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You will have seven weeks to complete a feature screenplay based on the following parameters...
Your 7WC topic:
Change is Horrifying!
You will pick a relatively common, potentially stressful life event/life change and write a horror story incorporating that event.
The event itself, or the aftermath, must play a significant role. It does not have to be a “bad” thing. It can be something positive, but you will focus on those inherent doubts, fears, insecurities, etc.
Here are some possible life events/changes: getting married, getting divorced, going to college, retirement, starting a small business, a death in the family, going bankrupt, moving, losing your virginity, hitting puberty, having a baby, getting diagnosed with Alzheimer’s, losing your job, in-laws coming to stay.
This is not a full list. I’m sure there are quite a few more not mentioned here that would qualify. Here’s a chart of stressful situations that might give you some other ideas.
More than one participant may pick the same life event if they so choose.
Genre: Must be horror, May be combined with any other genres.
Budget: Any
The scripts are due on Monday, April 20th at 11:59PM EST and must be submitted to: simplyscripts.com/owc
Additional rules:
This is not an anonymous challenge. Feel free to discuss and ask questions about your script along the way.
Your script must be a properly formatted feature length screenplay in PDF form.
It must be at least 75 pages long.
This isn't a contest. There are no prizes.
Free to submit.
Collaboration is allowed.
One entry per person (or one per collaborative group).
No pissers, please.
You can revise your script as many times as you wish up until the deadline.
Participants are strongly encouraged to read and comment/review on the scripts submitted.
Bump -- to make sure my other thread doesn't keep someone from finding this.
Good luck to all who enter. I might get in. Not sure, yet.
PaulKWrites.com
60 Feet Under - Low budget, contained thriller/Feature The Hand of God - Low budget, semi-contained thriller/Feature Wait Till Next Year - Disney-style family sports comedy/Feature
Many shorts available for production: comedy, thriller, drama, light horror
I did 7wc twice now. I’ll have to do it for the third time sometimes before I either stop writing completely or die. But like I said there’s no time right now. I like this challenge tho! Hope people write something.
It has so far taken me the best part of a year to write my feature - so chances of me being able to complete one in 7 weeks are slim. Still, I will give it a go and see if I have anything to submit at the end of it.
I’m up for this but definitely want to collaborate with one or more. Have a premise already. Over the top Horror/comedy. Private message for more details.
I'm interested in working with another horror writer on this. Got a a few ideas already, although I'm totally down to scrap them all and develop something new with a partner. If anyone wants to collaborate on something super dark and gory, send me a PM.
I'm interested in working with another horror writer on this. Got a a few ideas already, although I'm totally down to scrap them all and develop something new with a partner. If anyone wants to collaborate on something super dark and gory, send me a PM.
Can't wait to see how many people you offend this time around
Okay, not many questions, seems like people got the hang of this one.
Remember, you can throw out ideas to the group along the way. Maybe you're having trouble with a scene, anything like that. I'll be checking in on progress.
I presume that this cannot be something that you were currently working on - yes?
Hmm. On one hand, I want to say the more the merrier. My concern is other people might jump in with half or nearly completely finished scripts. Which kind of defeats the point of this challenge.
I'm cheating a bit with my own script cuz I've been planning it in my head for months now. So I might release it separate right after the challenge as a regular script post.
Maybe you could do the same thing, just play along like you're doing the challenge and then release it separate?
I've got a few different ideas on where I could go with this. Gonna write a couple of different outlines, then see which one comes out the best. Still looking for a potential co-writer. If anyone is interested, shoot me a PM.
Matthew, Zack, Arundel, and Geezis look like the definite entries so far.
I am going to attempt - the likelihood of having anything in a fit state to submit is low.
I need to set myself a plan:
48 days left
7 days - Planning/plotting/create characters & world etc 30 days - Writing. Aiming for 90 pages so that is 3 pages a day to stay on target. 1 day - Rest 7 days - Rewrite 3 days - Emergency spare days
I've got a few different ideas on where I could go with this. Gonna write a couple of different outlines, then see which one comes out the best. Still looking for a potential co-writer. If anyone is interested, shoot me a PM.
I am going to attempt - the likelihood of having anything in a fit state to submit is low.
I need to set myself a plan:
48 days left
7 days - Planning/plotting/create characters & world etc 30 days - Writing. Aiming for 90 pages so that is 3 pages a day to stay on target. 1 day - Rest 7 days - Rewrite 3 days - Emergency spare days
I promise you, no one's expecting quality or fit state. Seven weeks to go from finding a concept to finishing a feature is insane. Especially with life commitments and all that. It's going to be a Taco Bell vomit draft.
Just go all out and get something written. Then get feedback. With some good rewriting, you might end up with a damn good script on your hands eventually.
Look at it this way, I guarantee whatever you write will be better than The Spy Who Dumped Me.
So, it's the magnificent world of writing a feature screenplay. And more than that one of my favorite writers here is host and will participate alongside...
Well, the parameters sound pretty character bound, which is fine. Now I must find a "contained" angle within this first week to get things rolling.
Especially location and theme is what I look for now.
I googled a bit about what's in public domain and the only one that felt interesting yet, regarding the "big" ones, was a Phantom of the Opera kind of game - in a modern interpretation and expression of course.
So, so far, there's a misfit that rules within his/her specific surrounding.
First brain fart idea: A ((wo)(man)) runs a solar farm where s/he lives in. Ironically s/he's allergic to ultraviolet light so can't go outside of the facility themself. Sounds stupid enough, right?
However, just a short nod toward James and his statistics that I probably will try when I see a trace. And I truly want that needed certain spark - so wish me luck.
Small town, USA. At the start of a story, a horrible bus accident takes the lives of 22 children. There are only two survivors, who coincidentally happen to be siblings. After a few days of recovering in the hospital, the siblings return home to their loving parents. The antagonist is a local widowed farmer, who lost his only child in the bus accident. He refuses to accept that his only child died while his neighbors get to keep both of their children. Blinded with rage and feeling abandoned by God, he decides to take action and bring balance.
Obviously still got quite a bit of developing to do, but I think it's a solid start.
So, it's the magnificent world of writing a feature screenplay. And more than that one of my favorite writers here is host and will participate alongside...
Well, the parameters sound pretty character bound, which is fine. Now I must find a "contained" angle within this first week to get things rolling.
Especially location and theme is what I look for now.
I googled a bit about what's in public domain and the only one that felt interesting yet, regarding the "big" ones, was a Phantom of the Opera kind of game - in a modern interpretation and expression of course.
So, so far, there's a misfit that rules within his/her specific surrounding.
First brain fart idea: A ((wo)(man)) runs a solar farm where s/he lives in. Ironically s/he's allergic to ultraviolet light so can't go outside of the facility themself. Sounds stupid enough, right?
However, just a short nod toward James and his statistics that I probably will try when I see a trace. And I truly want that needed certain spark - so wish me luck.
Alex! Yes get in here we need you!!!
With regards to that idea you mentioned, that actually sounds pretty damn good to me. But I don't think it would fit the parameters.
I want to clarify that you're picking a relatively common life change.
It doesn't have to be something everyone has experienced, but common enough where anyone would be familiar with it and probably know someone who went through it.
Getting an extremely rare disorder doesn't fit that.
So, pick a fairly common, significant, stressful thing that can happen in people's lives. And then focus on the change in circumstances that results.
For example, if you were to pick retirement... maybe it'd be a story about a workaholic who finally retires and starts to unravel with nothing to do now. He becomes convinced there's some dark secret at the company he worked for, some evil force that's been there all along, and we're not sure if what he's investigating is real or he's losing his mind.
Lemme know if you have questions. It's good to go over this cuz I want everyone to be clear on the rules.
I want to write about a woman who moves to a new place with her kids after some life-altering events that happened to her. All the neighbors are nice and welcoming, almost too welcoming. But the house appears haunted. The house is kind of alive two and it wants to take the woman and her kids. She learns the story of those people l/ghosts and it�s similar to her own. They were sort of outcasts in their neighborhood for being different. So she decides to revenge. Basically lures the neighbors in, one by one to be horrifically dissected, mutilated (or mutilated and dissected). Possibly she starts canned meat production later too.
Small town, USA. At the start of a story, a horrible bus accident takes the lives of 22 children. There are only two survivors, who coincidentally happen to be siblings. After a few days of recovering in the hospital, the siblings return home to their loving parents. The antagonist is a local widowed farmer, who lost his only child in the bus accident. He refuses to accept that his only child died while his neighbors get to keep both of their children. Blinded with rage and feeling abandoned by God, he decides to take action and bring balance.
Obviously still got quite a bit of developing to do, but I think it's a solid start.
This is nice. Lots of drama and room for possibilities. Now, where’s the promised gore?
Small town, USA. At the start of a story, a horrible bus accident takes the lives of 22 children. There are only two survivors, who coincidentally happen to be siblings. After a few days of recovering in the hospital, the siblings return home to their loving parents. The antagonist is a local widowed farmer, who lost his only child in the bus accident. He refuses to accept that his only child died while his neighbors get to keep both of their children. Blinded with rage and feeling abandoned by God, he decides to take action and bring balance.
Obviously still got quite a bit of developing to do, but I think it's a solid start.
I want to write about a woman who moves to a new place with her kids after some life-altering events that happened to her. All the neighbors are nice and welcoming, almost too welcoming. But the house appears haunted. The house is kind of alive two and it wants to take the woman and her kids. She learns the story of those people l/ghosts and it�s similar to her own. They were sort of outcasts in their neighborhood for being different. So she decides to revenge. Basically lures the neighbors in, one by one to be horrifically dissected, mutilated (or mutilated and dissected). Possibly she starts canned meat production later too.
With regards to that idea you mentioned, that actually sounds pretty damn good to me. But I don't think it would fit the parameters.
I want to clarify that you're picking a relatively common life change.
It doesn't have to be something everyone has experienced, but common enough where anyone would be familiar with it and probably know someone who went through it.
Getting an extremely rare disorder doesn't fit that.
So, pick a fairly common, significant, stressful thing that can happen in people's lives. And then focus on the change in circumstances that results.
Lemme know if you have questions. It's good to go over this cuz I want everyone to be clear on the rules.
All right, I hear you. Actually, I don't see it as an even hard challenge to include that "dramatic life situation", since I think that somehow most stories include such kind of personal situation in its dramatic structure.
In my case, I can think of, f.i., that our isolated person who lives in the "solar farm facility" is suddenly confronted with his/her child because the parent outside, who originally had the child's custody, can't provide it anymore (for some reasons).
So, our freak now becomes a parent.
I think that would qualify, wouldn't it???
As said, I personally, actually don't think that it is such a big problem to include a life changing moment or obstacle that confronts the protagonist… Sounds pretty natural to me
My concept is fairly simple and straightforward, nothing too challenging, a woman survives an attack by a serial killer, suffers PTSD and plots revenge. I know it's been done a multitude of times before but high concept scripts aren't on my radar yet.
In saying that Good Luck to everyone entering
If at first you don't succeed........bribe someone.
My concept is fairly simple and straightforward, nothing too challenging, a woman survives an attack by a serial killer, suffers PTSD and plots revenge.
A little vague, but it could be interesting. Good luck with it.
A little vague, but it could be interesting. Good luck with it.
