NEW Amateur Friday Submission Process: To submit your script for an Amateur Review, send in a PDF of your script, a PDF of the first ten pages of your script, your title, genre, logline, and finally, why I should read your script. Use my submission address please: Carsonreeves3@gmail.com. Your script and “first ten” will be posted. If you’re nervous about the effect of a bad review, feel free to use an alias name and/or title. It’s a good idea to resubmit every couple of weeks so your submission stays near the top. In order to fit in, then, the alien angle becomes so serious that it's almost like they're not even aliens.

They're people. They only have one power - and that's to heal. So these guys are essentially humans. And maybe that was Miller's intent.

The aliens are metaphors for.something. I don't know.

Simply the largest collection of pdf screenplays. Screenplays & Scripts all in. Brad Cutter Ruined My Life. Again (2011) braincandy; BRAVEHEART (1995).

But their inclusion felt so workmanlike that I didn't get that spark I felt from the logline. Maybe I wanted them to be more fantastical.

Maybe I wanted their plan to be more interesting. I'm not sure. But for a premise this catchy, the story itself was pretty by-the-book. On a more basic screenwriting level, the naming here drove me crazy! Two of the main characters are named 'Castor' and 'Carlo.'

This is screenwriting 101 here. Those names are practically identical to each other so I was constantly having to go back and check who was who. Also in the mix we have Clio and Calliope.

It's a freaking 'C' party, with 'C' standing for 'Confusing.' And I don't know if it's just me, but do every one of these mafia scripts have to use the 'Mafia Name Index' for their characters? Frankie Jr, Giuseppe, Tony, Vito, Little Dom, Paulie. Or maybe that's just how it really is? In real life that's how they're all named?

Still, it was annoying because it felt so unoriginal. When it comes down to it, and I look at this screenplay beyond the analysis, it all feels too.serious. It's just so heavy. It's almost like the screenplay is someone's ribcage and an elephant's sitting on top of it.

It can't breathe. And that's not to say I wanted something goofy here, but it's dangerous having a mono-drama script. If there's only one emotion the entire time (heaviness), it's like riding a roller-coaster that only goes straight. Where are the drops? Where are the loops? You need different emotions to keep an audience invested.

And I didn't see any of that here. Blur Game Full Version. What I learned: Whether you have a high concept idea or a low-concept idea, try to include the major conflict of your story in the logline.

I read so many loglines where no conflict is mentioned. Which is boring.

For example, here's the logline that got me excited to read Doxide: 'A mafia hitman is hired by the government to hunt down a group of extraterrestrials on the New York City waterfront.' The key phrase here is 'hunt down.' There's the conflict. A lesser writer might've written a logline like this: 'A mafia family becomes aware of a group of extraterrestrials on the New York City waterfront. Cyber Cafe Pro Client 5. ' You see how there's no conflict mentioned, and how it's therefore less interesting?