment we get of that is on page 24-25 when people try to get water and duct tape. I think you could have this type of panic last a little longer. Even without power, you figure you have 18-24 hours before everyone’s phone battery goes dead. So when that happens, it could be like a countdown to phonemageddon.
There’s a totally different version of this story where it is full-on satire and you have people becoming almost cannibals and zombies because they can’t text, and just looting and murdering for batteries while this kid did it just to try to get the new girl to notice him. I think then you could go even more over the top with the message and the comedy if it was wrapped in more satire. But that is a different tone and story..
With quirkier small comedies and dramedies, it’s really about three things – character, voice, and a situation or hook that presents enough opportunities to bring out character and voice through plot. I think you have these, but I do think Wyatt’s character, while likable, could be just a bit stronger and more consistent in his set up and the things he does (or discovers) throughout the story could also be a bit stronger to add more plot.
Wyatt says things like “I’ve never been able to really express how I feel” on page 7 – but that’s not really evidenced in the plot. If that’s one of his flaws, we need to see how that actually affects his life.
With Wyatt, while I think he is relatable and sweet, his place within the world of his high school hierarchy is a bit unclear. He doesn’t seem like an outcast, and I’m guess since this is a TINY town his graduating class all knows each other and has since birth. So, it’s not clear where he ranks in the popularity/clique levels. He’s already slept with the hot slutty girl in school, so that tells me he’s not a total loser. But I think it’s odd that he is nervous about going up to Jennie on page 7 and talking to her, even though he’s already slept with her and has been hanging out with her, and he already knows she’s seeing other people. Clearly her boyfriend Barry is not really an obstacle for her sleeping with other guys, but I didn’t quite get the connection between Wyatt and Jennie and what he actually wants from her.
It’s also odd that he sees the new girl on page 6, seems to be enchanted and attracted, but then totally forgets about her and goes back to sighing over Jennie and her boyfriend on the next page. I might suggest switching those two scenes so that we actually meet Sophie a couple pages later but his reaction will make more sense because he’s already been turned down by Jennie and all the sighing over her is over. It would also give a bit more meaning to the scene of Wyatt, Geordie and Dale talking on pages 8-9 if it lead to seeing Sophie for the first time.
I also was curious what video Sam posted of him last year that scarred him so badly. What did he do? Did it go viral? Is that why he doesn’t like technology much anymore? I was waiting for a bigger reveal on that.
Wyatt’s reasoning for wanting to stay off of social media needs to connect more to his character and what’s going on in the story. He tells Dale he’s going to stay off social media because they don’t take chances or risks anymore and he’s lacking spontaneity. But that really has nothing to do with social media or cell phones. Then he says everyone is just living through screens and not looking around them and people are just advertising themselves as they want to be seen. But that’s a totally different issue. Not taking risks and lacking spontaneity is different from people living their lives through technology and putting out or creating false senses of selves. And this is why his true motivation for knocking down the power lines is unclear.
While I love that Wyatt knocks down the power lines, I feel like there needs to be a stronger catalyst or motivation for him to do so. There’s no specific PROBLEM that Wyatt is facing or situation he needs to fix or deal with that would inspire him to do this.
For instance, if he couldn’t get the attention of the girl of his dreams because everyone else was trying to get to her thru social media and texting and he was more of an old school romantic, then it might make more sense. Or if there was a video sent out about him that went viral and ruined his social life or his chances with the girl he loved, then that would be a great reason. I just don’t think it should feel like an off-the-cuff, spur of the moment decision without some catalyst or reason for knocking the power lines down.
Seconds before he does it, he sees a montage of “tech” things – kids glued to phones, Sophie dismissing him for a text message, his mother driving off with a man she met on the internet, no one paying attention at graduation, etc. – but only a COUPLE of these things actually happened and the rest are fantasies and projections of what COULD happen. I think these things he thinks of should be what actually happened to him that inspire him to do this. Let him give a speech at school where everyone is on their phone or replaying the viral video of him doing something stupid, let Sophie (or Jenny) totally dismiss him for a text and not pay attention to the guy actually talking to her in person, have his mom actually meet a guy off the net – these are strong motivations. Right now, though, they are all hypothetical. And so there’s not really a catalyst to make him do this. Whatever that catalyst is could be the inciting incident.
Sophie’s character is strong and she has a great introduction when she talks with Wyatt the first time. Her line “Somewhere in between get me out of here and maybe I can stay sane for like a year, max” is a great way to show her mindset about this town and a strong inciting incident for Wyatt.
I really like the twist that Sophie goes for Dale instead of the predictable Wyatt, though it does seem to be a bit of a bro-code violation. It’s a good reveal on page 58 that she’s there with him. It’s a heart-wrenching little twist on the love story, but also adds irony in that even without the power and the social media, he still can’t get the girl. Their scene together on page 64 is a bit harsh from both of them only because I don’t think there’s enough build-up to really earn those feelings. A couple more instances where she might have seemed to be leading him on would help.
The point Sophie makes in this scene is also the major issue with the second act. She asks Wyatt – ‘Okay, the power’s out but what have you done differently?’ And drawing this to light makes the reader realize – she’s right, Wyatt hasn’t actually done anything in 40 pages. It makes us realize we’re just watching things happen thru Wyatt instead of really experiencing things happen with Wyatt. And I would suggest that’s the biggest issue with the second act. Other than being sad about Sophie, there hasn’t been any conflict for him to face. He pretty much gives up on his goal of winning Sophie’s heart, so what else is left for him to accomplish the rest of the story? Maybe his lack of taking chances could be set up a bit more and this becomes his other goal, but it’s not really connecting enough currently.
