Get to know the screenwriter:

1. What is your screenplay about?
Bitter is a belated coming of age story for anyone that feels like the paradigm of success has shifted. It takes the traditional geek vs bully high school sub-genre and basically turns it on its ass, focusing on WILLOW, a once-hopeful two-time valedictorian, slated for success. Now, 10 years later, she’s a bitter waitress, struggling with resentment and unmet potential, all while PARKER, her high school bully, lives the good life as a prominent influencer.

2. What genres does your screenplay fall under?
Bitter is definitely a comedy. When developing this story, it felt necessary to look through a humorous lens. The plot tackles a lot of socially-relevant themes and issues we all deal with on a daily basis: comparison culture, scam-influencers, toxic personalities—things that can absolutely consume a person. So, I thought it was important to craft the story and its characters from a place of comedy. I wanted to avoid the perception of whining or lecturing, and write a story that has something to say, but also has audience wanting to listen because they’re getting to laugh along the way.

2. Why should this screenplay be made into a movie?
Movies have changed drastically over the last decade—some changes good, some bad, but I think a gap has been created for some of the sillier, more light-hearted comedies that can still pack a punch—that have something to say, but do it in a way to invites, not divides. I think Bitter recaptures this approach, in line with early-2000’s movies like Mean Girls, Bruce Almighty, Miss Congeniality. The themes are there. The lessons are there. But so is the fun.

Also, I think something that might set this movie apart—and maybe even me as a writer—is my use of secondary characters. I write them to be quotable. To be memorable. Yes, they have to support the protagonist and help push the story forward, but for me they have a much bigger job: make the audience want to watch the movie again. I like to say that nobody re-watches MEAN GIRLS for Kady Heron. They re-watch it for Karen Smith, for Gretchin Wieners, for Janice and Damion. And with the streaming business set up the way it is, I think it’s now even more crucial that movies are re-watched after theatrical releases, not less. I see a lot of great movies fade into obscurity on streaming sites, and it’s my hope that movies like BITTER can sort of reinvigorate the re-watching culture that binge culture has commandeered. And I really think the key to that is loveable supporting characters.

3. How would you describe this script in two words?
Obscene fun.

4. What movie have you seen the most times in your life?
Oof. Where do I start? Obviously, I’ve sort of established myself as a big re-watcher of movies, so it’s hard to pinpoint which one has the highest view count. But it probably is a movie from that late 90’s/early 2000’s range. And most likely a comedy. The majority of my top picks from that time are probably in the 20-30 views range at this point. But to give you an answer, I’ll land on BEDAZZLED, starring Brendan Fraser and Elizabeth Hurely.

5. How long have you been working on this screenplay?
All-in-all, I think BITTER took me about nine months from original concept to final draft. It was my first ever writing project, so there was a lot of learning along the way, a lot of re-drafting, and also a pandemic wreaking havoc in the background. But if I piece all of the segments of writing time together, it took about nine months.

6. How many stories have you written?
I have actually just finished a polished re-draft of my second feature. A high-octane action-heist comedy called IN LOCO PARENTIS. And I’m currently busy developing my third feature: another socially charged comedy called GOOD BULLIES.

7. What motivated you to write this screenplay?
Like most comedies, BITTER was born out of anger and frustration. I make it no secret that I have a very low opinion of social media and the detrimental impacts it’s having on society, on our future generations, on the world as a whole. And, one day, I was absentmindedly scrolling Instagram when I came across a scam-influencer promoting something (I forget what), and the “influencer” had barely masked her attempt at a scam. It was like she thought that people were so dumb, that there was no point to putting a cloak around her bad acting. And, unfortunately, I was fairly sure the video was making her a pretty penny. And it was that thought that I couldn’t get it out of my mind. The fact that a platform exists where bad people are inspired——if not encouraged——to take advantage and break the rules for personal gain, all while people who follow the rules are left behind, regardless of their efforts, their hard work. And it was with that thought that a socially charged comedy began to form.