It's a vague idea at the moment but I'll see how it spins out. I have a couple of touches that might make it more appealing but I'm still developing them.
If at first you don't succeed........bribe someone.
All right, I hear you. Actually, I don't see it as an even hard challenge to include that "dramatic life situation", since I think that somehow most stories include such kind of personal situation in its dramatic structure.
In my case, I can think of, f.i., that our isolated person who lives in the "solar farm facility" is suddenly confronted with his/her child because the parent outside, who originally had the child's custody, can't provide it anymore (for some reasons).
So, our freak now becomes a parent.
I think that would qualify, wouldn't it???
As said, I personally, actually don't think that it is such a big problem to include a life changing moment or obstacle that confronts the protagonist… Sounds pretty natural to me
Yeah, I think getting thrown into parenting would count.
I know what you mean about it not being that difficult to come up with life changing moment. I wanted it be something pretty broad so people wouldn't get forced into some crazy scenario for a feature.
It actually ended up not being exactly what I intended. It's a long story. But people seem to be getting ideas from this and running with it so it's all good.
I know what you mean about it not being that difficult to come up with life changing moment. I wanted it be something pretty broad so people wouldn't get forced into some crazy scenario for a feature.
It actually ended up not being exactly what I intended. It's a long story. But people seem to be getting ideas from this and running with it so it's all good.
Absolutely, I think it's a very good choice of you. It wasn't meant negative in my initial post. The given parameters emphasize the importance of character, relationships and conflict if we take them to heart. These scripts will have a strong dramatic backbone I believe, which is a truly demanded feature these days. So thumbs up for that.
Data science sounds like a made up discipline to me. I'm calling your bluff, there's no such thing.
To thee who wants to be called Mark but is James and can’t do anything about it:
It is made up. But in the world where everything is made up nothing in fact is: Data science = made up. If math, music and language = made up, then nothing is. Since m, m & l are made up, data science is not.
To thee who wants to be called Mark but is James and can’t do anything about it:
It is made up. But in the world where everything is made up nothing in fact is: Data science = made up. If math, music and language = made up, then nothing is. Since m, m & l are made up, data science is not.
The morning after our protagonist has committed murder, they must wrestle with the attempts to justifiy their actions and an increasing urge to go again.
Not sure if that's a good idea or not! Just the first thing that has come to mind. Lots of areas to go with it, so it has that in its favour.
The morning after our protagonist has committed murder, they must wrestle with the attempts to justifiy their actions and an increasing urge to go again.
I'm going to try and participate in this challenge. I think the concept I'm going with will deal with the combined stressful situations of being in debt and being pregnant. I want the script to be over-the-top bloody and considered Exploitation Horror.
Title: BINDING Logline: A soon-to-be mother learns that her ancient ancestors failed to uphold their end of a contract, now she must murder all her living blood-relatives or have her baby taken from her.
A young woman named Theresa and her fiance receive a visitor the day after they learn Theresa's pregnant. The stranger tells them that Theresa's ancestors had signed a deal with a very wealthy family and because they failed to honour their part of the deal, every member of her family who becomes a parent has to surrender, or have taken, their first-born child to the opposing family who will do with them what they will. Theresa and her fiance learn authorities won't help them, so they must fulfill a second agreement imposed by the family they're in debt with before Theresa gives birth.
The new agreement is that Theresa must murder all her blood-relatives for the contract to become void. Theresa is given what looks like a red credit card, which is essentially a get out of jail free card. She kills every member of her family within the city she lives in all in one day, then travels to three foreign countries to assassinate her three relatives that were sold into slavery by the opposing family.
She returns to the family she owe's home after murdering all her living relatives. Theresa is told she still must commit suicide for the contract to end. They promise they will attempt to deliver her baby immediately after she dies. Theresa agrees to this, kills herself, and the family she's no longer in debt with prepare for the emergency operation.
Hank... Dude. Honestly, you've sort of built up a bad reputation here. You don't return reads. You wanna change that perception... Go read and comment of others work, preferably in OWC's you've entered. You owe writers in those OWC's quite a bit of feedback.
The morning after our protagonist has committed murder, they must wrestle with the attempts to justifiy their actions and an increasing urge to go again.
Not sure if that's a good idea or not! Just the first thing that has come to mind. Lots of areas to go with it, so it has that in its favour.
Andrew, welcome aboard!
I don't wanna keep knocking people's ideas cuz it sounds like that has potential. You can go with that if you want, it's not really quite what I had in mind for a relatively common life event, but people seem to be okay with it.
At the end of the day, I just want people to be inspired to write for this challenge.
For anyone still searching for inspiration, I'd say think of a stressful life event that most people can at least relate to in some way. Some examples from movies...
Ready Or Not (getting married/meeting the in-laws) Rosemary's Baby (having a baby) It Follows (if the girl had been a scared virgin... losing your virginity) Midsommar (haven't seen this but I'm assuming... breaking up)
There's probably lots more like that but I'm drawing a blank.
Ready Or Not (getting married/meeting the in-laws) Rosemary's Baby (having a baby) It Follows (if the girl had been a scared virgin... losing your virginity) Midsommar (haven't seen this but I'm assuming... breaking up)
Midsommar has a far more disturbing and ugly catalyst than that - the death of her family under horrible circumstances. The breakup she instigates in a very novel way comes at the end - breaking up for good, let's say.
Anyway, you said you hadn't seen it so...
As far as Andrew's idea that would work if his main character for example moved cities for what he thinks is going to be a life-changing career move, then murders a business rival, (for some desperate reason) -
So, I was thinking of a rebellious teenager coming to a new school where the - possibly inhuman - students and teachers are all very much alike, and have vicious methods of punishing individuality... But just now I remembered "The Faculty" is quite similar to that . I'm sure there's ways to change things up, but I doubt I'll have the time to get a feature written, anyway..
Interested in seeing what people will come up with, though!
Midsommar has a far more disturbing and ugly catalyst than that - the death of her family under horrible circumstances. The breakup she instigates in a very novel way comes at the end - breaking up for good, let's say.
Anyway, you said you hadn't seen it so...
Good call, scratch Midsommer. Yeah, haven't seen it... but I kind of want to now.
As far as Andrew's idea that would work if his main character for example moved cities for what he thinks is going to be a life-changing career move, then murders a business rival, (for some desperate reason) -
- and then a chain of horrific events ensues. Something like that would work, wouldn't it? It's all about linking the sudden event of change?
Btw, welcome to Oz, Andrew! Are you working in the film industry here?
The more questions, the better!
Andrew's idea probably could work with almost any relatively common life change/life event. Whether it's moving/retirement/breaking up... if it somehow leads him to go on a murder spree... then I'd say the event might be a significant part of the story.
The thing that doesn't quite work is having murdering someone as the life event.
So, I was thinking of a rebellious teenager coming to a new school where the - possibly inhuman - students and teachers are all very much alike, and have vicious methods of punishing individuality... But just now I remembered "The Faculty" is quite similar to that . I'm sure there's ways to change things up, but I doubt I'll have the time to get a feature written, anyway..
Interested in seeing what people will come up with, though!
Also, there's Matilda. Some scary events in that one
So, I was thinking of a rebellious teenager coming to a new school where the - possibly inhuman - students and teachers are all very much alike, and have vicious methods of punishing individuality... But just now I remembered "The Faculty" is quite similar to that . I'm sure there's ways to change things up, but I doubt I'll have the time to get a feature written, anyway..
Interested in seeing what people will come up with, though!
That would definitely fit the parameters. Transferring to a new school, fairly common, recognizable... not to mention frightening which is a plus!
As long as it's not people getting body snatched then you can probably avoid comparisons to The Faculty. I think it's got potential.
Andrew's idea probably could work with almost any relatively common life change/life event. Whether it's moving/retirement/breaking up... if it somehow leads him to go on a murder spree... then I'd say the event might be a significant part of the story.
The thing that doesn't quite work is having murdering someone as the life event.
Okay, well, I'll quote you here for clarification:
The event itself, or the aftermath, must play a significant role
I agree, cause murdering someone is not a normal life changing event per se cause sane people don't go around killing other people and it wouldn't make any usual list of high stress events, like moving, divorce etc.
The event or catalyst in Andrew's hypothetical scenario is moving far away to a new city. In the aftermath of that move the main character murders someone - for whatever reason - obviously that reason would need to be compelling, but then the resulting consequences or dire chain of events is the ensuing story, right? Without the move the murder wouldn't have happened. ?
I believe I thought of a strong opening for my script:
A young mother and her husband escape the hospital into their van, and drive away towards the highway. They have with them their recently born daughter. They are being followed by another car. The driver of the opposing car forces the family off the road.
The father attempts to fight off the two passengers of the other car. The mother runs into the woods with her baby. She sees some light from a bon-fire ahead. She runs towards the fire and calls out for help. The people at the fire are drunk college students.
The two men who chased her there arrive and the students attempt to help the woman. The two men pull out pistols and the students fear for their lives. They are convinced to help the two men take the baby away from the mother. She attempts to fight them off, though they manage to steal her baby and hand her over to the men. The mother screams in agony, being held back by the students and watching her baby being taken away.
Okay, well, I'll quote you here for clarification:
The event itself, or the aftermath, must play a significant role
I agree, cause murdering someone is not a normal life changing event per se cause sane people don't go around killing other people and it wouldn't make any usual list of high stress events, like moving, divorce etc.
The event or catalyst in Andrew's hypothetical scenario is moving far away to a new city. In the aftermath of that move the main character murders someone - for whatever reason - obviously that reason would need to be compelling, but then the resulting consequences or dire chain of events is the ensuing story, right? Without the move the murder wouldn't have happened. ?
That also depends on who she murders. If she disconnects her mother from life support and runs - that's a loss and a murder. Or if she murders her husband. Even a fiance counts as a loss as well as murder.
I can't recall a movie where killing (by the lead character) triggers some major action cos killing is already a major action and there's usually significant prior build up leading to that. And if it's somewhere in the middle of the movie then it's kind of not right for the criteria here. But if it's possible to pull of something like that then I guess it answers the requirement. Especially if the one she killed related to her somehow and she suffers a loss.
Okay, well, I'll quote you here for clarification:
The event itself, or the aftermath, must play a significant role
I agree, cause murdering someone is not a normal life changing event per se cause sane people don't go around killing other people and it wouldn't make any usual list of high stress events, like moving, divorce etc.
The event or catalyst in Andrew's hypothetical scenario is moving far away to a new city. In the aftermath of that move the main character murders someone - for whatever reason - obviously that reason would need to be compelling, but then the resulting consequences or dire chain of events is the ensuing story, right? Without the move the murder wouldn't have happened. ?
In Andrew's original idea he posted there's no mention of a character moving, so that's what I was referring to when I said it doesn't quite work.
Whereas, the example you're giving might work. Because now an event (moving) could be playing a significant role in the story.
Whether moving actually does "play a significant role" will I guess be up to the reader to decide. I don't intend for this to be a super competitive challenge, just managing to finish will be a victory. So hopefully people will be lenient on that.
Honestly, moving might not be the easiest one to do. Let's just be very lenient.
Hank... Dude. Honestly, you've sort of built up a bad reputation here. You don't return reads. You wanna change that perception... Go read and comment of others work, preferably in OWC's you've entered. You owe writers in those OWC's quite a bit of feedback.
