Away With The Fairies by Warren Duncan - Short, Sci fi, Fantasy, Pyschological - A Fairy enlists the help of a common man to free her from the prison that holds her. 9 pages - pdf, format

Writer interested in feedback on this work

This was just a bit of fun and a writing exercise. A friend wanted me to write a story for her. Had to be a fantasy, have a fairy, and be a love story. This is the best I could come up with.

I read the first page, but I don't believe you have proofread this as there are some errors:

Code A chimney releases smoke into the night air.

You tell us it is night in the slug.

Code Pigs sleep restfully in a muddy pen.

Restfully isn't needed. It's taken for granted once you mention they are asleep. Nobody is going to read that they are asleep and then ask themselves, 'but I wonder if they are asleep restfully?'

Code An axe hangs wedged into a chopping block surrounded by wood.

How does it hang if it is wedged? Wedged into the chopping block is enough.

Code candle light

candlelight

Code dirt stained

dirt-stained

Code Alfred, 40, in dirt stained overalls, sits at a table and stares out a small window with dark tired eyes.

Rearranging like so will help this sentence make sense:

Alfred, 40, in dirt-stained overalls, sits at a table and stares with dark tired eyes through a small window.

I just thought too... it's night, so he would be staring at his own reflection.

Code Alfred’s attention remains focused outside.

How? It's dark and this is a log cabin, there's no streetlighting.

Code Eyes widen and teeth clench as she stares down at him.

Whose eyes and teeth?

Cheers for the read.

I gave this my usual three proofreads.

1) Check punctuation and orphans.
2) Spelling and grammar.
3) Have Final Draft read the script back to me; I find this the best way to see if it makes sense. I guess the problem with "candle light" and "dirt stained" is that they still read back sounding correct. Will fix them.

The staring is daydreaming so he isn’t necessarily that focused on anything; this is mentioned at some point.

"Eyes widen and teeth clench as SHE stares down at him" considering there is only a male and female character I thought this would be obvious, but agree this could be more clear.

The rest is relatively nit-picky, but I'll have another read through and make some changes as required.

Warren: Gave this a read.

SPOILERS AHEAD.

Overall, I liked the story and did not see the twist coming. Fast paced enough and a page turner. I have some nit-picky issues and some macro-level issues. I’ll do the nit-picky stuff first.

Quoted Text Suddenly the plate lands hard in front of Alfred. Boiling liquid spills from the bowl onto his lap. EDITH Stop your daydreaming. Alfred pats his pants. ALFRED Dammit, Edith, that’s hot! EDITH Stop your moaning and eat your dinner.

This sequence needs to be inverted IMO. Boiling hot liquid on his pants would cause an immediate physical reaction from Albert - i.e., before the first word of dialogue. . i.e., should be ordered something like:

Suddenly the plate lands hard in front of Alfred. Boiling
liquid spills from the bowl onto his lap.

Alfred frantically pats his pants.

ALFRED
Dammit, Edith, that’s hot!

EDITH
Stop your daydreaming and eat your
Dinner.

The other nit here is "Damnit!" Didn’t strike me until I completed the story. But Albert is such a timid, cowering man throughout the rest of the script, made me think he wouldn’t curse at her here. His disdain would be a bit more cowered.

Quoted Text Another nit issue. ALFRED Edi -- She points at the door. EDITH Get out!

Really nitty – but since Albert’s dialogue is interrupted – I would go with a parenthetical here. i.e.,

ALFRED
Edi --

EDITH
(pointing at door)
Get out!

Quoted Text Alfred sets some bait on a hook. MADELEINE (O.S.) Please don't run. ALFRED It’ you. You can’t be real.

Typo - It’s (I think). Not crazy about this line of dialogue. Think it would read better if Albert sees the image – then starts to bolt – then Madeline asks him not to run. Something like:

Alfred sets some bait on a hook. Just as he readies to toss his line he spots the image of Madeline neath the water. He jumps to his feet.

MADELEINE (O.S.)
Please don't run.

ALFRED
You..You can’t be real.

Quoted Text ALFRED I -- I don't Know, I really need to get back home.

Typo – know.