8. What obstacles did you face to finish this screenplay?
There was definitely a few for sure. Obviously, the pandemic made it’s impacts on my productivity, but I would say the biggest obstacle probably was the anxiety surrounding believing that I had what it takes. I think that’s a big hurdle for most new writers to get over. But eventually something changed, something clicked, and a confidence creeped in that helped me finish those drafts and become proud of what I’d written.

9. Apart from writing, what else are you passionate about?
My obvious go-to answer for that is really boring: watching movies. Sometimes I like to think that watching movies actually counts as writing, you know: “because I’m learning”. It’s total B.S. But a better answer would actually be reading, specifically novels. I used to think it would be distracting as a writer—to delve into other writers’ worlds. But it actually helps a lot. And I specifically love reading books that have been made into movies. I love the comparisons. Where most people usually go to “the book is always better”, as a screenwriter, I love playing devil’s advocate and pinpointing which parts of the story are actually elevated by the cinema. I find that really fun. And then for a non-movie answer: paddle boarding. Turns out I’m surprisingly good at it.

10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
So, I’ve entered BITTER in a number of competitions—and usually placed, but it felt like I was sort of just collecting accolades, and to a degree, that’s not a bad thing. But I wanted to try a competition that could provide some exposure. You never know when the right eyes—or in this podcasts’ case, ears—will stumble upon your work, and I thought this competition would be a good way to start getting some exposure as a writer.

In regard to the feedback, I found it really great. It was actionable without being invasive. I’ve gotten feedback and coverage in the past where it feels like the reader is giving so many plot-based suggestions that they’re trying to morph your screenplay into something else—and it can sometimes feel like they’re giving that advice with an agenda. This feedback wasn’t like that at all. It was useful to know the places where the reader had some thoughts, but nice that it didn’t try to re-work the story for me. I appreciated that.

Performed by Val Cole

Editor & Visual Design by Steve Rizzo

Produced by Matthew Toffolo

Get to know the poet:

What is the theme of your poem?
The theme of “The Beautiful Scar” is learning to find the beauty in the humanity we often rob ourselves of when we feel like the world is rejecting us.

2) What motivated you to write this poem?
During the first year of the MFA program at UNR-Lake Tahoe, I was away at our winter residency, and I was so encapsulated by my colleagues’ vulnerability and the power they gave to their truth of the hardships they experienced in their own lives. One of them told me that my writing was already at that level but what held me back was withholding my own truth to protect those I was writing about. This poem was the turning point for me to be more honest and vulnerable, not just with my audience, but with myself. It was a difficult process to grasp and write through but for the first time in my 25 years [at the time] of life, I finally felt free.

3) How long have you been writing poetry?
I was a slow-learner as a kid, so I caught on to reading and writing at a later age than my siblings did, but I began creative writing through free-writing in 1st grade when I was six years old. I began learning how to write poetry at eight years old and began writing my own poems at twelve years old, so I’ve been writing for about twenty-two years with seventeen years to this day of writing poetry and it’s a blessing I always remind myself to be grateful for.

4) If you could have dinner with one person (dead or alive), who would that be?
That’s a super tough question, haha! There are so many brilliant minds to choose from but I think I would love to have dinner with Langston Hughes. I’ve long been a fan of his work since my high school days, and he became a mentor-in-spirit for me during my MFA program. It’s been humbling to hear many peers and readers alike expressing the music and rhythm they hear in my art, but that all came from Langston Hughes. I’d love to pick his mind about being a Black artist and activist, how he learned to interweave poetry and musical rhythm and meter together so naturally, and how he sees the world and what colors he sees it in when he writes. I’d also thank him for his contributions to our culture, history, and art as an icon and pioneer.

5) What influenced you to submit to have your poetry performed by a professional actor?
I love being able to share my voice with the world through my writing in any shape or form, so it was a no-brainer. After a long talk with some loved ones about the opportunity, they were nothing short of supportive and I felt this would be a huge first step in putting my name out to the world and just hoping that my words can heal or at least begin the process of healing and mending any ailing souls that have experienced similar traumas to mine in their lives. I also want to give a big shout-out to a mentor/colleague of mine in Faylita Hicks. [Check out her first poetry collection, Hoodwitch, as well as her newly released second collection, Map of My Wants.] She’s served as a phenomenal inspiration for me and seeing how she’s branched out her poetry into various multimedia projects over her career had a huge influence on me wanting to explore similar avenues with the resources I already have available.

