1. I'm only 19 and haven't really experienced much, so when people say 'write what you know' (wether or not that's sound advice i'm unsure), i fear that i don't know enough to be a screenwriter, as in i haven't lived enough, so i'm wondering what people's advice is to a young writer who is struggling with the idea of writing things i haven't experienced like falling in love etc. does it mean i'm not ready to be a writer, or should i just write in spite of not having much life experience?

2. I'm mainly interested in TV and it's the shows i've watched over and over which inspired me to start writing, i adore dark comedies and comedy dramas. i look up so highly to phoebe waller bridge, julia davis, richard gadd, michaela coel, sharon horgan, jack rooke, jamie demitriou and many more. i'd love to write stuff that does for others what those people's shows did for me, but how do you do that without copying? i suppose i'm genuinely asking how to avoid copying your inspirations.

3. some of the shows i love feel like they don't necesarily have a premise, a very loose one at that, and that they're so heavily character driven. i know that i want to explore characters and their relationships and i'm able to come up with those, but i struggle with the idea of a premise. because if you say you're going to write a comedy drama about someone navigating their twenties in a city, i imagine it's a bit 'eye roll, seen it before'. so how important is a premise, or can i find it along the way after i've made characters? and is a 'premise' as it were, necessary?

I am a little confused about the sample of work requirements for the application. I am having some login issues so I have not seen the actual submission form yet but I am going to paste what their FAQs say below this.

Basically I am not sure whether or not they require a writing sample and a video sample or just one writing sample and another video sample which can be of the same material but does not have to be.

This is what their FAQs say:

Sample of Work

The sample of work should be about 3 minutes long and must correspond with your first field of work in the application (if you're applying as an editor, your sample of work should be only one continuous scene of up to 3 minutes). It should contain a maximum of two scenes (not necessarily from the same film).

Please choose a sample that is understandable without the full context of the film and that proves what you are capable of. The sample should highlight your creativity rather than a certain theme or message. All scenes that contain significant non-English dialogue must include on-screen English subtitles. A translated list of dialogue on paper is not sufficient. The sample’s sound/soundtrack should not be altered from the original film. Please make sure that you are the copyright owner and/or have obtained the consent of any other copyright owner(s) for the usage of the work sample. We do not accept showreels, trailers, teasers or commercials.

Screenplay Excerpt

Please upload an excerpt from one of your feature-length screenplays or a complete screenplay for a short film, containing at least one dialogue scene and marking a significant turning point in the story. It can (but doesn't have to) be the written counterpart to the scene from your uploaded video sample. Altogether, please include the following information in English:

• title, genre, logline
• introduction to the main characters
• synopsis with a maximum length of 1,000 characters (i.e. a summary of the plot of the entire film, including the ending. Not a teaser or a cliffhanger for marketing purposes)
• excerpt from the original script feature-length script OR complete screenplay for a short film
• for feature-length screenplays: brief description of the excerpt's context within the film's entire story

Video Upload (MP4 recommended, max 1 GB)

Make sure your sample of work ...

• is from your previous work as Screenwriter
• contains a maximum of two scenes,
• is around 3 minutes long in total

"At an elite British boarding school during WW2, a gifted teenage artist escapes conscription by designing propaganda, but as his work inspires the boys around him to romanticise war, he is forced to confront the cost of glorifying his greatest fear."

This **31st**, and final, draft of my film! I'm 16 and have spent the last seven or so months on this film project on-and-off during exam season. I have location and quite a few people willing to help, but was hoping for some holistic feedback on the script's promise and takeaways after reading...

https://drive.google.com/file/d/1-H4AtQH6n9R-9z2OUQnN5-ik5sr8hLX5/view?usp=sharing

It's 40 pages long but should (hopefully) be an engaging read! Thank you all so much. 🙏

Title: Wyrmfeld Chronicles IV: The Legend of Dragonfield

Genre: Contemporary fantasy

Log line: A wannabe influencer measures her worth in followers until her family inherits a legendary English castle. When the occultist-billionaire next door kidnaps her brother for an ancient blood ritual, she must swap her selfie stick for a sword to save him.

Draft 21 has been polished within an inch of it life.

What I would find most valuable would be if there are any issues on pacing, and especially how the ending lands, as this is the first of a completed trilogy of screenplays. Endings are always difficult, but the ending of a first installment in a larger story even more so.

Does it pull you along past page 1? If you DNF, where did I lose you?

The trailer

Apologies for the vagueness of the title.

BBC Upload is a kind of UGC channel for writers / creators. https://www.bbc.co.uk/programmes/articles/3MPFWlx0dyTF9ZqQ6ljycgD/about

It pops up from time to time in opportunities threads, and there's a link to it from BBC Writers / Open Call landing page.

Guess my Q is, has anyone in this community submitted to it, or had anything they made put out on it? How does that work?