Okay, that’s the nitty stuff. Nothing that really changes or impacts the story. There were three story related level issues for me. One here:

Quoted Text MADELEINE There is nothing left for you here. A failing marriage, a mundane life. We can be happy together

To me, this is a big moment in the story and it may be in the wrong place. I would consider moving it to where she is trying to convince him to kill the witch and expand on it a bit. Something akin to:

MADELEINE
If you free me, you can go with me.

ALBERT
I couldn’t. Edith needs me  –

MADELEINE
And free yourself as well.

ALBERT
I’m not trapped.

MADELEINE
You’re not? Really?

Not that exactly – but the point being milk it a little so we can see what is going on in Albert’s deranged mind – make the wheels turn even if you keep it where it is, I think it works better as a slow realization for Albert rather than Madeleine simply telling him.

As a side note, I was wanting more dialogue between Madeleine and Albert – especially after knowing the ending. It is him working through his derangement and his final solution – a little more soul searching with Madeline would really make it zing I think.

Second issue – the Thatch Hut.

Just as a starter – I have no real solution for this so feel a bit shitty pointing out a problem without a suggestion. Anyway, by the end of the story we know we have a deranged Albert seeing an imaginary Fairy in the water that ultimately ends with him getting the impetus to murder his wife.  

We don’t realize this (the twist) till the very end because Albert leaves his Cabin, grabs the axe and heads off to a THATCH HUT where he slays the witch.  I get that you need all that  (i.e., THATCH HUT vs CABIN) to delay the reveal that the witch was really the wife. But – it’s problematic in my view because we (not a deranged Albert) are seeing the action and the twist is only a twist because we see Albert tromping through the woods, arriving a ta Hutch with a Witch, etc. Maybe:

-     Nuke the Trash Hut per se and just have him at the threshold of a door with an Axe in his hand. The Witch turns – faces him, he charges forward followed by the screams in the forest.

OR

-     Don’t show it all. Just have him come back to the river bank- exhausted and sweaty - bloody axe in hand telling Madeline that he has done it.

I don’t know if I am being clear with the point. Hopefully it’s coming across.

Smiles.

Again - only a thought I had when done with the story. There a three occasions where Albert has a large satisfied smile. At the river bank when he gets the fish. In his bedroom that night and at the end when he is dead underwater.

I would only do it at the end. I would make him confused, perplexed, doubting throughout the story and only have the eerie contented smile when he is underwater - having finally found peace. I think he needs to be a tortured soul up to that point. I think it provides a better contrast - more oomph at the end.

Anyway – just my thoughts. I certainly think it is a solid story as is and an entertaining read as is. I liked it.

Hey, Warren.

I liked the story, it kept me going.

Two things:
Thinking Madeline could tell more about herself. I want to see more of her with Alfred, so there's a sure contact between them when Alfred decides "to go with her".
And I didn't like the Rider at the end.

It was a fun read.

Thanks for the reads, Dave and Kham.

Quoted Text This sequence needs to be inverted IMO. Boiling hot liquid on his pants would cause an immediate physical reaction from Albert - i.e., before the first word of dialogue.

Agreed, I looked at this particular part for quite a while, I knew it was wrong but I just couldn’t sort it out in my head. Thanks for the suggestion.

Quoted Text Typo - It’s (I think). Not crazy about this line of dialogue. Think it would read better if Albert sees the image – then starts to bolt – then Madeline asks him not to run. Something like: Alfred sets some bait on a hook. Just as he readies to toss his line he spots the image of Madeline neath the water. He jumps to his feet. MADELEINE (O.S.) Please don't run. ALFRED You..You can’t be real.

Love having you read my scripts, agreed this is much better.

Quoted Text MADELEINE If you free me, you can go with me. ALBERT I couldn’t. Edith needs me  – MADELEINE And free yourself as well. ALBERT I’m not trapped. MADELEINE You’re not? Really?

Perfect!

I get your point on the hut; I'll have to have a think about that one.

The smile is another one I'll have to think about, I agree that having the one at the end will probably be more affective, but I guess I like the sense that things might get better, and then it all turns out the way it does. Hmm...

Glad you liked it. Thanks for the notes. Will definitely be using a few of your ideas.