6) Do you write other works? scripts? Short Stories? Etc..?
I do! I love writing in all forms. Before I began committing to poetry, I used to write all kinds of stories ranging from fantasy, usually based on my favorite anime or video game franchises, to personal narratives. One of my goals for the future is to create my own manga or graphic novel and I’ve also been toying around with the idea of a future poetry collection in the style of a manga volume. For now, my central focus outside of poetry is to venture into Black erotica stories that speak to the experiences of both Black men and women that can hopefully help to bridge the gap in our community. I love my people and our culture and I want to that magic and divinity to be seen as raw, unflinching, and unapologetically Black but in a way with grace, compassion, and vulnerability that can allow anyone to see themselves in and open themselves to our humanity and their own.

7) What is your passion in life?
My passion in life is to spread as much joy and freedom to the world as possible. Whether it’s making people laugh, opening their hearts up to the world around them, or being a listening ear to a friend or stranger, I’ve always believed changing the world is a journey rather than a destination and the steps in that journey involve being kind, loving, compassionate, empathetic, gracious, and learning how to heal our own humanity and others. It won’t be easy, but with the nakama [loved ones closer than family] I’ve built for myself over the years ever since I began this journey, words can’t express the feeling of knowing that I’m not alone anymore on my path and I can’t wait to see who else wants to join me along the way.

Get to know the poet:

1) What is the theme of your poem?

The theme of Towards The Storm is to move into uncertainty regardless of what change is to come. The only difference is choosing to face it

2) What motivated you to write this poem?

Most of my poems start with a feeling or a thought. Sometimes an experience that I’ll sit down and think about. While I say that, this one came from real emotion like always. When writing I didn’t understand what I was writing until I was done. with Towards the Storm, I was feeling anxious and a bit uncertain about a few things. But through it, no matter what happens. You can only prepare for what happens as change is inevitable. Especially with all the rain that was coming through Memphis at the time. one thing led to another.

3) How long have you been writing poetry?

I’ve been writing poetry for years. Well over a decade. I didn’t always call it poetry at first. It started as journaling or a way that I could clear my mind without judgement. Over time I met other writers and creatives. Some professors and slowly I started listening to the advice that was given or how I could structure my writing, and over time Over time it turned into poetry. Not just that but a way that I can understand myself and my thoughts more clearly.

4) If you could have dinner with one person (dead or alive), who would that be?

That’s a hard question. Honestly, I’d choose James Baldwin or Saul Williams. Both are deeply emotional artists who told/tell the truth in beautiful and somewhat uncomfortable ways. I’d love to talk to them about anything honestly. Whether love, pain, the strength that it takes for them to do what they did. or just shoot the breeze in good company.

5) What influenced you to submit to have your poetry performed by a professional actor?

To be honest. It’s always something I wanted to have done. In any form. To have anyone read your work itself is a blessing but a profession actor is next level because they also believe and know that the words on a page or more than words on a page. When I saw WILDsound’s performances I knew that if my work was selected that it would be one of the questions I would ask. How can I get my work read by a professional actor. And was not disappointed. It gave my work a life I didn’t realize that it had.

6) Do you write other works? scripts? Short Stories? Etc..?

Yes, I write short stories, prose, and sometimes mini scenes. I’m attempting exploring storytelling from different angles and perspectives. I’ve also contributed to others’ creative projects, and I love being part of bringing a vision to life.

7) What is your passion in life?

My passion is connection—through language, art, and shared experience. I write to understand myself and offer that understanding to others. If someone reads or hears something I’ve written and they feel a little less alone, then I’ve done my part. Writing helps me breathe, and I hope it does that for others too.

Based on,
Concepts from the novel
Considering SomeplacElse
By Barry B.L. Lindstrom

Get to know the writer:

1.What is your screenplay about?