In Andrew's original idea he posted there's no mention of a character moving, so that's what I was referring to when I said it doesn't quite work.
Whereas, the example you're giving might work. Because now an event (moving) could be playing a significant role in the story.
Whether moving actually does "play a significant role" will I guess be up to the reader to decide. I don't intend for this to be a super competitive challenge, just managing to finish will be a victory. So hopefully people will be lenient on that.
Honestly, moving might not be the easiest one to do. Let's just be very lenient.
Have I completely confused everyone now lol.
Not in this - but to me the litmus test would be a) a seminal life event (e.g., divorce, bankruptcy, jilted, engagement, etc.) that TRIGGERS the story - sets events in motion. My view anyway.
I've reached out to a few and they seem to have their own ideas already. I'm going to stick with mine. It's been tweaked and the tone altered since first inception so it least now it will be interesting to write.
One of the more morbid scenes of my script will involve the lead character convincing all her young relatives to unknowingly drink poison, then luring their parents to her home so she can murder them too by letting them listen to their kids dying over the phone lol. The other most morbid and surreal parts will be when the slave relatives are introduced to the story.
Another moment was going to depict Theresa's aunt trying to explain to her the contract their family is cursed by, only to suffer a heart attack and die before she's able to do so. This is to show how powerful the contract is and to give it a supernatural angle.
I recently thought of a more horrifying and satisfying approach to this scene:
When Theresa was growing up, her aunt always used to tell her never to have children. One day at a small family get-together, Theresa asks her aunt why she is so against bringing children into the world. The aunt is about to tell her why, even though the rest of the family is very against her doing so. Before the aunt can fully explain her reasoning, all her teeth burst out her mouth. She continues to try to explain herself, so her jaw falls off and she dies.
When Theresa was growing up, her aunt always used to tell her never to have children. One day at a small family get-together, Theresa asks her aunt why she is so against bringing children into the world. The aunt is about to tell her why, even though the rest of the family is very against her doing so. Before the aunt can fully explain her reasoning, all her teeth burst out her mouth. She continues to try to explain herself, so her jaw falls off and she dies.
I will try to read and review the OWCs I missed in between working on this challenge.
(A) No, you won't. Stop trying to deceive your fellow writers and stop treating them like idiots. (B) Don't bother reviewing past OWC. They are done and dusted with many reviews already, I doubt anyone will care about an extra review so don't waste your time. (C) Personally I have no issue with you partaking in this challenge as it is not anonymous. I will simply ignore your entry unless I see you actually participating - Others will decide for themselves what to do.
Ok - my exam is over so now I can concentrate on this. Here is where I am at if anyone is interested
Title: 42.2
Genre: Horror/Sci-fi
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
Ok - my exam is over so now I can concentrate on this. Here is where I am at if anyone is interested
Title: 42.2
Genre: Horror/Sci-fi
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
Sounds a bit pooh, mate. I like the first story the best - the first passengers. Who were they? It reminds me of Titanic.
I thought of the first dialogue exchange for my script last night, and edited it more this morning. There will be some actions to break up the lengthy dialogue of the lawyer in the actual script.
LAWYER: It has been agreed upon by both parties that I now refer you to past noted instances in which your ancestors chose to convey information, be it through written text or speech, to anyone concerning this ancient pact, besides the opposite birth-giver of their first-born. Or myself and those I represent. Family member: Lucinda Falclair. Date of injury: seventeen-o-seven. Injury sustained: combustion of left hand. Family member: Vincent Falclair. Died: seventeen-o-eight. Cause of death: suffocation by swallowing of his tongue. Family member: Rosie Saunters. Died: nineteen-ninety-five. Cause of death: blood-loss by loss of teeth and jaw.
THERESA: That's enough! How dare you say such things! You get out of here! You crazy bastard!
Hmm re Matthew’s story - I’m seeing a lot of good in the way he wrote it. A mother makes a decision to board a plane of death to understand what happened to her kid.
That takes guts and makes her interesting. And I would be curious to know what happens since it’s partly a mystery - the way they die part, and partly a horror - I’ll be in anticipation of the woman’s death and horrific events that are about to happen.
I think the same! Why not just put the protag on the first train?
Three reasons went through my head when making this decision.
1) The plot I've gone with means the protag needs to get to the other side of the world quickly. I would expect the maiden voyage of something like the theoretical gravity train would be booked up for a while (overthinking?)
2) Hell itself attacks the train's passengers. Uses their fears, doubts, regrets, history to drive them to madness. For the protag, this is the regret of being a shit mother and the stuff she has already done to her daughter, fear of being like her own mother (which, at the moment, she is) blah blah blah.... anyway, this is what she needs to overcome to survive and come out the other side a changed person. Anyway, one of her saving graces is, that she got on that train when her daughter needed her knowing that it goes through Hell and is dangerous. If she got on the first train, she would just have thought she was taking a simple 40-minute train, and coincidentally, bad stuff happens. wouldn't have been the same sacrifice.
3) I wanted to give the journey an instant feeling of foreboding. I.E the audience already knows the train is dangerous and scary before she gets on - A bit like already knowing the house is haunted before the unsuspecting family move in.
Whether any of those reasons are good enough, I have no idea. I honestly have no clue what I am doing.
The survivor from the first journey is also on her train - he plays a major role in the movie, and that first journey is kind of replayed in this journey (through Hell's attacks of fears/regrets)
I can see her wearing some nice loungerie when she says that.
Lol The reason she's so upset is because she witnessed that happen to her Aunt Rosie when she was only four years old. Then everyone in her family convinced her it never happened.
As Heretic suggested, it's possible to merge the second story into the first. Sounds a bit silly, to me, that people have already died, yet the train still runs cargo, yet this woman decides to go on the train.
I think "a bit pooh" might be all I've got in the locker, to be honest, lol
Three reasons went through my head when making this decision.
1) The plot I've gone with means the protag needs to get to the other side of the world quickly. I would expect the maiden voyage of something like the theoretical gravity train would be booked up for a while (overthinking?)
2) Hell itself attacks the train's passengers. Uses their fears, doubts, regrets, history to drive them to madness. For the protag, this is the regret of being a shit mother and the stuff she has already done to her daughter, fear of being like her own mother (which, at the moment, she is) blah blah blah.... anyway, this is what she needs to overcome to survive and come out the other side a changed person. Anyway, one of her saving graces is, that she got on that train when her daughter needed her knowing that it goes through Hell and is dangerous. If she got on the first train, she would just have thought she was taking a simple 40-minute train, and coincidentally, bad stuff happens. wouldn't have been the same sacrifice.
3) I wanted to give the journey an instant feeling of foreboding. I.E the audience already knows the train is dangerous and scary before she gets on - A bit like already knowing the house is haunted before the unsuspecting family move in.
Whether any of those reasons are good enough, I have no idea. I honestly have no clue what I am doing.
The survivor from the first journey is also on her train - he plays a major role in the movie, and that first journey is kind of replayed in this journey (through Hell's attacks of fears/regrets)
It could be even more interesting if it was not a mother but a friend who’s blamed for the death of the girl because that friend suggested the train ride in the first place and then bailed out of going. Also I’m with Dustin here - humans shouldn’t be allowed to take that ride ever. Let’s say she sneaks in. And Let’s say the parents of the dead girl payed the survivor to take the ride again and sneaked him in as well. Disregard if you will, just talking out loud here. But I agree with the melodrama part - mother/daughter makes it melodramatic and thus a bit cliche.
Not in this - but to me the litmus test would be a) a seminal life event (e.g., divorce, bankruptcy, jilted, engagement, etc.) that TRIGGERS the story - sets events in motion. My view anyway.
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
I also like the idea of just putting her on the first voyage of this potentially ill-fated trip. It sort of vaguely reminds me of Snowpiercer. You could set up this twisted, dark world and do some cool things with it.
Ok - my exam is over so now I can concentrate on this. Here is where I am at if anyone is interested
Title: 42.2
Genre: Horror/Sci-fi
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
Just spit-balling
First - Love the concept of gravity trains. BUT - I'm thinking it should be "anti-gravity" trains.
Quoted Text
The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours.
Okay - conceptually fine - but ships make the journey in days, not weeks. Cruise ship from LA to Hawaii - 4 days - from US to Europe, 3.5 days. You'll need to address that.
So, for me, I'd rather have that mother on the first journey of that train -the one where all hell literally breaks loose - she has a fear of speed - doesn't fly, drive - etc - but it's her daughter - so she has to get there.
I'd be attempted to add a ticking time bomb - like - her daughter isn't dying - but she needs a kidney transplant or she will within XX days and the mother is the only living match - urgency she has to get there withing xx days.
Just my spit balling - I do like the core idea in this
Ok - my exam is over so now I can concentrate on this. Here is where I am at if anyone is interested
Title: 42.2
Genre: Horror/Sci-fi
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
Hey Matt, interesting concept you've come up with. Seems like you put a lot of thought into it. You gonna explain how the gravity train opened a portal to Hell?
I'm with Dustin and Dave, in that I think the story about the first group of 150 passengers is far more interesting. Maybe you can switch it up a bit, and have the absent mother character be on that initial train ride?
Either way, sounds cool to me. Can't wait to see what you do with it.
Ok - Seems the maiden voyage is the most popular. Since this is still early in the process, replotting that doesn't seem too bad. Plus, provides a lot more people to brutally kill off lol
Dave: Thanks for your input.
It's not me who has named it Gravity train. It was a theoretical means of transportation presented to Isaac Newton by Robert Hooke (It wasn't a serious proposal, more a brain exercise on the maths and physics behind it) The basic idea being, the train is pulled to the Earths centre by gravity, reaching maximum velocity directly halfway - the second half of the journey has gravity acting against it, but the momentum should - theoretically - get the train to the other side stopping exactly as it reaches the surface (Ignoring other forces such as friction and air resistance)
Love the idea of the transplant though - much better than death bed. I am deffo having that lol not only does it add a ticking time bomb, but it also adds stakes - if she doesn't make it, neither does her daughter.
From a quick google search, I've found it takes about 32-40 days to get from England to Australia without flying - so I think that fits OK.
Zack - Thanks. Hope I don't make a complete utter mess of it. It's not a portal to Hell - it's literally Hell because Hell is underground, right? seems silly but it's all I got lol
It's not me who has named it Gravity train. It was a theoretical means of transportation presented to Isaac Newton by Robert Hooke (It wasn't a serious proposal, more a brain exercise on the maths and physics behind it) The basic idea being, the train is pulled to the Earths centre by gravity, reaching maximum velocity directly halfway - the second half of the journey has gravity acting against it, but the momentum should - theoretically - get the train to the other side stopping exactly as it reaches the surface (Ignoring other forces such as friction and air resistance)
She returns to the family she owe's home after murdering all her living relatives. Theresa is told she still must commit suicide for the contract to end.
Theresa is told that she's adopted and therefore not bound by the contract. The family apologizes for any inconvenience this oversight may have caused and bids her good day.
(A) No, you won't. Stop trying to deceive your fellow writers and stop treating them like idiots. (B) Don't bother reviewing past OWC. They are done and dusted with many reviews already, I doubt anyone will care about an extra review so don't waste your time. (C) Personally I have no issue with you partaking in this challenge as it is not anonymous. I will simply ignore your entry unless I see you actually participating - Others will decide for themselves what to do.