Is anyone here a producer or an agent with a perspective? Is it a cool way to get a credit, or perceived as a bit of a waste of time?

Hi everyone,

I’m looking to develop my skills as a screenwriter and have seen writer development schemes like BBC Open Call and 4Screenwriting, but given how competitive they are (and where I’m at in my screenwriting journey - early), I was wondering if anyone knows of any schemes that offer similar development that perhaps are more achievable/appropriate.

I can keep writing scripts until the cows come home but I’m looking to develop and learn with a mentor/company (and can’t afford film school screenwriting courses).

Any advice would be much appreciated!

TIA

Title: The Premiere
LINK: https://drive.google.com/file/d/1-NwyLAuj88t2UmGtqC3Q1IlwQjxOIDE4/view?usp=sharing
Length: 68 Pages
Logline: When a celebrity exposé breaks on the night of the studio’s biggest premiere, veteran publicist Steven Thatcher must contain the fallout in real time — only to find the real scandal isn't on the red carpet, but inside his own team.
Genre: Workplace drama (comps - Industry / The Morning Show)

Looking for feedback on dialogue, characters, plot , whether the premise is interesting or fresh - whether the story is exciting enough. It's also currently running a bit long at 68 pages for a pilot - so if there's any points where it drags , would be good to know. I'm curious whether the personal and professional stakes land. Let me know if you feel invested in the characters.
Would also be good to know (if you even finish it!) whether this pilot would make you want to watch more episodes in this world etc .

As always, really appreciate any and all feedback!

Title: Paranoia.

I've been working on this for like three weeks I think, and it's my first time trying to write a full screenplay -- I absolutely love reading screenplays of my favourite films and stuff though. Currently, it's only 11 pages long. It's a thriller/horror (at least, that's what I want it to be). I've been rewriting the first section over and over. (I'm a perfectionist).

The overall story is about 5 people, all bad in their own way, whether they acknowledge it or not, in one town. Over the span of a week, and in a non-linear structure, four of them are forced into a cult. The leader of the cult bring them each to an abandoned car park for one final act -- which is the opening, but is seen as the main event. It focuses on a bullied-stalker student, a wealthy racist, an abused girl, an alcoholic man, and the cult leader himself.

Inspired by: Weapons, Barbarian, Pulp Fiction, Alice in Borderland, and more.

I'm not very confident when it comes to dialogue (of course, as I only have like three sections of it I think) so that's something I'd like advice on. As well as this, some feedback on pacing would be good because I feel I'm rushing and dragging at some parts. Foreshadowing and appropiate descriptive writing aren't my strongsuits either.

Thanks in advance!

(it's a little graphic, violent, and has dark themes)

PARANOIA

This is my first draft of the pilot for a British comedy series I've been writing with a friend. It follows a group of young men in a Cotswolds town. They are out of work and fill their time by getting themselves into absurd scenarios. In this particular episode, they are convinced that becoming Connect Four champions will lead them to enormous wealth, so they go to extreme lengths to achieve that goal.

I would greatly appreciate any and all feedback from anyone who wishes to read it, most obviously whether or not you find it funny and what the quality of the dialogue and world-building are like.

Again, this is the first draft and it's also the first thing I've ever written so bear that in mind when reading. Thank you all :)

https://docs.google.com/document/d/1ezdLHjrU66ncdBl9vel3DKtGZWvj6f11RYRd29g2gYE/edit?usp=drivesdk

Has anyone made the longlist?

Hi all

I wrote a screenplay I was pretty proud of and got into some quarter finalist lists a year ago, so I went ahead and did a few tweaks and submitted it to a couple big screenplay comps.

Just got coverage from one, which you get before they decide on who gets the chopping block or not, and my heart sunk when I realised I looked over a couple glaring errors. I double, triple checked the finished script to tweak any issues, grammar or other. One of the glaring issue, honestly the biggest one, is one of the characters doesn't finish their sentence. Literally just one word right at the end of their sentence is missing (e.g, they say "I'm going to." as opposed to "I'm going to bed" kinda thing). I can't believe I missed that glaring error despite how many times I've read over the script.

Do script comp judges/readers overlook these things if they like the rest of the script? This error is over 50 pages in and they seemed to really like the story. I feel like grammar mistakes are easier to overlook than a literal character not finishing their sentence though.

I received an unconditional offer for the Screenwriting MA program (1 year, starting in September) at London Film School, but was unfortunately rejected from NFTS (2 years, starting in January).

Should I accept my offer for LFS and start in September, or defer a year and try again for NFTS's 2028 January intake??

I'd love to hear from people who have gone to either school and those who are in the industry. Thanks!

I signed up months ago for a screenwriting course with Faber Academy. They’ve just cancelled the course with no explanation. I’m super frustrated bc I could have taken other classes, earlier than this.

