Quoted Text As for your question on what good reason would a good person have for kidnapping a child... Well, what if the kidnapper is trying to save the child from their abusive parents? Still a stretch... And I don't know how you can justify the kidnapper locking the child in a basement...

Quoted Text Could it be their own child? People kidnap their own children all the time due to custody battles etc That could also be the change: A Divorce.

These are all good ideas (yes even the teenager trapping the parents in the basement ). I believe I have one now that should work well enough, for now. I'll wait to see what everyone has to say about it and that'll depend on how the story plays out in rewrites.

Quoted Text Who will be the protagonist and antagonist in your story? I was thinking you could have the caring father become a temporary guardian for a reluctant kid. Maybe the kid could be an immigrant, or the caring father could be a guard at a juvenile prison, or his biological child is a pen pal with an inmate, and they grow attached to the kid and decide to take him into their home. This could cause a rift somehow between the family.

The protagonist is a female college freshman, the antagonist is an evil spirit of the kidnapped. The father is sort of the antagonist as well, in a way. He plays both roles, for different reasons.

Quoted Text When you say innocent, do you mean the audience should feel that the kidnapping is justified? or, just the kidnapper should feel justified in their actions?

Kind of both, I think? I want the audience to feel some kind, any kind, of empathy for his action of kidnapping so that it makes sense, while at the same time, the kidnapper should believe he's doing something that's okay.

If everyone who says they are in actually puts in an entry, I'm gonna need 52 weeks to read them all.

I am violently swinging between "This isn't too bad, might have something here" and "this is utter bullshit, stick to accounting" - But I think the bones of the script have fallen into place, I'm committed now so no turning back.

I do appear to have one problem though, which I am hoping some people might be able to weigh in on... what the hell happens in a horror? Act two seems to be a lot of running/screaming/hiding/monsters jumping out... feels very boring to write lol

I have also started watching horrors to see what they are all about - I would like some recommendations from people who know about these movies.
So far I have watched:

Us
In The Tall Grass
As Above, So Below

Any others I should watch please shout out - My movie is more along the lines of phycological horror than slasher/gore, so those types would be good.

Quoted from Zombie Sean Kind of both, I think? I want the audience to feel some kind, any kind, of empathy for his action of kidnapping so that it makes sense, while at the same time, the kidnapper should believe he's doing something that's okay.

Very hard to comment without knowing the bigger picture - But if the kidnapper is to believe he is doing the right thing, and for the audience to get on board then it has to be of the benefit of the child - I.E protection from society because the kidnapper believes they would be in grave danger if anyone knew where they were.

For the audience to feel empathy for the kidnapper, we don't have to think the act itself is right or justified. We just need to feel that the kidnapper thinks his actions are justified and can understand why they would think that, even if we know it's wrong (Either through deception or psychological abuse for example). Numerous ways to do that and again, impossible to advise without seeing the bigger picture.

I’m almost finished writing the intro for my script. It will be about ten pages, kind of long for an intro. Although, I believe Midsommar’s was around that length and that’s one of my favourite horror movies. The intro for Us, another great horror, was also close to ten minutes long I’d say.

@ Matthew.

Almost certainly you'll be working in Three Genres for your script.

Genre Setting: Sci Fi/Sci Fi Horror ie your visuals will be both futuristic and designed to scare.
Genre Tone: Horror (intended to scare and unnerve).
Genre Plot: Here you can take another genre of film (Mystery, Action, Drama etc...yours is probably Thriller) and use Beats, Tropes and Plot Devices from that genre alongside the Horror Beats, which makes it less generic. To get high critical acclaim you almost always use Drama (The Exorcist, Get Out, Babadook, Hereditary etc etc).

But here's a couple of Horror Beat Sheets for you to get you started.

Horror Story Beat Sheet

Act One (The Setup):

1 - The World is Not What it Seems

(The reader catches an early glimpse of the monster, or a hint that the monster exists. This is optional, and may occur right away ï¿¿ often as a prologue ï¿¿ or after the main characters have been introduced.)

2 - Putting the Players in Action

(You introduce the important characters and the primary internal conflict)

3 - Setting them on the Path

(The characters make a choice that inadvertently isolates them or places them on a collision course with the monster)

4 - The Warning

(The characters are given an opportunity to turn back, but choose not to; could occur before or after The First Contact With The Monster.)