That would be a more comical twist and less predictable, although I like it ending with audiences not knowing if her baby survives the c-section. If the baby lives future generations will be able to live free from the contract, and if the baby dies that brings an end to Theresa’s bloodline.
Ok - my exam is over so now I can concentrate on this. Here is where I am at if anyone is interested
Title: 42.2
Genre: Horror/Sci-fi
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
I like the idea of this and although I may be largely unqualified to comment if you would allow me for a moment I'd like to add in a suggestion.
Instead of a gravity train have it run on thermal radiation, the closer it gets to the centre of the earth, the source of the heat and radiation, the faster it gets, downside is the possibility of radiation flooding the train, but in this instance, the radiation takes the form of demons.
Just a thought, thanks for indulging me.
If at first you don't succeed........bribe someone.
I like the idea of this and although I may be largely unqualified to comment if you would allow me for a moment I'd like to add in a suggestion.
Instead of a gravity train have it run on thermal radiation, the closer it gets to the centre of the earth, the source of the heat and radiation, the faster it gets, downside is the possibility of radiation flooding the train, but in this instance, the radiation takes the form of demons.
I like the idea of this and although I may be largely unqualified to comment if you would allow me for a moment I'd like to add in a suggestion.
Instead of a gravity train have it run on thermal radiation, the closer it gets to the centre of the earth, the source of the heat and radiation, the faster it gets, downside is the possibility of radiation flooding the train, but in this instance, the radiation takes the form of demons.
Just a thought, thanks for indulging me.
Not a bad suggestion at all. But I don't know about the radiation taking on the form of demons.
In the spirit of sharing and getting some advise, here's my plan for my script and it's a topic that's been close to my heart for years. Jack the Ripper. I know it's been done to death but I have my own theories on why Jack did what he did so I'm incorporating that into my story. Basically, a woman survives an attack by Jack and is used by the police to lure him out. But the trauma of the attack causes PTSD, hallucinations, nightmares and grim desire for revenge. I'm listing and creating backstories for my characters and I've already started on the script, but it's gonna be a grind
If at first you don't succeed........bribe someone.
Not a bad suggestion at all. But I don't know about the radiation taking on the form of demons.
Perhaps 'Hell Particles' that enter the body and infect the host, causing changes in character and bad deeds. I've been watching far too much Dr Who recently, must be making me think irrationally
If at first you don't succeed........bribe someone.
I thought of the first dialogue exchange for my script last night, and edited it more this morning. There will be some actions to break up the lengthy dialogue of the lawyer in the actual script.
LAWYER: It has been agreed upon by both parties that I now refer you to past noted instances in which your ancestors chose to convey information, be it through written text or speech, to anyone concerning this ancient pact, besides the opposite birth-giver of their first-born. Or myself and those I represent. Family member: Lucinda Falclair. Date of injury: seventeen-o-seven. Injury sustained: combustion of left hand. Family member: Vincent Falclair. Died: seventeen-o-eight. Cause of death: suffocation by swallowing of his tongue. Family member: Rosie Saunters. Died: nineteen-ninety-five. Cause of death: blood-loss by loss of teeth and jaw.
THERESA: That's enough! How dare you say such things! You get out of here! You crazy bastard!
Just a couple of tips, Hank. Lawyer-speak or legalise is very specific lingo. Look up examples and incorporate it into the dialogue of your character. It'll read more professionally and differentiate your characters from each other.
Same with medical terminology, especially when writing a horror.
Example: blood loss by loss of teeth and jaw . Quite apart from the fact you repeat the word loss, a lawyer or medical person is unlikely to phrase it like that imho.
It wouldn't necessarily kill a person to have their jaw removed, it has happened before in procedures to remove tumors and bullfighting accidents, but possibly if the lower jaw is ripped off harshly, a major artery, such as the carotid, could be damaged or severed. That can cause almost instantaneous death.
So: The lawyer would more professionally relay the cause of death as severing of the carotid arteries and jugular veins
A naturally curious person on the opposite side of the table might then ask how that happened. Her jaw was ripped off could then be the more shocking and plain English reply.
This is horror, so ramp up the minutiae is what I'm suggesting and pay attention to the authentic sound of different character voices. These days research is as easy as a click.
Basically, a woman survives an attack by Jack and is used by the police to lure him out. But the trauma of the attack causes PTSD, hallucinations, nightmares and grim desire for revenge. /
Could be an interesting spin. Did the woman maybe learn of Jack's identity during the attack? How did she survive? Was she saved?
In the spirit of sharing and getting some advise, here's my plan for my script and it's a topic that's been close to my heart for years. Jack the Ripper. I know it's been done to death but I have my own theories on why Jack did what he did so I'm incorporating that into my story. Basically, a woman survives an attack by Jack and is used by the police to lure him out. But the trauma of the attack causes PTSD, hallucinations, nightmares and grim desire for revenge. I'm listing and creating backstories for my characters and I've already started on the script, but it's gonna be a grind
Wouldn't meet the criteria if I were a judge.
Quoted Text
You will pick a relatively common, potentially stressful life event/life change and write a horror story incorporating that event.
I don't think being attacked by Jack the Ripper is a relatively common life event. But I am somewhat of a dick in these things.
Could be an interesting spin. Did the woman maybe learn of Jack's identity during the attack? How did she survive? Was she saved?
We learn of Jack's (fictional) identity towards the end of the story and the reasoning for his attacks. She survived because she had a heavy object that she used to fight him off with, Jack's other real life victims didn't have that opportunity. She isn't physically saved during the attack, but is she morally, psychologically and spiritually saved at the end? I don't know that.....yet.
If at first you don't succeed........bribe someone.
I don't think being attacked by Jack the Ripper is a relatively common life event. But I am somewhat of a dick in these things.
Dave makes a good point. You're gonna have to add more to this to fit the criteria. Maybe tell it from the perspective of a police officer who must choose between his duty as an officer and taking care of his dying wife(cancer?).
Dave makes a good point. You're gonna have to add more to this to fit the criteria. Maybe tell it from the perspective of a police officer who must choose between his duty as an officer and taking care of his dying wife(cancer?).
Just spitballing.
I'm still creating characters and backstories so that's definitely something to consider.
If at first you don't succeed........bribe someone.
My concept is fairly simple and straightforward, nothing too challenging, a woman survives an attack by a serial killer, suffers PTSD and plots revenge. I know it's been done a multitude of times...
Ahem... I was just weed whacking my way through this thread.
Regardless of how you do it just remember everything that has been done before has NOT been done before. Your job as the screenwriter is to find out what those things are and do them before someone else!
My best guess is originality is in the telling.
I mean, when you get right down to it...there are really only seven notes in all of music. Yes, you can do a lot of interesting things to modify and play with them. You can build chords, extend or truncate durations, mix up the order, transcend a few octaves, diminish into flats or embellish into sharps. Whatever you like. However, you still only get the same seven notes. Beethoven, Air Supply, the Rolling Stones, Tchaikovsky, Fleetwood Mac, Tanya Tucker and the Bangles all got to play with. It's really what you do with 'em that sets you apart. -Andrea
Ahem... I was just weed whacking my way through this thread.
Regardless of how you do it just remember everything that has been done before has NOT been done before. Your job as the screenwriter is to find out what those things are and do them before someone else!
My best guess is originality is in the telling.
I mean, when you get right down to it...there are really only seven notes in all of music. Yes, you can do a lot of interesting things to modify and play with them. You can build chords, extend or truncate durations, mix up the order, transcend a few octaves, diminish into flats or embellish into sharps. Whatever you like. However, you still only get the same seven notes. Beethoven, Air Supply, the Rolling Stones, Tchaikovsky, Fleetwood Mac, Tanya Tucker and the Bangles all got to play with. It's really what you do with 'em that sets you apart. -Andrea
Thanks for that, you’re right, the format may be familiar but my story doesn’t need to be. Encouraging, cheers
If at first you don't succeed........bribe someone.
Ahem... I was just weed whacking my way through this thread.
Regardless of how you do it just remember everything that has been done before has NOT been done before. Your job as the screenwriter is to find out what those things are and do them before someone else!
My best guess is originality is in the telling.
I mean, when you get right down to it...there are really only seven notes in all of music. Yes, you can do a lot of interesting things to modify and play with them. You can build chords, extend or truncate durations, mix up the order, transcend a few octaves, diminish into flats or embellish into sharps. Whatever you like. However, you still only get the same seven notes. Beethoven, Air Supply, the Rolling Stones, Tchaikovsky, Fleetwood Mac, Tanya Tucker and the Bangles all got to play with. It's really what you do with 'em that sets you apart. -Andrea
Hey Geezis, I like what you got so far. And I think doing character backstories can be really helpful. Jack the Ripper will never get old, there's always a new way to tell it. Having a damaged woman looking to get even is certainly a bit different.
You could maybe even change it up more by including a clearer life event as others suggested. For example, maybe the woman he attacks is his last kill, something about it shakes him and he decides to give it up (retirement).
So he's trying to live a normal life, missing the thrill, memories coming back to haunt him... while she's doggedly trying to draw him back into the game to exact vengeance.
Alright, the great John Staats has joined the team and helped me develop my original concept further.
Title - From Bad To Worse
When Earl's only son dies in a horrible bus crash, the distraught father is certain that the only survivors of the accident (a pair of twins) are somehow responsible. A few of the other grieving parents side with Earl. The twins have had a troubled past, some even believe they were responsible for their own fathers' death the year prior, but the twins' mother stands firm in her belief that her children are innocent and kind-hearted. As night falls, Earl and his mob of grieving parents descend upon the twins' house. Can the mother save her children from the vengeful bunch? Should she even try?
What John and I are aiming for is a siege film, in the same vain as "Assualt on Precinct 13" and "Dog Soldiers".
Alright, the great John Staats has joined the team and helped me develop my original concept further.
Title - From Bad To Worse
When Earl's only son dies in a horrible bus crash, the distraught father is certain that the only survivors of the accident (a pair of twins) are somehow responsible. A few of the other grieving parents side with Earl. The twins have had a troubled past, some even believe they were responsible for their own fathers' death the year prior, but the twins' mother stands firm in her belief that her children are innocent and kind-hearted. As night falls, Earl and his mob of grieving parents descend upon the twins' house. Can the mother save her children from the vengeful bunch? Should she even try?
What John and I are aiming for is a siege film, in the same vain as "Assualt on Precinct 13" and "Dog Soldiers".
Nice! My only gripe is - why twins? You have a plan or something that makes twins necessary for your story? I mean they are harder to film, that’s all. Besides, they are harder to write in as they confuse your reader often. It’s hard for them to have different voices and such. Also, if you do have twins - there needs to be a reason. Just like there’s a reason for any extra character in a script.
Nice! My only gripe is - why twins? You have a plan or something that makes twins necessary for your story? I mean they are harder to film, that’s all. Besides, they are harder to write in as they confuse your reader often. It’s hard for them to have different voices and such. Also, if you do have twins - there needs to be a reason. Just like there’s a reason for any extra character in a script.
Well, I never said they're identical twins. But I guess the two children could just be siblings and not twins.