The Galactic Council has seen enough and has voted 8 to 1 to eliminate all humanoid Earthlings. Padrin, the lone dissenter, an expert extra-terrestrial world saver, must now save humanity using only the positive actions and interactions of individual humans as evidence. In this, the pilot episode, Padrin’s android, Facto, unexpectedly connects with the plight of suddenly, violently, orphaned 18 year old Charlene and her 12 year old sister, Jennifer who, apparently, are being forced into a polygamist cult run by their only next of kin. Padrin, sensing that Facto’s discovery is something far beyond coincidence contemplates invoking Galactic Assertion 5: There MUST be something that moves a system from its current state to one that is better for the planet and its population, in defiance of all probabilities, patterns and past behaviors.

We Earthlings call it Fate, Destiny, Faith, Luck and Random Chance, but the rest of the galaxy calls it: NaturalAwe.

2. What genres does your screenplay fall under?

Consider, if you will, “the twilight zone” as genre.

Half hour serialized Character driven episodes centered around the idea that: The Galactic Council has been monitoring the behavior of planet populations for eons.
Whenever a planet’s ecosystem is threatened or a planet’s population threatens other planets, the council, after following due process can directly intervene without warning, Unless, of course, there is significant evidence of NaturalAwe.

3. Why should this screenplay be made into a movie?

Sometimes it seems like things have never been worse, That we are incapable of fixing that which is broken, That those who blame everything on those not-like-us are in control, That the doom and gloom dystopian vision of our entertainment depicts our destiny. As one who was raised on lessons gathered from Good-triumphs-over-Evil 50s and 60s Broadcast Television, (Occasionally impacted by exemplary public education), built a highly successful Information Systems career based on Richard Feynman’s “Perspective is worth 80 IQ points”, and has extensive experiential evidence that there is no such thing as coincidence, I feel we need to deliver SOMETHING that might just move us to ways that are better for the planet and its population, in defiance of all probabilities, patterns and past behaviors.

4. How would you describe this script in two words?

NaturalAwe happens.

5. What movie have you seen the most times in your life?

There are several, I would say the 1938 version of You Can’t Take it with You is the one I have intentionally watched more than any other.

6. How long have you been working on this screenplay?

About 9 months. This is my 6th rewrite based upon various feedback from contests and paid script consultants.

7. How many stories have you written?

Probably 100 or so written, with another 100 or so told to little ones in my life. Some graded, some delivered orally. One Novel and 2 short stories were published.

8. What motivated you to write this screenplay?

18 years ago I published a Novel. A modern myth about the last 5 days of a Utopian experiment that was founded by a homeless man who was allowed to win the
lottery. When I finished it, I was constantly asked, “when does the movie come out?” But when Hollywood sort of called, they were selling instead of buying.
So I decided when I untired from Corporate servitude, I would write the script myself. Then I took Andrew Kaplan’s Visual Approach to Screenwriting at Udemy.com
And everything started to fall into place. Writing, rewriting and considering professional feedback produced quarterfinal, semifinal and top 15 contest finishes motivating me to arrive at what most seem to consider a FINAL draft.

9. What obstacles did you face to finish this screenplay?

I tried two times to get professional screenwriters to create a screenplay from my Novel. But their first drafts did not meet my expectations and cost me some 2500 dollars. I took several in person classes which taught me a lot but had me questioning whether this was something I was meant to do. Earning a living was the priority and I was not seeing a path to earning the kind of money I was receiving for writing code for very appreciative computers.

10. Apart from writing, what else are you passionate about?

Continuous improvement. I love to find better-cheaper-faster, more value added, ways of doing things. My backyard borders Disneyworld property and my wife of 53 years and I, love to “walk a park” 3 times a week making little ones smile and occasionally giggle.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I feel the attention span of the majority has decreased significantly, so my scripts are less than 30 minutes. So when I got an email for a contest requested SciFi Shorts, I thought my script could be refined to be a self contained story, OR stand, as is, leaving the audience asking for more…the goal of a pilot. Judging by the very positive feedback I got, it accomplished that goal.

12. What movie have you watched the most times in your life?

Since you asked this twice I will answer the two movies tied for second place Forbidden Planet and the 1956 Invasion of the Body Snatchers.