Now I’ve planned my whole summer break and it will be difficult to find another.

What site or platform is best for hosting writing samples? Whether it be spec scripts, original screenplays, manuscripts or even poems, do you have your own website? Blacklist? I have a variety of writing samples and trying to make a live port folio. Writers, what would you suggest?

Hi!

I hope this is okay to post! I am a masters student researching the changing role of cinema as a third space in the streaming era!

I was hoping if anyone aged 18-34 and has 5-10 minutes to spare, could fill it out, that would be a massive help! It’s completely anonymous, comprising of some multiple choice questions and a few open ended questions!

Thank you so much!

https://docs.google.com/forms/d/e/1FAIpQLSerXd6Z8leTNUQ4iEW87pcbtx-nT6IDYjqvx2HwQF6oXjpKSg/viewform?usp=header

With deadlines:

Female Voices Short Film Fund – Deadline: none specified

BFI NETWORK | Shorts School (Online) – Dates: various

The Comedy Unit | Noising Up! – Deadline: every Monday

New Writing North | Channel 4 Writing for Television Awards 2026 – Deadline: 26 June 2026

*\[HODDER & STOUGHTON OPEN SUBMISSIONS (Literary)*](https://us.list-manage.com/M1Qx53n1Mj6?e=0873282459&c2id=1f55396d0dc1cf68bf3af8bf709be19a) – 28 June 2026

Comedy Gold Diggers is seeking comedy audio scripts – Deadline: 30 June 2026

ITV Academy | Continuing Drama Writers Initiative Continuing Drama – Deadline: 2 July 2026

*\[UMBRELLAS FOR FISH An International Journal of Absurd & Existential Drama*](https://us.list-manage.com/17QWg6urMMY?e=0873282459&c2id=1f55396d0dc1cf68bf3af8bf709be19a) – Deadline: 26 August 2026

Mini Plays Review is officially open for submissions for our upcoming issue! – Deadline: 31 August 2026

Rolling deadlines:

Edinburgh Screenwriting Sessions – Dates: various

Actwrite – Deadline: rolling

Yorkshire Screenwriters | Monthly Script Feedback – Dates: various

54321…Lights Camera Made! – Deadline: rolling – 1st of every month

Script Call out – Feature Films – Deadline: none posted

ChewBoy Productions launch new service: Cinematic Monologue Reels

Bookmark magazine TYPE! Accepting submissions of flash fiction, poetry, six-word stories, micro-plays, micro-screenplays, and illustrations – Deadline: rolling

BBC Upload – Deadline: rolling

Frequency Theatre Open to Unsolicited Script Submissions (Audio Plays Only) (unpaid) – Deadline: rolling

Scenesaver – digital performance platform – Deadline: rolling

Breaking The News is a long-running panel show. Hosted by Des Clarke, a mix of the UK's top comedians, journalists and up and coming stand-up talent take a satirical swipe at the week's news in Scotland and across the UK.

The show is on BBC Radio Scotland on Friday afternoons, but the episode recordings are sometimes filmed for a BBC Scotland/BBC iPlayer TV version too.

Series 34 runs from 19th June.

The show is looking for topical gags for the host's script. Sign up to get the brief to discover what they're seeking in the given week.

https://www.comedy.co.uk/pro/opportunities/431

-- slightly odd that you have to email them to take part but there you go...

Whether you're staring at a blank page or polishing your latest draft, this community is here to support you at every stage of your screenwriting journey.

Inside, you'll find guidance on developing strong ideas, creating compelling characters, building engaging stories, and writing scripts for film, TV and theatre that audiences want to watch.

You'll learn the fundamentals of screenwriting, explore story structure, genre, theme, character development, dialogue, visual storytelling, and rewriting techniques.

This is a free, supportive space where writers can learn, share work, ask questions, get feedback, and connect with others who are passionate about storytelling.

Whether you're writing your first script or refining your tenth, you'll find practical advice, encouragement, and a community of writers who understand the challenges and rewards of bringing stories to life on screen.

https://www.skool.com/script-angel-academy/about

https://www.manchester.ac.uk/about/news/university-of-manchester-partners-with-the-academys-nicholl-fellowships-in-screenwriting/

The University of Manchester is partnering with the Academy’s Nicholl Fellowships in Screenwriting to identify Nicholl Fellows.

The University of Manchester is proud to be among the global universities, screenwriting labs, film festivals and filmmaker programs partnering with the Academy’s Nicholl Fellowships in Screenwriting to help identify possible Nicholl Fellows in the 2026-2027 program cycle. The University of Manchester is one of only four partner institutions in the UK.

The Nicholl Fellowships, established by the Academy of Motion Picture Arts and Sciences, seeks to identify and encourage talented new screenwriters from across the globe. Partner institutions may recommend up to two screenwriters per year to submit a feature screenplay to the Nicholl Fellowships.