Alright, the great John Staats has joined the team and helped me develop my original concept further.
Title - From Bad To Worse
When Earl's only son dies in a horrible bus crash, the distraught father is certain that the only survivors of the accident (a pair of twins) are somehow responsible. A few of the other grieving parents side with Earl. The twins have had a troubled past, some even believe they were responsible for their own fathers' death the year prior, but the twins' mother stands firm in her belief that her children are innocent and kind-hearted. As night falls, Earl and his mob of grieving parents descend upon the twins' house. Can the mother save her children from the vengeful bunch? Should she even try?
What John and I are aiming for is a siege film, in the same vain as "Assualt on Precinct 13" and "Dog Soldiers".
Zack and John... that's a dynamic duo!
Have you considered introducing some supernatural element to it? We see that someone is definitely doing some creepy magic in this town... led to believe its the twins... but in a twist it turns out to be someone else. Or the twins are magic but not in an evil way.
Evil twins? Fantastic, Zack. Is one evil, one not? Or is one covering for the other? Brian De Palma's, Sisters is a classic horror everyone should catch. Kids and horror - great combo.
Evil twins? Fantastic, Zack. Is one evil, one not? Or is one covering for the other? Brian De Palma's, Sisters is a classic horror everyone should catch. Kids and horror - great combo.
Have you considered introducing some supernatural element to it? We see that someone is definitely doing some creepy magic in this town... led to believe its the twins... but in a twist it turns out to be someone else. Or the twins are magic but not in an evil way.
Just spitballing.
Honestly hadn't considered taking a supernatural route with this. Does present some interesting options.
Maybe ever since the twins and their mother arrived, the town seems to be surrounded by bad luck. Crops going bad, livestock getting sick, stuff like that. What if it's not the twins, but actually the mother who is the root of the evil?
Hmm. Gonna run this by John and see what he thinks.
Evil twins? Fantastic, Zack. Is one evil, one not? Or is one covering for the other? Brian De Palma's, Sisters is a classic horror everyone should catch. Kids and horror - great combo.
I like the idea of one being evil and manipulating the other one.
I like the idea of this and although I may be largely unqualified to comment if you would allow me for a moment I'd like to add in a suggestion.
Instead of a gravity train have it run on thermal radiation, the closer it gets to the centre of the earth, the source of the heat and radiation, the faster it gets, downside is the possibility of radiation flooding the train, but in this instance, the radiation takes the form of demons.
Just a thought, thanks for indulging me.
Thanks for the suggestion. Don't worry about being "qualified" - none of us are, and it is always good to get the perspective of others.
Think I will keep it as a gravity train as I don't want to overcomplicate things. And really, the propulsion system of the train isn't really that important.
In the spirit of sharing and getting some advise, here's my plan for my script and it's a topic that's been close to my heart for years. Jack the Ripper. I know it's been done to death but I have my own theories on why Jack did what he did so I'm incorporating that into my story. Basically, a woman survives an attack by Jack and is used by the police to lure him out. But the trauma of the attack causes PTSD, hallucinations, nightmares and grim desire for revenge. I'm listing and creating backstories for my characters and I've already started on the script, but it's gonna be a grind
I do like a good Jack the Ripper story - But I am a bit obsessed with the Victorian era.
As has been pointed out, it doesn't matter if something has been done before if you can put your own spin or stamp on it to make it fresh again.
I would say being the victim of a major violent crime is quite a traumatic life event and would certainly change a person - But not up to me if it qualifies or not.
Alright, the great John Staats has joined the team and helped me develop my original concept further.
Title - From Bad To Worse
When Earl's only son dies in a horrible bus crash, the distraught father is certain that the only survivors of the accident (a pair of twins) are somehow responsible. A few of the other grieving parents side with Earl. The twins have had a troubled past, some even believe they were responsible for their own fathers' death the year prior, but the twins' mother stands firm in her belief that her children are innocent and kind-hearted. As night falls, Earl and his mob of grieving parents descend upon the twins' house. Can the mother save her children from the vengeful bunch? Should she even try?
What John and I are aiming for is a siege film, in the same vain as "Assualt on Precinct 13" and "Dog Soldiers".
Twins - and kids in general - in horror movies can be really creepy. Good choice.
Where is the horror going to come from? bear in mind that I don't watch horror movies that much - does the mob turn a bit sadistic?
Hey Geezis, I like what you got so far. And I think doing character backstories can be really helpful. Jack the Ripper will never get old, there's always a new way to tell it. Having a damaged woman looking to get even is certainly a bit different.
You could maybe even change it up more by including a clearer life event as others suggested. For example, maybe the woman he attacks is his last kill, something about it shakes him and he decides to give it up (retirement).
So he's trying to live a normal life, missing the thrill, memories coming back to haunt him... while she's doggedly trying to draw him back into the game to exact vengeance.
Good morning, sorry for the late reply, I’ve just woken up, the time difference might be an issue when posting Having a more defined life changing event seems to be a recurring suggestion, I can adopt that into one of my main characters but still retain my original idea. I’ll have 2 events within my story then. A bit more challenging but if I don’t push myself I’ll never improve. Thanks everyone for the feedback, I’m already thinking of ways to incorporate the suggestions into my script.
If at first you don't succeed........bribe someone.
Good morning, sorry for the late reply, I�ve just woken up, the time difference might be an issue when posting Having a more defined life changing event seems to be a recurring suggestion, I can adopt that into one of my main characters but still retain my original idea. I�ll have 2 events within my story then. A bit more challenging but if I don�t push myself I�ll never improve. Thanks everyone for the feedback, I�m already thinking of ways to incorporate the suggestions into my script.
She has been attacked by a serial killer right? She could sustain a life-changing physical injury, or suffer life-changing psychological damage. "personal injury or illness" is on the life change index scale so must qualify
She has been attacked by a serial killer right? She could sustain a life-changing physical injury, or suffer life-changing psychological damage. "personal injury or illness" is on the life change index scale so must qualify
I read the index as posted and I thought it qualified, not only is there physical but also psychological injury. And that changes lives. I've had a lot of great suggestions and I'm taking them on board. My mind is set on my story and I'll add in the suggested changes as I develop the script, I've already had a couple of ideas to develop based on the suggestions.
If at first you don't succeed........bribe someone.
Where is the horror going to come from? bear in mind that I don't watch horror movies that much - does the mob turn a bit sadistic?
At first, the horror will be presented from the perspective of the mother, who desperately tries to protect her children, since she believes they are innocent. At the start of the third act, we are gonna flip the story on its head. The protagonists and the antagonists will flip, then the real horror will be revealed when it becomes clear that the twins are most definitely evil. It's gonna be tricky, but I think John and I can pull this off.
I read the index as posted and I thought it qualified, not only is there physical but also psychological injury. And that changes lives. I've had a lot of great suggestions and I'm taking them on board. My mind is set on my story and I'll add in the suggested changes as I develop the script, I've already had a couple of ideas to develop based on the suggestions.
It's all good, Geezis. I like what you've come up with so far. Full steam ahead!
So far, it looks like these brave souls are at least attempting to climb the mountain:
Geezis Matthew Zack John Henb Arundel Me (cheating using oxygen tanks) Andrew Heretic AlsoBen Marnie Zombie Sean Dena??????
And these people have either joined the climb or are still deciding at base camp:
Midsommar has a far more disturbing and ugly catalyst than that - the death of her family under horrible circumstances. The breakup she instigates in a very novel way comes at the end - breaking up for good, let's say.
Anyway, you said you hadn't seen it so...
As far as Andrew's idea that would work if his main character for example moved cities for what he thinks is going to be a life-changing career move, then murders a business rival, (for some desperate reason) -
- and then a chain of horrific events ensues. Something like that would work, wouldn't it? It's all about linking the sudden event of change?
Btw, welcome to Oz, Andrew! Are you working in the film industry here?
Hey Libby, you've summed it up better than me! You've given it that shape to make it compliant with the challenge.
I was throwing an idea out with some linkage to the theme, but really have always wanted to write a story about a murderous protag. I know it's in vogue right now with 'You', but it's always seemed like such rich territory to explore.
I guess to stay within the parameters of the challenge (as you say), person A, moves to a new country triggering the long supressed desire to kill. For example, there was a serial killer in the UK who was caught, and then there were a number of cases he was linked to in Australia that aligned with the period he lived out here.
I would have to think about the set-up, genre I want to explore, but it seems like a shell of an idea to work with. Lots of avenues for it to go.
No, I'm no longer in the industry. I sold out and become a coprorate hack. Been doing that in London and NYC in past few years, and now the show has come to Sydney. Aiming to be back in the future, but love being back here. Sydney is glorious. Where in Aus are you?
I'm gonna do one about coming home to care for a grandparent at the end of their life.
Sounds great.
I'm doing coming home too. But it will be a broke, directionless millennial returning home after college. Heavy on the comedy. So probably nothing like yours at all.
Ok - my exam is over so now I can concentrate on this. Here is where I am at if anyone is interested
Title: 42.2
Genre: Horror/Sci-fi
World History (pre-movie): The year 2050 - Earth is covered in electrical storms grounding all flights indefinitely. Global travel now takes weeks instead of hours. To combat this, a gravity train is built connecting Europe to Australia reducing travel time between the two continents to 42.2 minutes. On its debut journey carrying 150 passengers, the train arrives in Australia with only one survivor. The others have either killed each other or killed themselves. The survivor recounts that the gravity train passes directly through Hell and drove everyone to madness. The gravity train still operates (mainly unmanned cargo) but is still open to passengers if they choose to - strangely, not many people take that option.
Logline: When an absent mother learns of her daughter's imminent death, she decides to be by her side. But to get there in time, she must travel to Hell and back on the controversial gravity train.
I like the core idea here. I think the bit I'm stumbling on is the travelling through the core makes me think of the fact they do this in the Total Recall remake, and I didn't like the movie.
Just my view, but if you put it in the modern day and changed the mode of transport, you'd have something very intriguing.
Ignore them all, Matthew. I love the gravity train idea and I like the fact its going through the core.
The gravity plus hell thing was done in Event Horizon, but that's one of my favourite ever films. Stylistically science plus horror just works so well.
The gravity plus hell thing was done in Event Horizon, but that's one of my favourite ever films. Stylistically science plus horror just works so well.
What a fun flick. I'd give my left leg for a chance to see all the crazy lost footage they filmed for the Hell scenes.
Lots of horror films shed light on the problems with our reality. I've been thinking about it and I believe that my concept will mainly be an allegory for the common occurrences of having to break ties with old family members and change who you are after starting your own family. Also, it shows that lying is wrong and the importance of prioritizing future generations.
Has anyone else thought about what their script mirrors in society?
I'm late to the discussion here but I think I'm gonna hop in on this challenge and have my idea about 75% fleshed out. I'm struggling with one thing tho...
What's a good motive for a kidnapping? In an innocent way, at least? For example, a loving, caring father is revealed to have a young child kidnapped and hidden in his basement.
I thought about going the route of his wife struggles having a child, so he kidnaps the girl to treat as his own child, but I was told that that was too DON'T BREATHE.
My other idea was that the kidnapped girl is actually a twin of our main character (a college freshman girl) who was hidden in the basement for some reason. I would think because she was too aggressive or something was wrong with her, but alas, Simpsons did it already during a Halloween episode.