Kham, seems I need a bit more with Madeline as it's been pointed out a couple of times.

The rider is probably unnecessary, could have the same scene minus the rider with almost the same impact, I'll have a think about it.

Thanks.

My pleasure - best of luck with it

Bump... Love a few more read on this from the regulars (or anyone), if you feel so inclined.

Quoted from Warren The rider is probably unnecessary, could have the same scene minus the rider with almost the same impact, I'll have a think about it. Thanks.

I agree with Kham on this as written. However....

I do like the visual of the Rider opening the door and finding the body. So one suggestion is to change the Rider to someone meaningful. Just as a spitball example:

Let's say that the wife has a Brother coming to visit - a dick much like her. Maybe some dialogue previously leaning toward the wife telling at Alfred why can't you (Albert) be more of a man like
him (brother). Maybe after Alfred comes up the first time without fish. That way when the brother shows up at the door he is more of a meaningful character than the nondescript Rider. Long winded way of saying keep part where a person at the end finds the body - just make that person integral to  the wife/Alfred.

Quoted from eldave1 Long winded way of saying keep part where a person at the end finds the body - just make that person integral to  the wife/Alfred.

I really like this idea, thanks.

My pleasure

I'm late to the game so I think most everything has been covered. A couple nitpicks to add:

Quoted Text EXT. FOREST - DAY Moss covered rocks and fallen trees cover the forest floor. Small animals scurry for cover as Alfred makes his way through the dense bush.

You use cover three times here. Perhaps go with...

"fallen trees (litter/blanket) the forest floor."

"Small animals (scatter/scatter for safety) as Alfred makes his way through the dense bush."

Quoted Text ALFRED Are you there? The flowing river is the only sound. ALFRED (to himself) Don't be ridiculous. He laughs nervously. Alfred sets some bait on a hook. MADELEINE (O.S.) Please don't run. ALFRED It�s you. You can�t be real.

I'd add a description of Madeleine appearing in the lake. A second ago, Alfred was staring at empty water so it's a little disorienting not to describe her reappearance. With the O.S. dialogue I thought she might suddenly be on shore but turns out she's still in the water.

Story-wise, it was an enjoyable enough tale.

A breezy read.  I like the dark fairy tale approach - always had that feel it was leading to a bad place which keeps me invested.  For me, the means by which you got us there felt a little too forced to really make for a satisfying pay-off.

The moment Madeleine asked him to kill the witch I got a sense of where this was headed - fair enough, I was interested to see how it played out.  But you then set up two different characters in two locations only to pull them into one for the reveal. There’s too little in the set-up that supports that conclusion which leaves me feeling a little cheated.  It left me wondering whether Albert was delusional or a trick by a very real Madeleine.  Could be you need to explore Albert’s psychosis a little more deeply?

I think Dave makes a good point about making the Rider someone close to them.  I’d consider going a step further; perhaps someone with a stronger connection to previous events/Albert’s psychosis.  Maybe that final character forms part of the twist?

How big is Madeleine?  I thought she was a fairy.  I think a little more description could help out here.

All the best,

Steve

Hey Warren,

Everyone's pretty much covered all of the good stuff. I gotta say that I liked the story. I wish you explored the psychological aspect a little more in this script. Maybe have him return to the river after Edith tells him to go back to catch a fish, only to not find Madeleine for the rest of the day. Have him really question himself if he's seeing things or if Madeleine is actually real. Then he wakes up early the next morning to go fishing before Edith wakes up and he sees Madeleine again. He's actually not crazy!

I agree with having the character who discovers Edith's dead body be relevant to them. Maybe Alfred is catching fish for dinner for company that they're having, as Dave suggested.

Same with taking out the hut part too. Also what Dave suggested.

If there's anything else you have questions on that nobody's answered, I'd be happy to help out.

Thanks  for the read guys. I'm getting some excellent suggestions on this one. I think I'll really be able to turn it into something great.

James, thanks for the pick up on "cover", horrible, just horrible!

Starting off:

Quoted Text EXT. LOG CABIN - NIGHT The only residence for miles, hidden below a thick canopy of ancient trees. A chimney releases smoke into the night air

A residence among ancient trees? Sounds like a pain in the arse to get the permits required to make a set and film anywhere inside an old growth forest.