Sophie gives him his cell phone back on page 67, which is great, but would be even more important if you were tracking the police investigation to finding out who was responsible. He didn’t seem worried about the phone until she gives it to him.
I like the subplot of Wyatt’s parents being pulled apart and then coming back together. It’s sweet, but is it really technology’s fault they’ve pulled apart? Also, on page 23, it’s odd that Karolyn doesn’t mention the blackout but only the car.
Turning to the story and structure, the other general issue for me with the script is that some of the scenes themselves are a bit lacking in purpose or are unnecessary. I think some of the scenes could feel like they have a stronger purpose in regards to progressing the plot or characters or revealing some new information.
For instance, even the opening party scene. It has a couple funny moments and we meet Jennie, but nothing actually happens at this party and it’s unclear what Wyatt’s struggle actually is if he’s already slept with the hot girl in school. I think this scene could show us a bit more about just how transfixed everyone is to their devices, and that people aren’t even talking to each other at the party – they’re just texting each other and snapchatting each other.
The scene with Wyatt and his buddies after they leave school on page 33-34 also doesn’t have much purpose. It’s just hanging out and mentioning the party, which they could do anywhere, and feels more like a filler scene to lead to the grandparent’s scene. The scene with Wyatt and his grandparents is nice, but I think it might actually be stronger in the FIRST act before he knocks the power out. He sees how they are without using technology, and looking at pictures and writing letters – that could be more inspiration for him to do it in the first place. Otherwise, I’m not sure it serves much of a purpose here and we never see his grandparents again, so they don’t really have any effect on the story if not as inspiration to go back to that simpler time.
Structurally, the first act I think could be a bit stronger. Right now, the inciting incident is really Wyatt meeting Sophie and realizing people are tech-obsessed. But if there was more set up and an actual catalyst as to why Wyatt rams the power lines, that could be the inciting incident. Then Wyatt rams the lines, and the first act basically ends on page 24, which is a bit early even for a short script. But I think there are a couple scenes you could move to the first act, as stated, that would beef it up a bit more.
The investigation into what caused this power outage might be an interesting subplot you could work into the story a bit more. It might add some tension and higher stakes and a bit more worry and conflict for Wyatt, who is hoping not to get busted for what he did. The cops come talk to him the morning after, but then we don’t hear from them again.
The third act, much like the first act, is quite short and not that much happens. The kids going exploring into the abandoned house is cute, but it has nothing to do with the rest of the story and nothing important really happens within the scene. There’s no real point to it other than giving them a quick nostalgic adventure to go on. This is what I mean by the scenes need more purpose and connection to the plot. It’s great that they go there, but how does that affect or change anything.
Generally, I think the dialogue is quite strong. There are some very smart and funny lines throughout the script that showcase the change in how people think because of technology. When Wyatt asks Dale if he wants to go play catch and Dale says “I have Wii? If you want,” that’s a great moment. Natalie’s response to experiencing a black out on page 27 (and the teacher’s comment) is hilarious. Same on pg 33 with the hashtag daddy issues lines. Wyatt’s VO lines on page 55 are not making new points, but they are very well-expressed in a funny way. Even Dale’s stoner thoughts and dialogue made me laugh out loud. And the line on pg 74, “I feel like I just watched a Mythbusters episode of my own childhood” is such an insightful and clever line, I really enjoyed it.
That being said, I do think there are a few scenes or lines that could feel a bit fresher and genuine to teens. It’s really small things, like Geordie’s line “All right, let’s get out of this place” could easily be a bit quippier – “All right, let’s bounce this bitch.” It’s just about bringing different characters voices to their dialogue.
On page 28, I like the idea of this ice breaker, but these kids have been going to school with each other for 12 years and if it’s one thing social media does, it makes you know everything about a person without even knowing them, so I’m not sure they need an icebreaker. It’s a small class in a small school in a small town – they probably know everything there is to know. And if any of the kids had ridden an elephant, they would’ve posted pics of it on Facebook, so everyone would already know the answers based on people’s timelines. The question of eating Octopus – they would’ve Instagrammed the food pics. Geordie’s point about no calls home and no emails is well-taken though and pretty funny.
There is an odd line on page 38 that stands out, I think it needs rewording or there are typos – the wine cooler description line.
On page 76, Dale fears what would’ve happened if YouTube was around when they were kids – they’re 17. YouTube WAS around when they were kids. The internet and cell phones were already a thing by the time they were in 2nd grade. Facebook started getting popular in 2006/2007 – they were 10. So, they’ve already grown up with it.
SUMMARY: I think this is a well-written, fun read with a strong, relatable, timely message and some smart, funny dialogue. It has a voice, but I think if the actual plot and conflict were a bit stronger, and the stakes a bit higher, it would bring the voice out even more. I think there are other things you can work into the story to flesh it out a bit and create a stronger catalyst and clearer motivation for Wyatt to do this, and stronger consequences from doing so. He needs a specific problem, goal or issue he thinks this might solve. Some of the scenes could have a bit more purpose and progress the plot/character arcs more, there needs to be more conflict throughout the script, and the first act could have a bit more set up. The second act could have a bit more satire, and the action of the third act could have a bit more to do with the rest of the story. But I think there are some great moments and with a bit more work, it could be a very strong writing sample for you and the low budget will definitely make it more produce-able. Stick with it! Keep writing! And best of luck! Thanks again Kevin for submitting your script “Static Town” to Simply Scripts, and congratulations on being the featured script of the month.
NO BULLSCRIPT 20 POINT GRADING SHEET AND RECOMMENDATION:
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