My mind can go to darker places, but, I was told to keep this script classy, so...
I thought about going the route of his wife struggles having a child, so he kidnaps the girl to treat as his own child, but I was told that that was too DON'T BREATHE.
My other idea was that the kidnapped girl is actually a twin of our main character (a college freshman girl) who was hidden in the basement for some reason. I would think because she was too aggressive or something was wrong with her, but alas, Simpsons did it already during a Halloween episode.
Looks like your more sure about your first idea - the man kidnaps someone to treat as his own. I don't see much horror tho, but I don't watch kidnapping movies and that maybe the reason. I also don't see how it fits the requirement but it's for James to comment on that. Also, you didn't tell a lot, just a kernel of an idea, there's more I'm sure.
The only thing is - each of our ideas is like this and that movie. It's still going to be something different. I wouldn't worry about that. So many scripts from us that resemble something. But it's an idea that maybe the same. It doesn't even mean that you took it, because its not anything out of the ordinary. I bet there are more movies out there based on that idea besides Don't Breathe. Anyway, your call just saying.
Looks like your more sure about your first idea - the man kidnaps someone to treat as his own. I don't see much horror tho, but I don't watch kidnapping movies and that maybe the reason. I also don't see how it fits the requirement but it's for James to comment on that. Also, you didn't tell a lot, just a kernel of an idea, there's more I'm sure.
The only thing is - each of our ideas is like this and that movie. It's still going to be something different. I wouldn't worry about that. So many scripts from us that resemble something. But it's an idea that maybe the same. It doesn't even mean that you took it, because its not anything out of the ordinary. I bet there are more movies out there besides Don't Breathe. Anyway, your call just saying.
Thanks, khamanna, for your comments. I shouldn't stress out about this too much! Just enjoy the ride.
I'm very sure of my first idea. And there is more to the story, I only asked about a part of the script. it'll be horror, just with some drama sprinkled in there. And you're so right, art imitates art, I shouldn't worry. If it has a similar idea, but it's still different enough to be considered new, then why worry? Much appreciated.
Hell yeah! Sean's aboard the horror train. Can't wait to see what you bring to the table.
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...
Ignore them all, Matthew. I love the gravity train idea and I like the fact its going through the core.
The gravity plus hell thing was done in Event Horizon, but that's one of my favourite ever films. Stylistically science plus horror just works so well.
Haven't seen it but just added it to my watch list - Googled it though and I think stylistically mine will be somewhat more subtle on the sci-fi side of things - Still present though.
What's a good motive for a kidnapping? In an innocent way, at least? For example, a loving, caring father is revealed to have a young child kidnapped and hidden in his basement.
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?
I'm late to the discussion here but I think I'm gonna hop in on this challenge and have my idea about 75% fleshed out. I'm struggling with one thing tho...
What's a good motive for a kidnapping? In an innocent way, at least? For example, a loving, caring father is revealed to have a young child kidnapped and hidden in his basement.
I thought about going the route of his wife struggles having a child, so he kidnaps the girl to treat as his own child, but I was told that that was too DON'T BREATHE.
My other idea was that the kidnapped girl is actually a twin of our main character (a college freshman girl) who was hidden in the basement for some reason. I would think because she was too aggressive or something was wrong with her, but alas, Simpsons did it already during a Halloween episode.
My mind can go to darker places, but, I was told to keep this script classy, so...
Thanks in advance.
Another victim joins the fray. Welcome aboard the 7WC hell train.
I like Rick's idea about the divorce.
Or, maybe a miscarriage, the wife's in critical condition... he kidnaps someone else's child in a twisted attempt to save the mother's life?
Or, a bad divorce causes a messed-up teenager to trap his parents in a basement to keep them from splitting up.
I thought we were climbing a mountain? metaphor overload!
It's a train traveling up a mountain. People will say it can't be done. But they also said you can't crash a giant luxury ship into an iceberg and sink it. Sometimes dreams come true if you believe.
I'm late to the discussion here but I think I'm gonna hop in on this challenge and have my idea about 75% fleshed out. I'm struggling with one thing tho...
What's a good motive for a kidnapping? In an innocent way, at least? For example, a loving, caring father is revealed to have a young child kidnapped and hidden in his basement.
I thought about going the route of his wife struggles having a child, so he kidnaps the girl to treat as his own child, but I was told that that was too DON'T BREATHE.
My other idea was that the kidnapped girl is actually a twin of our main character (a college freshman girl) who was hidden in the basement for some reason. I would think because she was too aggressive or something was wrong with her, but alas, Simpsons did it already during a Halloween episode.
My mind can go to darker places, but, I was told to keep this script classy, so...
Thanks in advance.
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.
Welcome to the club, Marnie. Any idea what approach you might take with this?
I've always wanted to expand a 5 page horror I wrote a decade ago. And definitely using divorce as the traumatic event since my own is still funky fresh. Lol.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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
From ScarTissueFilms: "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."
From ScarTissueFilms: "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."
Gotta write that down.
Don't want to correct you, but I believe that is closer to the female sexual model, typically feature length.
Don't want to correct you, but I believe that is closer to the female sexual model, typically feature length. The male model really applies to shorts. So says every woman I've ever known.
What, Dave? You mean the foreplay/prologue plays a minor role? Still a funny analogy.
I've had a particularly busy weekend socialising and partying but managed to create backstories for my 3 main characters, I have incorporated some of the suggestions from others and have a story plan. I've wrote my first 2 1/2 scenes and for the rest of this week I'll be planning and writing. I'm hoping to have my script done by week 5 and leave 2 weeks for revision, rewrites and mental breakdown
If at first you don't succeed........bribe someone.
I've had a particularly busy weekend socialising and partying but managed to create backstories for my 3 main characters, I have incorporated some of the suggestions from others and have a story plan. I've wrote my first 2 1/2 scenes and for the rest of this week I'll be planning and writing. I'm hoping to have my script done by week 5 and leave 2 weeks for revision, rewrites and mental breakdown
Sounds like a plan! remember, if you lose motivation or reach a hurdle, come on here and we will all give you a kick up the arse to get you moving again
Sounds like a plan! remember, if you lose motivation or reach a hurdle, come on here and we will all give you a kick up the arse to get you moving again
Cheers
If at first you don't succeed........bribe someone.
My outline is more than half-way finished, I still have to figure out how the later half of the story will go and think of some gnarly fight and death scenes. I have written 7 script pages so far.
Yay! Welcome back, Dena. ... I've been jotting down some things, (mainly in my head so far) and I think I'll be a challenge contender too. Moving house yet again but I'm going to do my best to swing it.
Yay! Welcome back, Dena. ... I've been jotting down some things, (mainly in my head so far) and I think I'll be a challenge contender too. Moving house yet again but I'm going to do my best to swing it.
We can do it LC! It's been over six months since I've written anything!!!
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
I really like the Act III detail in this horror beat sheet. IMO the Act I & II beats are same old, same old...but the beats in III are super helpful to ramp up a solid horror ending.
I still haven't written anything but hoping to have my outline and character backstories done by tonight.
Glad to see LC and Dena joining in!! It's gonna take a year to read all these.
36 pages down - Although there are some missing scenes, some that are quickly written (just the essence of the scene) and a lot at the beginning that needs reworking as the plot has changed somewhat through the course of writing.
I haven't bothered much with the dialogue so far - it's just generic so I can see what it is they need to say (or not say) - then I'll go through and try and give each character their own voice, change up what they say and how they say it.
I think the story is a bit all over the place at the moment but I am planning on getting it all down, then seeing how scenes can be moved or deleted to better the pacing and space out the plot points.
Sounds to me like you've got yourself a fairly solid system worked out.
Maybe - time will tell lol I haven't actually finished a feature since I started taking it seriously. Many many WIP though lol
I am currently reading the script for The Babadook - Which is pretty dam good so far. In doing so I realise I struggle with the buildup - building up the characters, the world, the situation, the tension. I just seem to be a bit gung-ho and get straight to it. I get most of my story down and realise it's almost done after like 40 pages lol
In The Babadook - the book doesn't appear until page 20. In my story, by page 20 most people are dead and the protag has been running and screaming for 10 minutes lol. Really need to work on my buildup and drawing people into the story - practice makes perfect I guess.
9 pages and 3 scenes written but pages and pages of notes and ideas. Full script coming in at around a 17 - 18 scenes at the moment but that should change. It's all starting to come together.
If at first you don't succeed........bribe someone.
The only chance that I finish this thing is if I get quarantined.
Ooh, then again, maybe don't joke.
Tom Hanks & Rita Wilson are in one of our lovely Gold Coast hospitals as we speak. You get pretty close to people when you take Selfies together. Oh, dear.
Anyway, moving house today so as you can imagine I'm getting Buckley's done. Even if I don't make the deadline I'm going to try and start and finish a feature length script.
In horror the antagonist is often the star. Less exposition is more. Write less dialogue. The audience will understand, e.g. A picture paints a thousand words. Don't explain everything – the value of production design – an object, shirt, can often tell more than dialogue. Building suspense v jump scares. Suspense is patience – camera down empty hallway for example. Turn audience into victims. Torture your protagonist.To the point: How much worse can this get? The more suffering the more cathartic the victory.
Very inspiring for this project I thought.
P.S. Matthew, much better choice with The Babadook. ...
In horror the antagonist is often the star. Less exposition is more. Write less dialogue. The audience will understand, e.g. A picture paints a thousand words. Don't explain everything – the value of production design – an object, shirt, can often tell more than dialogue. Building suspense v jump scares. Suspense is patience – camera down empty hallway for example. Turn audience into victims. Torture your protagonist.To the point: How much worse can this get? The more suffering the more cathartic the victory.
Very inspiring for this project I thought.
P.S. Matthew, much better choice with The Babadook. ...
P.S. Matthew, much better choice with The Babadook. ...
Yeah the script is really good - planning on watching the movie afterwards.
Although I think there is something to be said about watching bad movies as well as good - Seeing how not to do things/what doesn't work has been equally as helpful as seeing what does work. Especially in a genre I haven't really delved into before (especially feature form)
Wait, a question got deleted. That was a good question... something about what constitutes horror.
I'm leaving that up to the readers to decide, but you can have other genres in the mix.
Still have not seen Midsommar, but it's listed as folk horror on wikipedia and won horror awards. The general public certainly thinks its a horror movie. So, if you're going for something like that, I wouldn't worry.
Goodness! I have not even started!!! Trying to decide on an idea... think I'm going to take a true story then twist it into a horror thing. I better get plotting!! My idea was to outline it real good then rent an airbnb for one weekend and write it.. BUT with the dang ya know viral thing going on.. not sure I wanna sleep on someone else's pillow!
Wait, a question got deleted. That was a good question... something about what constitutes horror.
I'm leaving that up to the readers to decide, but you can have other genres in the mix.
Still have not seen Midsommar, but it's listed as folk horror on wikipedia and won horror awards. The general public certainly thinks its a horror movie. So, if you're going for something like that, I wouldn't worry.
That was my question. I ended up finding the Midsommer thread on movie reviews so I deleted it. But the reviews really didn't say much about the horror level. I bring it up because in the past any horrors I've written have been bashed for lack of horror. LOL. I loved Midsommer. It was freakin creepy but I was never scared. Just curious what other's thought about the "horror" aspect of it.
