I have never been one to tear into formatting or typos/grammar mistakes, but you do need to clean it up, man. When the only review you get is about how bad your writing is instead of how bad your storytelling is, then you have real problems. A lot of people will not look past all of that and give your story a chance. Instead, they'll slam the appearance of your script. It sucks, but it's the truth - and it's totally understandable and you cannot fault them for it. Appearance can go a long way. It'll make people take you seriously.
Speaking of your script, I think you have a great idea here. I just don't think you're doing much with it. I got 40 pages before I said enough. That's because reading 40 pages of nothing happening can be pretty boring. You have a lot of scenes of people just talking (not a fan of the needless flashbacks, either). You need to find a way to inject conflict, you need to have characters making tough choices in tough situations, you need to have someone that wants something (a goal) and something that will happen if they don't get it (stakes). I don't care how it's incorporated, but I can guarantee you I probably would have read the whole script if I actually saw some of that stuff. In my opinion, if you have a protag who doesn't have a goal then you have no story at all...because nothing is on the line. If nothing is on the line, who cares?
I suppose your characters are likeable, but they're paper thin. It felt like Charles was created and based upon all the stereotypical stuff you probably have seen(on TV)/heard about gays. Johnny was way too relaxed and at ease with Charles and Melissa. He meets them and right away he's already doing whatever they say or want. Melissa even dropped by his house unexpected, asked him to go jogging, and he agreed to it without question. It felt like they needed to get to know each other more before he started paling around with them as if they were old chums their whole life.
Also, another reason why I think your characters came across as paper thin is because your dialogue is too on the nose. Too stiff. Too direct. Too straightforward. Too frank. Too robotic. You get the picture. Some examples....
Quoted Text
I know, poor thing, we must say something to her, she was dressed like that the whole semester
|
Try:
I know, man, we gotta show her how to dress.Not the best, but at least it doesn't sound like a robot spoke the line:
We must say something to her.
Quoted Text ANDREW Exactly, and I was wondering if you could help me pass it
CHARLES You want me to tutor you
ANDREW Yes
CHARLES You realize you're asking me to give away my summer to help you
ANDREW Please, Charles, I'll make it up to you, besides it would be just and hour per day |
Quoted Text ERICK I wanted to talk to you about something
MELISSA (nervous) Yeah sure
ERICK I'm graduating this summer from high school (pause) I feel like I'm closing a chapter of my life
MELISSA Yeah I know, aren't you nervous?
ERICK I'm not finish
MELISSA Sorry
ERICK I think that we're over too
MELISSA'S smile disappears from her face.
MELISSA What do you mean?
ERICK I'm sorry |
Again, it's so too the point and lifeless, it feels like you're writing about robots instead of real flesh and blood people. My advice: if you aren't good at dialogue, write action instead. Show don't tell. Most of the time, action speaks louder than words any day, plus it'll hide your inability for it (dialogue). I do it all the time. You wouldn't be alone.
Last thing I want to talk about is a positive thing. You really got my attention with that one flashback where Melissa's ex-boyfriend Erick made a move on Charles after Melissa left the room, revealing that he (Erick) was a closet homosexual. That was unexpected and surprising. Unexpected and surprising is good. The only problem was that there wasn't enough of this. You need more stuff like this, I'd say, about every 10-15 pages. I would suggest bumping this plot point up earlier into the story.
I would also suggest maybe taking the turn for a dark comedy instead of a regular comedy? The first 40 that I read came across as too "light" and "soft," and then that flashback happened, and it felt like
Chasing Johnny could have been different...and so much more. There is so much potential here (I'm already coming up with some cool ideas, but I won't go too in detail unless you show up, interested). You could have a great story rife with conflict and great characters, but I would recommend a page 1 rewrite, though - and a new title.
More than happy to check out the next draft.
Best of luck with this.