An adventure seeking young girl comes of age, joins the Peace Corps, gets posted in the Congo and takes a wild ride through culture clashes and love affairs.

Get to know the writer:

1. What is your screenplay about?

My screenplay is about an adventure seeking young woman who joins the Peace Corps to advance her career, gets posted in the Congo, and ends up falling in love with two fellow volunteers.

2. What genres does your screenplay fall under?

The genre is Romantic Drama.

3. Why should this screenplay be made into a movie?

This movie needs to be made because there has never been a Peace Corps movie made before, and the Congo is the 4th world that Americans need to see.

4. How would you describe this script in two words?

In two words: compelling and original.

5. What movie have you seen the most times in your life?

I’ve seen “Last of the Mohicans” the most.

6. How long have you been working on this screenplay?

I’ve been working on this screenplay for–don’t laugh–35 years.

7. How many stories have you written?

This is the only story I’ve written.

8. What motivated you to write this screenplay?

My motivation is to write and sell this so I can stay in my house.

9. What obstacles did you face to finish this screenplay?

Obstacles to writing included raising three children and working full time for my husband’s business.

10. Apart from writing, what else are you passionate about?

Apart from writing, my passion is for singing and music.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I entered this Festival because my screenplay was accepted into the Beverly Hills Film Festival and I wanted to get as many eyes on it as possible.

Get to know the writer:

1. What is your screenplay about?

Selfish Walter is not ready for real family life and persuades a little person actor to play the role of an adopted child in order to discourage his wife from wanting to become a mother. Meanwhile, the little person wins Walter’s wife over.

2. What genres does your screenplay fall under?

Comedy, Drama, Romantic Comedy

3. Why should this screenplay be made into a movie?

Recently, there has been an increasing number of childfree couples. The film inspires traditional family values with children.

4. How would you describe this script in two words?

A plot to save his marriage and help a friend out with debt leads to backfiring greatly which could mean the end of his marriage.

5. What movie have you seen the most times in your life?

“Bridget Jone’s Diary”, “Friends”, «Pretty Woman”

6. How long have you been working on this screenplay?

I wrote this script in just one month.

7. How many stories have you written?

I have written 23 feature-length scripts and 24 pilot episodes, of which 7 projects have been produced. The film ‘Blue Whale, (YA idu igrat) produced by Bekmambetov, has received numerous awards, including the LA Indie Film Fest award for Best Feature Film Screenplay. My complete filmography is available at the link: https://m.imdb.com/fr/name/nm12964428/

8. What motivated you to write this screenplay?

I have been writing since childhood: short stories, fairy tales, and books. I can’t imagine my life without creating stories.

9. What obstacles did you face to finish this screenplay?

I wrote this script in one breath. Thanks to this festival, I was able to improve it.

10 Apart from writing, what else are you passionate about?

I’m passionate about my two Chihuahuas. I love singing karaoke, dancing, and traveling around the world.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I found the festival on the ISA website and immediately felt that I had to participate. I received an incredible surge of inspiration and positive emotions from the feedback I received. Thank you so much!

12. What movie have you watched the most times in your life?

“Bridget Jone’s Diary”

Blue (formerly Logan) is a gifted transgender surgical nurse whose life spirals after a violent romance exposes her truth. Surviving a suicide attempt, she’s sent to an off-grid trauma retreat, where healing begins amid a web of broken souls, betrayal, and revelation. Returning home to confront family and memory, Logan reclaims his identity—detransitioning not in retreat, but in power. Blue Idaho is a raw, redemptive journey of self-forgiveness, queer identity, and the quiet strength it takes to choose yourself.

CAST LIST:

Narrator: Hannah Ehman
Connor: Shawn Devlin
Blue: Elizabeth Rose Morriss

Get to know the writer:

1. What is your screenplay about?

This screenplay is a bold, soul-stirring exploration of identity, redemption, and the courage to love one’s true self. At its heart is Blue (also known as Logan) — a precise, compassionate, and quietly suffering OR nurse who identifies as a trans woman. Behind her composed exterior lies a turbulent past: a childhood marred by neglect, abuse, and rejection. She inflicts harm on herself not for attention, but as a tragic ritual — a conversation with the inner child who was never allowed to speak.