I mention this because you're Australian, and the best chance you have getting a short made is locally.  

Unless you mean the forest is dark and brooding.. and appears somewhat ancient, like many forests of Germany are.

Then:

Quoted Text Pigs sleep restfully in a muddy pen.

Putting pigs in a pen in a protected reserve to film them. Probably impossible to do in Australia.

Trees in Australia are mostly Eucalyptus trees, and Eucalyptus trees (as many residents in California have recently found out) reproduce by burning down. Eucalyptus trees produce oil which burns very easily.

So finding "ancient trees" in Australia will most likely be extremely hard.. as there are not many of them around.. and the really old ancient forests will be protected with a fuckload of government legislation.

Then:

Quoted Text Small animals scurry for cover as Alfred makes his way through the dense bush.

Not in Australia. You can't have small non-native animals scurry freely about in protected Australian old growth forests. I doubt you could hire native animals and their handlers either. It would be too expensive for something so unnecessary.

Summary:

This is the third screenplay of yours I've read.

I believe it is the second one where the female significant other, or wife, gets axed to death, by the husband/partner. Your subconscious seems to be motivated in telling you something.

At least the overall story is something possibly viable.. this time.

The bitchy wife is too one-dimensional and shallow of a character. If wife wanted to fuck up her husband's entire life perspective she'll do it masterfully, with great cunning and mind games. Your wife is cartoonish.

Spending money on the CGI required to make this short, going through years of government red tape to get it made where you want it made (which imo will ultimately prove fruitless)... this is just another waste of time.

And from what I've seen, this is a common theme of your scripts:

Quoted Text MADELEINE There is nothing left for you here. A failing marriage, a mundane life.

Which is why the wives you write always seem to get the axe, and you never creatively deviate from themes where a wife gets the axe.

You need to stop introducing female characters where you mainly focus on their perfect looks, or their perfect beauty. Feminists don't like that, and a lot of industry types are feminists.. male and female.

I don't agree with feminists on many things, but I can respect their opinions on this issue of introducing female characters.

Female characters must be far more than their looks. Give them real love, and real character.


But really.. a wife gets axed to death by her husband in the middle of nowhere.

Pass.

Quoted from TheWarddd Starting off: A residence among ancient trees? Sounds like a pain in the arse to get the permits required to make a set and film anywhere inside an old growth forest. I mention this because you're Australian, and the best chance you have getting a short made is locally.   Unless you mean the forest is dark and brooding.. and appears somewhat ancient, like many forests of Germany are. Then: Putting pigs in a pen in a protected reserve to film them. Probably impossible to do in Australia. Trees in Australia are mostly Eucalyptus trees, and Eucalyptus trees (as many residents in California have recently found out) reproduce by burning down. Eucalyptus trees produce oil which burns very easily. So finding "ancient trees" in Australia will most likely be extremely hard.. as there are not many of them around.. and the really old ancient forests will be protected with a fuckload of government legislation. Then: Not in Australia. You can't have small non-native animals scurry freely about in protected Australian old growth forests. I doubt you could hire native animals and their handlers either. It would be too expensive for something so unnecessary. Summary: This is the third screenplay of yours I've read. I believe it is the second one where the female significant other, or wife, gets axed to death, by the husband/partner. Your subconscious seems to be motivated in telling you something. At least the overall story is something possibly viable.. this time. The bitchy wife is too one-dimensional and shallow of a character. If wife wanted to fuck up her husband's entire life perspective she'll do it masterfully, with great cunning and mind games. Your wife is cartoonish. Spending money on the CGI required to make this short, going through years of government red tape to get it made where you want it made (which imo will ultimately prove fruitless)... this is just another waste of time. And from what I've seen, this is a common theme of your scripts: Which is why the wives you write always seem to get the axe, and you never creatively deviate from themes where a wife gets the axe. You need to stop introducing female characters where you mainly focus on their perfect looks, or their perfect beauty. Feminists don't like that, and a lot of industry types are feminists.. male and female. I don't agree with feminists on many things, but I can respect their opinions on this issue of introducing female characters. Female characters must be far more than their looks. Give them real love, and real character. But really.. a wife gets axed to death by her husband in the middle of nowhere. Pass.