At the University of Manchester recommendations will be made by Gonzalo Maza and Jonathan Hourigan, screenwriters and lecturers in the Centre for New Writing. Gonzalo is the co-writer of Una mujer fantástica (A fantastic woman), winner of the Academy Award for Best Foreign Language Film in 2018. Maza, a member of the Academy, said:

“

If you would like to be considered, view more details about how to apply.

Hourigan notes that “We're confident of receiving some strong submissions from our MA Screenwriters but in this, the first year of our partnership, deadlines are tight and the criteria strict, so do read the guidelines and criteria carefully.”

Up to five US$35,000 Nicholl Fellowships are awarded annually. Fellows receive ongoing mentoring from Academy members and networking opportunities from the Academy.

Nicholl Fellows participate in pitch workshops, media training sessions, meet-and-greets and more. They also receive ongoing career advancement support through the Gold Alumni Network Program, which provides continued access, opportunity, professional development and education for alumni of the Academy’s global talent development programs.

All Nicholl Fellows' screenplays are archived in the Academy Collection and are accessible through the Academy’s Margaret Herrick Library.

The program was endowed by Gladys “Gee” Nicholl in honour of her husband, writer-producer Don Nicholl. The Nicholl Fellowships in Screenwriting program has awarded 191 fellowships since 1986.

For more information, visit the Nicholl Fellowships website.

(Feedback)100 Days of Love - Opening page (Romance, Tragedy, Drama) Repost

Title 100 Days of Love, format, featured, Page length 5 pages,Genre - Romantic, Tragedy, Drama Longline: A grieving woman marries a dying man in a hospice, discovering that 100 days was enough to give her a lifetime of love and a legacy the world.

Title: 100 Days of Love, Format, Featured, Pages Length,5 Pages , Genre, Romantic, Tragedy, Drama, Longline : A grieving woman marries a dying man in a hospice, discovering that 100 days was enough to give her a lifetime of love and a legacy to heal the world.

Feedback Concerns:

Does the opening hook you, or does it feel slow?

Is the tone hitting right melancholic but not depressing?

Any lines of dialogue that feel off or too on-the-nose?

It’s 5 pages because the inciting incident lands on page 5. Thanks for reading the extra page!

(Link) https://drive.google.com/file/d/17i-xzR1RvmPgIVS3YujlRWgFJkHTFTJ\\_/view?usp=drivesdk

Thanks in advance i want to better.

Hello everyone,

I've recently been accepted onto the NFTS Screenwriting: Finding Your Voice (6-month, part-time) course and I'm trying to decide whether to accept my place.

Has anyone here taken the course or knows someone who has? Was it worth it? What did you get out of it? How much did it improve your writing?

A bit about me: I'm 33, currently working as a film and TV director. I (try to) write my own projects (I've written and directed two short films), but I've never had any formal education in screenwriting. My goal isn't to become a full-time screenwriter—I'd like to become a stronger writer-director and write my own films and TV series.

Thank you!

Hello Everyone!

I am an aspiring 21-year-old female screenwriter based in London and Leeds, who hopes to one day create her own shows. Currently, my portfolio consists of 5 completed pilot scripts and 2 completed screenplays. All of these scripts are in different genres.

I am just creating this post to ask, where do you guys suggest I start to begin my career. I do believe that I am talented - but doesn't everyone. I take well to criticism and authority.

I just want to begin my career now rather than wait.

Do you think I should apply to comps? If so, which ones are valued the most in the UK. Are there schemes that agents value? Also, is it possible to get an agent without any professional credits?

Many thanks!!

Hi everyone,

I hope this is okay to share here. Please feel free to remove if it’s not appropriate.

I recently had the chance to record a long-form interview with Jeff Barker, a screenwriter and script consultant, and also the father and mentor of Curry Barker, who directed the horror film Obsession.

The conversation is less of a promotional thing and more of a craft discussion. We talk about screenwriting, story structure, character, psychology, independent horror filmmaking, and what makes genre cinema work when it still has intelligence and emotional weight behind it.

I thought it might be of interest to people here who are into horror writing, filmmaking, or the creative process behind independent horror.

Here’s the interview:

https://youtu.be/QUYJiS_YeUk?si=OiMSDModt_wV28AE

No pressure at all, but I’d be genuinely interested to hear what people think, especially from other writers or filmmakers.

Logline: A socially awkward artist finds connection with a woman online through their love of painting. His condition may tarnish the connection he desperately craves when their friendship advances.

Genre: Drama

Format: Short

Length: 11 pages

Link: https://drive.google.com/file/d/1L2jz8C4PeFnxB7VsM3EIipuW4ynHl2ER/view?usp=drivesdk

I just want to know what’s working and what isn’t so I can solidify its strengths and work on its weaknesses. Thanks very much everyone!