Based on real memories, true events, and lived characters, this story is an emotional autopsy of shame, survival, and transformation. When Blue opens her heart to Connor, a young doctor who genuinely sees her, it shatters the rule she swore to live by: never mix vulnerability with proximity. When Connor uncovers her truth, the rejection that follows is brutal — familiar — and almost final.

Blue’s near-death suicide attempt leads her to an unconventional retreat, where healing unfolds in messy, unexpected ways. There, she finds not only herself, but also her voice — as Logan.

This story is not about being trans. It’s about being human in the aftermath of trauma. It’s about reclaiming dignity when the world has tried to erase it. It’s about survival — and the raw, beautiful work of learning to live again.

2. What genres does your screenplay fall under?

Drama and Coming-of-Age, with powerful psychological and emotional undercurrents that resonate universally.

3. Why should this screenplay be made into a movie?

Because it tells a story that has rarely — if ever — been told with such honesty, depth, and compassion.

Blue/Logan is a protagonist we haven’t seen before: a trans woman, a detransitioner, a medical caregiver, a wounded survivor, a human being whose experiences speak across lines of gender, politics, or identity. This is not a culture-war film. It’s a human story, and that is its power.

The screenplay holds a mirror up to all of us who have felt unworthy of love, who carry an injured inner child, who have learned to survive by shrinking. It dares to say: you are still here — and that matters. It is intimate yet universal, deeply personal yet painfully relatable.

This is not just an LGBTQIA+ story. It’s a redemptive character journey that speaks the emotional language of anyone who’s felt voiceless, invisible, or broken — and longs to heal.

3. How would you describe this script in two words?

Page turner

4. What movie have you seen the most times in your life?

The Green Mile’. It’s a masterclass in emotional storytelling — raw, graceful, and human. The film’s brilliance lies not only in its cinematic craft, but in how it threads the supernatural through the deeply personal. It captures injustice, grief, mercy, and transcendence with equal weight. The Green Mile doesn’t shout — it haunts. And much like this screenplay, it asks you to look beyond labels and see the soul within the struggle.

5. How long have you been working on this screenplay?

For over a year — though emotionally, it’s been building for a lifetime.
The process began when I advanced my training as an actor, working under the guidance of Adam Davenport, a gifted Chubbuck Technique coach who challenged me to dig into my own trauma and reshape it into something transformative. His mentorship encouraged me not just to tell a story, but to bleed truth onto the page — and let pain become purpose.

6. How many stories have you written?

Storytelling has been part of me since childhood. I’ve written short stories for as long as I can remember — it’s always been a quiet, constant rhythm in my life, even when I wasn’t consciously pursuing it.

After years of focusing on other aspects of my life, I’ve recently reconnected with that creative fire. Now, I’m working on multiple scripts and developing projects that are deeply personal, unflinchingly human, and unapologetically real.

My passion lies in giving voice to raw, authentic characters who don’t often get a spotlight — not just on paper, but eventually on screen as an actor.

Last year, my short film Just Sophie was honored with the Best European Film award at the European Cinematography Awards in Amsterdam. That moment solidified a promise I made to myself: to keep writing the truth, no matter how vulnerable it feels.

7. What motivated you to write this screenplay?

At its core, this screenplay was born from my own need to heal — to take the weight of unspoken pain and turn it into something purposeful. Writing this story allowed me to reframe trauma, to find strength in scars.

But more than that, I wrote it for connection. If just one person sees this film, or reads this script, and feels less alone, more understood, or even just takes a small step toward healing — that’s the dream fulfilled.

This isn’t just a story. It’s a lifeline.

8. What obstacles did you face while finishing the screenplay?

There were two major challenges:

1. Fear of being misunderstood.
This is a deeply personal and emotionally charged narrative with a protagonist who, in today’s world, can easily be politicized. That was never the intention. I don’t want to write for the left or the right — I want to write truth. The challenge was in staying true to the emotional core of the story without softening or shaping it to fit expectations.