5 - The First Contact with the Monster

(The characters have their initial contact with the monster, but are unaware of the true threat it poses.)

Act Two (The Turn):
6 - Shit Gets Real
(May be the first death or when seriously spooky activity begins; regardless, this is when the danger becomes evident and unavoidable)

7 - The Chase
(The monster pursues the characters, who lack the skills to fight it; one or more people may die here)

8 - Failed Confrontation
(The main character attempts to destroy the monster, but does not yet possess the ability to do so)

9 - The Darkest Hour
(Hope appears lost. Perhaps someone very important has died, or the hero has tried everything they can think of.  The link between the internal conflict and monster may become clear to the character here)

Act Three (The Prestige):
10 - A Different Solution
(The hero gains new information on how to defeat the monster.  This may be delivered by someone they seek out for help, or may come through soul searching and observation.)

11 - Seeking Out the Beast
(For the first time, the hero approaches the monster, rather than fleeing it.  They intend to enact their solution)

12 - The True Cost is Revealed
(In the process of confronting the monster, the hero realizes that to overcome it, the internal conflict must be encountered and defeated.  That is the hidden cost; the hero will be irrevocably changed)

13 - Sacrifices Are Made (or not)
(Faced with the ultimate choice, the hero either succeeds in defeating their internal conflict and  winning against the monster, or fails and ultimately succumbs to their weakness)

14 - The Inevitable Fall Out
(Show the consequences of whichever choice is made)

15 - Evil Cannot Be Conquered, Only Delayed
(If the hero failed #13, show the monster relishing its victory in a changed world.  If the hero succeeded, show a hint that the monster may yet return. )

OR

ACT ONE: Monster's First Appearance - anywhere from page 2 to 10. Monster can be supernatural force, slasher, gang of zombies, etc. First 25 pages - set up all main characters except the Knowledgeable Person; seduce us with the monster coming closer and closer, the world oblivious to the threat, just missing it. Note in this sequence, people can be going about their normal lives in their hometown OR they could have travelled to another location (hopefully not the woods) or engaged in some kind of activity that brought them to the monster. It doesn't really matter whether the monster comes to them or they take actions that lead them into the monster's lair so long as:

25% - BAM! The Monster Is For Real - kills someone close to the protagonist usually; has to be more dramatic than his first appearance. e.g. page 10 he kills some anonymous random person, page 25 he kills someone the protagonist hangs out with all the time

ACT 2A: Mostly Positive Rising Action - learning about the monster, getting help from a Knowledgeable Person, a mood of optimism, hey with the right tools and plan we've got a darn good shot at survival. Bravado. Interaction with law enforcement. Disagreements over how to proceed - some too gungho, others too cautious. Some may not be believers - Nightmare on Elm Street -"it's just a bad dream, sweetie!", Fright Night "yeah right your neighbors a vampire". APparent or limited success or headway but then:

50% - Pretty Major Setback - e.g. another attack/murder by the monster, possibly with several victims this time. Maybe gungho/cocky guy gets iced. So that plan they had worked real well - NOT.

ACT 2B: Mostly Negative Rising Action Start with a "slow-down" moment - a chance to take stock of the midpoint event, put bandages on, regroup, etc. but not for long because the monster's gloves are off. That optimistic attitude they had in 2A seems a million years ago now - the monster is way worse than they thought. The nonbelievers are believers now. The pace quickens. This section has a real back and forth energy between the protagonist and the monster, it's a tennis match. This is the real action/reaction part of the script. The protagonists often spend their time running and hiding as the monsters keep catching up with them, possibly with more relatively minor victims.

75% - You got two options for setting up the 3rd act by making this point: Option A: Really Major Setback - it looks like the protagonist is totally screwed at this point; Option B: The expression of a last-ditch effort to conquer the monster. "hey, if we can lure him here, maybe we can trick him, etc., it's worth a shot, what other options do we have..?"