I've had a breakthrough and figured out how to begin this story!! Let's see if I can move beyond page 1 now.
I'm not saying I'm entering, but again, I've been thinking as I was pouring over the posts last night with not much to do.
THE DEVIL INSIDE After a severe head injury leaves him partially paralyzed, a man must adapt to a life turned upside down as a sadistic serial killer prowls his hometown.
That was my question. I ended up finding the Midsommer thread on movie reviews so I deleted it. But the reviews really didn't say much about the horror level. I bring it up because in the past any horrors I've written have been bashed for lack of horror. LOL. I loved Midsommer. It was freakin creepy but I was never scared. Just curious what other's thought about the "horror" aspect of it.
Same here, Marnie. My horror in the WT was criticized for lacking horror, which brought to my mind the debate horror v gore.
As for Midsommar I'd say it was more disturbing and horr-ible than straight horror.
SPOILERS:
I felt the dread in certain scenes, but much of it that was meant to be horror brought to mind gore and splatter - the 'family scene' at the beginning was disturbing, the scene off the cliff & finding the splayed body in the barn were gory.
I never felt scared.
The beauty of this challenge is surely that the primary genre is horror but it can blend with other genres - thriller, suspense, etc.
I'm not saying I'm entering, but again, I've been thinking as I was pouring over the posts last night with not much to do.
THE DEVIL INSIDE After a severe head injury leaves him partially paralyzed, a man must adapt to a life turned upside down as a sadistic serial killer prowls his hometown.
Something like that...
Sounds good, Steve. I didn't read it correctly at first (tired after another house move over the weekend) and thought there was a severed head on the loose.
Goodness! I have not even started!!! Trying to decide on an idea... think I'm going to take a true story then twist it into a horror thing. I better get plotting!! My idea was to outline it real good then rent an airbnb for one weekend and write it.. BUT with the dang ya know viral thing going on.. not sure I wanna sleep on someone else's pillow!
Me either, Dena. Not sure I'll make the start-line let alone the finish. Moved house and there's stuff everywhere. Except of course the main priorities - bed assembled and couch in, and tv and Netflix all connected. P.S. Always take your own pillow.
The beauty of this challenge is surely that the primary genre is horror but it can blend with other genres - thriller, suspense, etc.
Right, James?
Sounds good to me.
On a slightly off topic note, I finally watched Midsommar. Did not care for it. Was a big fan of Hereditary so I had high hopes. The opening was seriously disturbing and had tons of potential... only for the movie to barely explore her trauma. And then copy The Wicker Man. It's the same setting and the same twist. It should just be The Wicker Man 2.
It needed Nicolas Cage running around in a bear costume punching old ladies in the face.
I'm trying to find some decent horror comedies to watch for general inspiration/motivation. Or anything that's a bit creepy with some comedy in it, doesn't even have to be full on horror. I found a decent list, most of which I've seen, but I'm gonna watch the few I haven't.
Please let me know of anything worth watching not on the linked list. And I've also seen:
Ghost Team One Deathgasm Scouts Guide to the Zombie Apocalypse Krampus Get Out Ready Or Not The Frighteners Warm Bodies Burying the Ex Hot Fuzz The World's End Idle Hands Club Dread
That's on the linked list and I've seen it. Maybe I've seen all the good ones, in which I'll just have to rewatch some. Tucker and Dale was pretty funny, perhaps I'll start with that.
I'm trying to find some decent horror comedies to watch for general inspiration/motivation. Or anything that's a bit creepy with some comedy in it, doesn't even have to be full on horror. I found a decent list, most of which I've seen, but I'm gonna watch the few I haven't.
Please let me know of anything worth watching not on the linked list. And I've also seen:
Ghost Team One Deathgasm Scouts Guide to the Zombie Apocalypse Krampus Get Out Ready Or Not The Frighteners Warm Bodies Burying the Ex Hot Fuzz The World's End Idle Hands Club Dread
The Final Girls is a favourite of mine, but yes Tucker and Dale vs. Evil is a classic.
I love Club Dread as well it's just so ridiculous you can't help but laugh.
Rewriting and replotting have changed the story somewhat - Here's my new logline.
A broke journalist joins societies elite on the maiden voyage of a gravity train and soon begins to hallucinate. As her two different "realities" collide, she must figure out which one is real if she is to survive the trip.
Quickly written but now shows what the new story is about (FYI, she has started a new job and this is her first assignment - very loosely following the rules here so feel free to DQ me lol)
Rewriting and replotting have changed the story somewhat - Here's my new logline.
A broke journalist joins societies elite on the maiden voyage of a gravity train and soon begins to hallucinate. As her two different "realities" collide, she must figure out which one is real if she is to survive the trip.
Rewriting and replotting have changed the story somewhat - Here's my new logline.
A broke journalist joins societies elite on the maiden voyage of a gravity train and soon begins to hallucinate. As her two different "realities" collide, she must figure out which one is real if she is to survive the trip.
Quickly written but now shows what the new story is about (FYI, she has started a new job and this is her first assignment - very loosely following the rules here so feel free to DQ me lol)
Okay. As of today I'm officially out of work for 2 or so weeks so I have no excuse...I will finish this screenplay! How's everyone else doing? Anyone else out of work? Or working from home?
Starting to feel like I'm on my own in this thing now! Come on Zack, make sure I have something to read
Tell me about your protagonist
Don't worry, Dude. I promise you won't be alone in this challenge.
Here's a little info on the characters in my story...
- Earl Bannister, age 44, local carpenter, devoted Christian, loving father. Earl lost his wife, Ellie, two years ago. Since then, it's just been Earl and his son, Campbell. Campbell is Earl's whole world now. Everything he does is in an effort to give his son the best life possible.
- Judy Hamilton, age 35, mortician, mother of two. A sweet and caring lady. Her husband died in a mysterious accident a few months ago, so Judy and her children moved to this small town for a fresh start. Ever since the Hamiltons have arrived, a cloud of bad luck has hung over the town. Crops have gone bad, livestock has gotten sick, and the sky always seems to be gloomy.
- Sheriff Bryan Guerra, age 36, the new Sheriff in town, arrived a few years ago. Dry and sarcastic, not a very social person. A haunted past, Bryan used to be a cop in Honduras. Bryan enjoys the small-town peace and quiet.
- Griffin Hamilton, age 12, Judy's son. Pale skin, the darkest eyes. Griffin is very smart and extremely manipulative. He has been suspected for multiple cruel pranks at his school, though nothing has been proved.
- Caroline Hamilton, age 10, Judy's daughter. Like her brother, pale skin with dark eyes. Unlike her brother, Caroline rarely speaks. She is always at her brother's side, always standing there with a creepy look in her eyes.
- Ted "Teddy" Lucas, age 39, local bar owner, longtime best friend of Earl. Teddy's son, Ted Jr, and Earl's son are best friends. Die-hard college football fan.
- Debbie Lucas, age 38, Teddy's wife, she has been a stay at home mother ever since Ted Jr was born. In her spare time, she writes romance stories. She's a nice, generous woman.
- Martin Green, age 33, local factory worker and known alcoholic. He has spent the weekend in jail more times than he can remember. Despite his flaws, he is a great father to his daughter, Heather.
- Ronnie Green, 42, Martin's loser older brother, a total weasel. Ronnie is the one who gets Martin in trouble most of the time.
These are all copy and pasted from my character sheet. I'm aware this is probably extremely basic compared to most character sheets. This is just the way I've always done it. Probably why my characters are always so shallow.
Nice bios, Zack - The siblings already coming across as creepy lol. I like the contrast between them, one manipulative and talkative, dominant, the other quiet and submissive - or so I'm led to believe. Also mortician for the mother, nice choice of occupation.
Looks like you got enough in there - no idea how in-depth bios should be - I guess just enough so you know how they will react in situations in your story?
Looking forward to reading it.
I only really have two main characters - but I'll throw out some of the more minor ones for the sake of it (it's a good writing exercise anyway)
Cecilia 30's - The lower end of the class system. Lives in a slum made with now-defunct rusting aeroplanes upcycled to be caravan style homes. Reporter. Suffered a miscarriage several years back and told she can't have kids - The one thing she wants more than anything in the world.
Abaddon 40's - Middle-class. Lead engineer on the gravity train project. 8-year-old son died of cancer a few years back, but he wasnt with him at the end because he was working on the gravity train, now resents the whole project.
Barman - Android barman who works on the gravity train. Is fed live information on passengers bios so he can offer top-of-the-line service to societies elite. Not programmed with emotional responses, only to serve - etiquette and the law are the only drivers of his moral compass and actions.
Arthur - 70's - High-society, extremely wealthy but no one knows how he obtained it. A pompous twat whose intellect makes him feel superior over everyone else. Chauvinistic and prefers looking at women to talking to them. Everyone hopes he doesn't make it to the end of the film.
Hilda - 40's - Arthur's trophy girlfriend - not wife because Arthur doesn't trust her enough. In her younger days, she thought to be a trophy wife was the only way to go, and even though it got her out of the slums, she is now trapped - deep down she hates it, but is addicted to the lifestyle.
Anyone else still in this, throw out your characters - Screw COVID-19 and it's hold on our lives, we need a reprieve - Plus it gets the creative juices flowing, right?
Looks like you got enough in there - no idea how in-depth bios should be - I guess just enough so you know how they will react in situations in your story?
Compared to other character sheets I've seen, mine are incredibly basic. Lol. But they work for me, so whatever.
Cecilia 30's - The lower end of the class system. Lives in a slum made with now-defunct rusting aeroplanes upcycled to be caravan style homes. Reporter. Suffered a miscarriage several years back and told she can't have kids - The one thing she wants more than anything in the world.
Abaddon 40's - Middle-class. Lead engineer on the gravity train project. 8-year-old son died of cancer a few years back, but he wasnt with him at the end because he was working on the gravity train, now resents the whole project.
Barman - Android barman who works on the gravity train. Is fed live information on passengers bios so he can offer top-of-the-line service to societies elite. Not programmed with emotional responses, only to serve - etiquette and the law are the only drivers of his moral compass and actions.
Arthur - 70's - High-society, extremely wealthy but no one knows how he obtained it. A pompous twat whose intellect makes him feel superior over everyone else. Chauvinistic and prefers looking at women to talking to them. Everyone hopes he doesn't make it to the end of the film.
Hilda - 40's - Arthur's trophy girlfriend - not wife because Arthur doesn't trust her enough. In her younger days, she thought to be a trophy wife was the only way to go, and even though it got her out of the slums, she is now trapped - deep down she hates it, but is addicted to the lifestyle.
Interesting characters.
Abaddon sounds like a complex, tragic guy.
Barman, in particular, seems like he could be a fun character. Lots of potential.
You have a gnarly death scene in mind for Arthur? He sounds like the type of character audiences would love to hate.
I am in this thing no matter what. I promised myself I'd get it done.
Got off to a slow start, and I'm a slow ass writer in general. Only on pg. 20.
But I think I've finally hit my stride. So I need to get to the midpoint by April. That leaves 20 days to finish the second half. Which is impossible, but I'm doing it.