I've had 6 shorts filmed all in either the States or UK, you are clearly talking from experience with that one. Oh I haven't asked, do you mind if I see your produced work?

Why is everything about filming capability? I wrote this for a friend who wanted a script. It is never a waste of time to write. I write for the love of writing. Getting things filmed is a bonus.

Correct, I do love a good axe murder.

Her looks and beauty are perfect because she is made up, he isn't going to imagine some old hag to spend his life with, he gets that at home already. You clearly struggle with imagination, odd you should pick screenwriting as a hobby.

Another great review, thanks for sharing your thoughts.

Quoted from Warren do you mind if I see your produced work?

You'll see Burn when it's made. That's all I want you to see.

Quoted Text Why is everything about filming capability?

We're screenwriters. Not writers.

Everything we do is to be made and seen on a screen.. otherwise we're pretenders.

Quoted Text Her looks and beauty are perfect because she is made up, he isn't going to imagine some old hag to spend his life with, he gets that at home already.

It's still shallow. Looks aren't enough.

Does the fairy even caress the guy, or show him deep affection.

I honestly don't recall..but I doubt it.

Quoted Text You clearly struggle with imagination, odd you should pick screenwriting as a hobby.

In my screenplay the 1st scene I had a boy rail slide downstairs with a stolen beer in his hand. He didn't spill a drop.

Clearly I don't struggle with imagination. I doubt anyone has done this, and it will look so fucking cool.

My struggle is with giving a shit about small details that ultimately mean nothing.

Produce my stuff.. and it's golden. It's all that matters.

Mediocre IKYABWAI attempt, in any case.

Quoted Text Another great review, thanks for sharing your thoughts.

You'll always be welcome to them.

Cheers, well there's heaps more on here, knock yourself out.

Warren

You can obviously write so technically this reads well and moves along nicely; no issues.

Just a quick note and I could be wrong but I think your top margin is incorrect. The text starts too high up on the page.

EDITH
Spit it out, you fool!

- Jesus, this woman is hard work!

“EXT. FOREST – DAY

Alfred charges through the bush with utter determination.”

- Is he a little too quickly ready and prepared to carry out murder? Although impressive, Madeleine has only produced a fish thus far. Perhaps we could see her do more in order to justify Alfred’s willingness.

EXT. THATCHED HUT – NIGHT

The forest opens on a small hut.
Dim light illuminates the few windows.
Alfred stands hidden as he looks on at the structure.

ALFRED
This is it.

- I’m curious if Alfred knew about the witch prior. Is her presence common knowledge or was he directed to her hut by Madeleine? It seems like it’s the former. If so, then a fairy should be of no real surprise to him...yet he jumped out of his skin. The existence of one would sort of give credence to the other. Just wondered...Then again, all this could be part of some hallucination/dream...reading on...

I kind of figured Madeleine was not to be trusted, too good to be true, right? And Alfred was under her spell. Still, he got to stick an axe in his bit?h wife of his, how bad ;) I love the closing image of him submarine and smiling, the man died happy at least.

Alternatively, was all this part of Alfred’s twisted (though oh so satisfying) fantasy? I guess him in the river at the end would suggest that Madeleine never existed at all. Did you mean to leave it ambiguous or intended a specific interpretation? I’d like to believe it was the former.

Either way, nice job with this.

Col.

Thanks for the read, Col.

Everything is formatted in Final Draft so if it’s out I blame my software.

I definitely think I need to expand on Madeleine and Alfred’s relationship. Most people seem to think it needs some work so I will address that in the rewrite.

You got it, Madeleine wasn’t real and it was all a fantasy. At the end of the day it was a murder/suicide.

Glad you enjoyed it.

Seems to be a bit of this going on at the moment, but Away with the Fairies just got optioned to be made into a 3D animation.

Congratulations! Having just read it for the first time I can honestly say it was thoroughly enjoyable.

Quoted from Marvin Congratulations! Having just read it for the first time I can honestly say it was thoroughly enjoyable.

Thanks, appreciate it :)