ACT 3:

First third: If Option A: Start with the calm before the storm - e.g. the survivors saying last goodbyes and sharing stories with each other, writer has earned" this slow-down time because the audience is anticipating the showdown,

If Option B: Start with the Preparation of the last-ditch effort, then have them carry out the plan,

Second third: Battle: battle with the monster, with a TWIST of some kind - e.g. they didn't realize the monster could replicate himself, they didn't realize their ally was working for the monster "he's one of them", the protagonist has what is actually an effective weapon that didn't appear to be at first, that a previous victim is actually not dead but has been kept alive as part of some sick science project by the monster, or if you used Option B above, well they overlooked something in their plan and that plan has to be scrapped and now they must work on the fly

People die, but so does the monster, by the hands of whoever you established as your lead protagonist in Act 1.

Ending - the survivor takes a moment of silence for the tragedy they've witnessed. wipe the tears from her eyes. And start the day anew in her midriff revealing top. Maybe she's learned some lesson, but probably not, more likely she's just been through an ordeal.

Optional tack-on teaser: the monster ain't dead!

Quoted from Matthew Taylor I do appear to have one problem though, which I am hoping some people might be able to weigh in on... what the hell happens in a horror? Act two seems to be a lot of running/screaming/hiding/monsters jumping out... feels very boring to write lol I have also started watching horrors to see what they are all about - I would like some recommendations from people who know about these movies. So far I have watched:

In suspense and psychological field I'd swear on these two (which you probably know already):

Shining
Shutter Island

Re: your act 2 thoughts. Reflecting from your own words, I then would think about doing the opposite of plotting monotonous – which might be to surprise, giving sudden and unexpected directions to it, maybe plant some DISTRACTIONS, which make us think we know where it's going while you take a turn then… which strikes us hard.

Yours was the one with the gravity train, right?

Not sure if I get the whole ride through hell scenario yet. Maybe the WHY? What Hell wants from the passengers, is a mystery itself that also slowly evolves in a creative way, which doesn't bore. I for myself want the supernatural and evil forces as "believable" as possible or better said - they need a backstory themself, a life beyond which makes them what they are - a certain explanation.

However, remembering your very own words, don't bore, don't bore, don't bore might be a super advice of yourself when taking each and every story decision

The concept, if I get things right, reminds me of this here btw



Hopefully some food for thoughts

@ Scar Tissue

Holy crap! that is exactly what I needed - Absolutely superb. Thank you so much.

I was trying to apply a normal beat sheet and it was giving me a headache - This is really going to open that creative door.

Just saying thank you doesn't seem enough - Buy yourself a drink from me  

@ Alex

Thank you so much for your comments - Inspired me, actually - especially the mention of distractions and the what Hell actually wants from these people , something unexpected - I don't know what Hell wants from them yet, but now I'm gonna try and find out.

Not Sure I can come up with all the answers and write it coherently in 6 more weeks but, thanks to both you and Rick, I now have a raging fire under my ass which is kicking me into action  

I will try not to bore lol I am also trying really hard not to fall into horror tropes and cliches - very hard.

I noticed shutter island on Sky Cinema so I will give that a watch.

As to the gravity train in total recall - mine will be completely different, nowhere near as futuristic in style.
Mine will have the technology to go through Earth's core - but style-wise it will look more like the Orient express with some Sci-fi thrown in.
In my world, those who can use this gravity train are the super-rich, so it's styled with elegance and opulence in mind - luxury travel.

Alright - The creativity is flowing now so I'm going back to writing.

Thank you guys  

I hate beat sheets. And the 3-act structure.

Quoted from Zack I hate beat sheets. And the 3-act structure.

Well, you need to begin due to your addiction to write and have the desire to end. And then there's also some mess in between makes 3.

The biggest task in every first draft, to me, is the second half of act 2, major problems begin right after the midpoint. That's when I lose the fuel because the outline and plan I've made before eventually has changed drastically.

Somehow I try to sequence myself through to the common territory of 3.

Sequence on, buddy-

Will not have time to take part in this, but I just read some news that would be ripe for horror IMO.

Couple with two kids get quarantined for two weeks in their 250 square foot inside cabin (no windows) on a cruise ship after a deadly virus spreads around the world.

I don't know about you, but that sounds pretty horrific if you ask me. They would all start turning on each other.

Rick is our Sherpa guide. Without him, we have no chance of reaching the summit.

Quoted from Matthew Taylor If everyone who says they are in actually puts in an entry, I'm gonna need 52 weeks to read them all.

Don't worry, people will drop out. And we will shun them.