No world ending virus is going to slow me down. I say bring it all on. Coronavirus, swine flu, bird flu, bubonic plague... you cannot stop me!!
Question for Zack and Matthew... which one is your main character(s)?
I don't have character sheets but I'll try to write up something in the next couple days. Despite much planning in my head, I didn't actually map out a lot of details... gotta let certain things take shape.
But I do know exactly what is I want to say from the get go, which is a first.
Reason being, I hated what I came up with. Turned it around, changed some things. First solution? Make it a short. Yes, I know it's meant to be a feature. That eased the tension.
Next day looked at it again. Still hated it. No matter what. The material was beneath me. Ever feel like that?
Solution? To the scrap heap. Good news is I have two features I actually like to work on.
Question for Zack and Matthew... which one is your main character(s)?
I don't have character sheets but I'll try to write up something in the next couple days. Despite much planning in my head, I didn't actually map out a lot of details... gotta let certain things take shape.
But I do know exactly what is I want to say from the get go, which is a first.
Cecilia is the main character with Abaddon supporting.
Here's a little more info on the Hamilton family, who are the villains of this story.
Judy is MUCH older than she looks. Over 200 hundred years old. Same with her children. Judy is a witch. She placed an immortality curse on her and both her children. But there is a catch, they must feed on human souls to keep themselves from rotting. The younger the soul, the more powerful.
All three of the family are witches (guess Griffin is a warlock, but whatever). And they all have different abilities.
Judy has the ability to casts curses, obviously. When she realizes that the townfolk are coming for her children, she puts a fear curse on her property. Anyone who steps foot on the property will be haunted by their worst fears.
Griffin has the ability to turn anyone into his undead slave. He uses a cursed blade to cut his victim, which causes their head to slowly and agonizingly turn 180 degrees. Once the victim is dead, they are now Griffin's loyal servant. Since they are already dead, they can't be killed. You must dismember them.
Caroline has the scariest power. If she makes skin to skin contact with someone, that person paralyzed and their mind is transported to a hellish realm, where they are hunted in an old slaughterhouse by a horrible being known only The Butcher.
Cecilia is the main character with Abaddon supporting.
Cool. Sounds like there's plenty of pressure you can put on her with the poverty angle and the miscarriage. I'm assuming something creepy to do with a child will come up with the hallucinations you mentioned earlier... but I could be wrong.
Here's a little more info on the Hamilton family, who are the villains of this story.
Judy is MUCH older than she looks. Over 200 hundred years old. Same with her children. Judy is a witch. She placed an immortality curse on her and both her children. But there is a catch, they must feed on human souls to keep themselves from rotting. The younger the soul, the more powerful.
All three of the family are witches (guess Griffin is a warlock, but whatever). And they all have different abilities.
Judy has the ability to casts curses, obviously. When she realizes that the townfolk are coming for her children, she puts a fear curse on her property. Anyone who steps foot on the property will be haunted by their worst fears.
Griffin has the ability to turn anyone into his undead slave. He uses a cursed blade to cut his victim, which causes their head to slowly and agonizingly turn 180 degrees. Once the victim is dead, they are now Griffin's loyal servant. Since they are already dead, they can't be killed. You must dismember them.
Caroline has the scariest power. If she makes skin to skin contact with someone, that person paralyzed and their mind is transported to a hellish realm, where they are hunted in an old slaughterhouse by a horrible being known only The Butcher.
I think I'm finally done stressing out. Got my unemployment app done, house full of food, my mom home and quarantined after her 4 week Egypt vacation (and being held in Germany for days trying to get back) and my 19 year old son kinda on board with the whole social distancing, wash your hands, don't touch your face thing...kinda.
Hope everyone else is settling in with our new norm. Crazy freakin times.
So...back to writing this thing!! You characters and story are intriguing, Zack!! Looking forward to reading!!
I think I'm finally done stressing out. Got my unemployment app done, house full of food, my mom home and quarantined after her 4 week Egypt vacation (and being held in Germany for days trying to get back) and my 19 year old son kinda on board with the whole social distancing, wash your hands, don't touch your face thing...kinda.
Hope everyone else is settling in with our new norm. Crazy freakin times.
So...back to writing this thing!! You characters and story are intriguing, Zack!! Looking forward to reading!!
Glad to hear your mom's back safe and things have settled down. At least, as much as anything can be settled right now.
Really not the best timing to be running a stressful writing challenge while people are already stressed. But I guess sometimes it's good to escape reality for a bit if possible.
Really not the best timing to be running a stressful writing challenge while people are already stressed. But I guess sometimes it's good to escape reality for a bit if possible.
Personally, I think it's remarkable timing!! So grateful to have something creative to focus on, with a deadline!!
Sorry I haven't posted in a while, went back to work on Monday and it's been a rollercoaster all week. Managed to get a few pages written tonight, that's me up to 25, so a third of the way to the minimum requirement. It's been a tough learning curve but right now, I'm still up to the challenge.
If at first you don't succeed........bribe someone.
Not doing well. I wanna blame coronavirus, but it's mostly unrelated things screwing me over.
I'm on the same page I was five days ago. But I did write out a vomit draft up to pg. 58. Unusable in its current state, basically placeholder dialogue and descriptions.
I'm hoping for panic to kick in by April when I realize I only have twenty days left. Sheer, blind panic is my best hope.
I'm all but out. My entire department has been furloughed apart from me, so I got an shit tonne of extra work on my plate now. And since I'm working from home now too, I have a toddler crawling all over me begging for my attention.
Annoying as I had gotten into a decent stride until this whole thing went south.
Jeff get in here. Forget hard R, you can go for X-rated. Write Fade to White 2... double the violence!
HA! Actually just got some interest in Fade to White...again. We'll see if this can actually come to fruition.
Fade to White 2 - A Paler Shade of White never got finished, but that story is still in my pea brain, so if the original gets made, I'll write the sequel and of course, I'll up the violence and nudity.
19 days to go, 40 pages written. It has been tough getting into the writing mindset after a tough day at work but I'll get there. There will be a completed feature by the due date. Might be a load of shit but I'll be proud of the fact I've done it.
Keep going everyone, I'm looking forward to reading all your scripts.
If at first you don't succeed........bribe someone.
Dum-dum question here...it says it's NOT an anonymous challenge. Just want to quadruple check that we put our name on the title page of the script?
I'm not running this one, but in the past, the 6 and 7WC is intended to be a supportive effort where we help each other finish writing a feature. It's not a competition or anything, so absolutely put your name on it. Like I've mentioned before, two features from these feature challenges have been picked up and produced in the past. Imagine someone liking your script and want to contact you, but can't. Go ahead, add your name.
I'm not running this one, but in the past, the 6 and 7WC is intended to be a supportive effort where we help each other finish writing a feature. It's not a competition or anything, so absolutely put your name on it. Like I've mentioned before, two features from these feature challenges have been picked up and produced in the past. Imagine someone liking your script and want to contact you, but can't. Go ahead, add your name.
Awesome, thanks. I just wanted to check and double check and triple and quadruple check. I've not participated in a 7WC before, but that's awesome news that some scripts have been produced because of it! Looking forward to all participants' entries!
9 Days left. How many entries are we gonna be getting?
No promises from me, but I'm trying my best to get something in.
Hey, meet the 75-page minimum mark and you've got something to submit. Granted, that's nearly 9 pages a day if you're starting from scratch today, but it's doable. But, you can do it! I wanna read a feature from you, Zack!
Hey, meet the 75-page minimum mark and you've got something to submit. Granted, that's nearly 9 pages a day if you're starting from scratch today, but it's doable. But, you can do it! I wanna read a feature from you, Zack!
I'm still in. I'm at page 55 but I'm actually in the process of still writing as we speak. Took a small break to ask a question.
What's the best way to introduce a flashback sequence?
I'm back to work on Wednesday so should have my script finished by then and that gives me a few days to makes amendments. I've been editing as I go so I'll be offering something on Monday if not before.
Stay Safe everyone.
If at first you don't succeed........bribe someone.
Lol, when I read Geezis I thought it was some fancy joke that Jeesus is gonna help with the number of entries. But I remember, yes, there's Geezis, right. Sorry.
I didn't start writing. I have too many scripts I have to rewrite. And Data Science which is a pain. I have absolutely no time. But I did participate in the past and now I remember not twice but three times! I like these lengthy challenges the best.
Well, that's it done. 86 pages. Been working away on it for the past five days and my fingers are now more muscular than my arms. Going to take a few days away from it because I'll be back at work and then go over it again at the weekend. I've edited and amended it as I went so hopefully there won't be too much to change. As I said before, it might not be any good, it might be downright rubbish but I've finished my first ever feature and I'm proud of that achievement. I'll be uploading the completed script to the site on Sunday (GMT). Keep going those who are still in and well done to those who have finished, I look forward to reading your scripts.
If at first you don't succeed........bribe someone.
Well, that's it done. 86 pages. Been working away on it for the past five days and my fingers are now more muscular than my arms. Going to take a few days away from it because I'll be back at work and then go over it again at the weekend. I've edited and amended it as I went so hopefully there won't be too much to change. As I said before, it might not be any good, it might be downright rubbish but I've finished my first ever feature and I'm proud of that achievement. I'll be uploading the completed script to the site on Sunday (GMT). Keep going those who are still in and well done to those who have finished, I look forward to reading your scripts.
Well, that's it done. 86 pages. Been working away on it for the past five days and my fingers are now more muscular than my arms. Going to take a few days away from it because I'll be back at work and then go over it again at the weekend. I've edited and amended it as I went so hopefully there won't be too much to change. As I said before, it might not be any good, it might be downright rubbish but I've finished my first ever feature and I'm proud of that achievement. I'll be uploading the completed script to the site on Sunday (GMT). Keep going those who are still in and well done to those who have finished, I look forward to reading your scripts.
I've got 56 pages of almost pure gibberish at this point...and looking at the clock I don't think I'll be getting anything in. I'm going to keep chipping at it, though.
I've got 56 pages of almost pure gibberish at this point...and looking at the clock I don't think I'll be getting anything in. I'm going to keep chipping at it, though.
Just wanted you to know that I am trying.
That's about where I'm at. Will keep at it till the end, but it's not looking good. I should find that post where I guaranteed I'd finish and delete the evidence.
I am way behind schedule too... trying to finish a script I wanna enter in Nicholls so juggling two balls. EVen if I do not get a script in.. I'll be here to read for those who do!
That's my script uploaded. Kinda nervous about it now, don't know why, it is what it is. I look forward to all the feedback and pointers, so thanks in advance to everyone and thanks for all the help and encouragement along the way.
Keep going to those who are still writing, you can do it.
If at first you don't succeed........bribe someone.
Well, my co-writer and I have got a rough draft finished. It's just 49 pages, but I'm hoping to add more with a caffeine-fueled next 33 hours of writing.
I don't know how many made it. As long as it's more than one I'll be happy lol.
Kinda pissed at myself I couldn't get there. But it was fun and I got about 65 decent pages. I look forward to reading the entries and doing notes. Then, I'll dive back into writing.
Huge congrats to all who entered and thanks to anyone that made an attempt.
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March 2020 Feature 7WC
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. I'm sure there's ways to change things up, but I doubt I'll have the time to get a feature written, anyway.. 
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