Based on past challenges, expect anywhere from 3-10 scripts. If it's on the high side (which I doubt), I'll come up with some assignment system so you don't have to do notes on a ton of features. I'd rather have quality over quantity cuz people are gonna be worn out already.

Matthew threw out a potential issue with his script which I think is a good idea. Feel free to discuss a concern you have, or what you perceive to be the greatest difficulty with your story.

Quoted from Matthew Taylor I do appear to have one problem though, which I am hoping some people might be able to weigh in on... what the hell happens in a horror? Act two seems to be a lot of running/screaming/hiding/monsters jumping out... feels very boring to write lol I have also started watching horrors to see what they are all about - I would like some recommendations from people who know about these movies.

Avoiding repetitive attacks/scares will probably be a challenge for all of us. One thing you can do is sow discord among the passengers. Maybe something happens to one of them and they suspect he/she is insane or possessed now.

So there's distrust, people breaking down, arguing with each other. Conflict leads people to separate... then you have a monster attack while that character is alone.

Plus, you've got this high-tech train... bound to be mechanical failure. So they have tasks to save the train. You'd intersperse scares while they're running around.

I'd check out that movie Event Horizon that Rick mentioned. Even though you're doing a train, those spaceship movies with creepy happenings might be instructive. Also, maybe look at Sphere and Sunshine.

Quoted from Zack I hate beat sheets. And the 3-act structure.

I'm a big fan of structures and templates, I've got huge files on all kinds of structures, linear and non-linear.

No one forces you to use them, or stick to them, but I think it's a good starting point. If you're choosing to break away from it, you know you're making decisive decisions as to why and not just wandering off course.

Off topic: I remember someone in a class I was in once saying that traditional three act structure followed the male sexual model...foreplay/set up, thrusts in and out gradually building up in intensity to the singular climax, then the resolution/pillow talk....and that a female model would be foreplay/setup, climax, climax, climax (etc) then resolution.

I've always wanted to try and write a script like that, but I'm not even sure if it's possible and not just one of those things where gender is thrown into an unrelated topic (like long winded and increasingly surreal conversations in feminist literature class where the Pen is apparently a Penis and not just an appropriately shaped device for the human hand and the Word Processor is more like a Womb).

I'm not a big fan of rigid structure either, but damn, Rick, that's some mighty helpful horror template you posted there.

...

Just noticed Marnie's scared herself silly with just the thought of her own horror script. Her username's developed a stutter.
I think, and correct me if I'm wrong, Marnie... Are you developing a previous incomplete OWC entry?
...
Andrew, just noticed your question. Yep, I'm where you currently are. Well, in the vicinity. Glad you're enjoying your seachange.
...
Matthew, those movies you watched are not the best in terms of horror imho, but then each to their own.
28 Days Later
Seven
Shaun Of The Dead (horror comedy)
Candyman
The Stir Of Echoes
The Exorcist
The Vanishing
Funny Games (ugh! So heavy, with a dash of social commentary)
The Sixth Sense (so clever)

I could go on...

And Pia, you make a very good point. Stephen King's version of Covid-19 would be scary as hell. Pity 1408 was a little underwhelming - the book was much better.

Quoted from Rick Ending - the survivor takes a moment of silence for the tragedy they've witnessed. wipe the tears from her eyes. And starts the day anew in her midriff revealing top.

Quoted from MarkItZero I'd check out that movie Event Horizon that Rick mentioned. Even though you're doing a train, those spaceship movies with creepy happenings might be instructive. Also, maybe look at Sphere and Sunshine.

Thanks for tips - I think I have a way now for the train itself to play a part in the narrative other than being the device that delivers them through hell - I think it makes sense and will add some tension as well as a (hopefully) satisfying conclusion.

I started watching Event Horizon last night - I never get to watch a movie in one sitting anymore (thanks kids) - so will finish it off tomorrow.
There are a lot of similarities between that and mine - even down to removing eyeballs, which was in my movie before I watched it but now it's going to look like I took it from Event Horizon lol will check out your other suggestions, thanks.

Quoted from LC Matthew, those movies you watched are not the best in terms of horror imho, but then each to their own.

No, I quickly realized whilst watching them that they are terrible movies. "Us" in particular was a complete letdown. Hence why I need help choosing the next ones to watch.

Watching these movies has given me one thing though - My horror movie might suck, but based on the horror movies currently on netflix, sucky movies get made