2. Digging deep.
Many of the experiences my protagonist goes through mirror my own. Writing those scenes felt like tearing open old wounds — liberating, yes, but also devastating. It required honesty, bravery, and sometimes, pausing to process.

But every tear shed, every uncomfortable truth revealed, made the story richer — and, I hope, more impactful for anyone who reads or watches it.

9. Apart from writing, what else are you passionate about?

Acting. It’s my first love, my mirror, and my teacher. Acting pushes me beyond what I know, forces me to confront my own limitations, and allows me to channel personal pain into empathy and connection.

Outside the arts, I’m a registered nurse, which has shaped my understanding of life in the most profound ways. I’ve been there for both the first cry of life and the final breath. I’ve helped deliver a child in an elevator and washed the body of someone who passed in silence.

These moments humble you. They strip away ego and remind you of what’s real. That rawness — that delicate balance between joy and loss — is something I carry into every character I portray, and every story I write.

10. What influenced you to enter the festival? And how did you feel about the feedback?

This festival stood out — its reputation for championing unique, character-driven stories resonated with me. I wanted to place my screenplay in a space that valued emotional truth and complexity.

The feedback I received was thoughtful and insightful. It helped me realize that some narrative elements that felt intuitive in my head could use more clarity on the page. I’m deeply grateful for that kind of response — it makes me a better writer and a sharper storyteller.

At the same time, the praise for the structure, dialogue, and character development was incredibly encouraging. It felt like the heart of the story was reaching people, and that’s what matters most.

Facing death due to different illnesses, three patients find themselves playing a made up game called The Mortality Game to experience life one last time risking it all.

Get to know the writer:

1. What is your screenplay about?
It’s about 116 pages! Sorry, I just had to get one “Dad Joke” in, even though I’m NOT a Dad (that I know of). “The Mortality Game’ is in essence a story of life as seen through the lens of impending death. It’s about how we as humans face the “final act” of the stage play of our lives. In the case of my three headed lead: Schubert, Halada and Tugger face it in their own differing, yet quirky ways. Ultimately deciding to take a final road trip across the country while playing a game where they do dangerous things to challenge and defy death, since they have nothing to lose.

2. What genres does your screenplay fall under?
Character Driven Dramedy for the most part, as it has elements of Comedy and Drama, with a bit of Coming of Age mixed in for good measure.

3. Why should this screenplay be made into a movie?
Because the characters are as diverse in age and attitude as they are strong in development and memorability. Because the story, about how we face death is an important one to tell, since that is a situation that none of us can avoid. Because it explores letting go as well as fighting back, finding the joy in the dreaded, and allowing yourself to feel what you feel facing the end, whether it’s understandable or not, expected or not, appropriate or not.

4. How would you describe this script in two words?
Fun Profundity.

5. What movie have you seen the most times in your life?
As an old Trekkie from way back, amazingly enough: “Galaxy Quest” the idea of this team of sci-fi actors thrust into a “real life” intergalactic war is just too deliciously fun to not always stop to watch it on TV no matter what part the film is at when you click to it. And because I’ve done that often with this film, that’s why I think it’s the film I’ve watched the most.

6. How long have you been working on this screenplay?
I finished the first draft of this screenplay (only the second screenplay I had written to that point) in November of 2011. Since then it has gone through many revisions and rewrites, to where it has evolved into the screenplay it is now.

7. How many stories have you written?
That would be hard to estimate, as you said stories, so, including stage plays (I started off my writing life as a playwright back in 1997), screenplays (both full length and short), TV Pilots (30 and 60 minute types), short stories, and most recently a novel… I’d say I’m up near the 100 range.

8. What motivated you to write this screenplay?
I thought of something we all must face, and how the real variation of our souls is in how we face it. I thought: what is more universal than the concept of death, and how I, as a writer, can turn that concept on its ear and make it less scary, depressing and sad and more of a triumph of the spirit.

9. What obstacles did you face to finish this screenplay?
The idea of letting a main character actually face death while having the others face survival. In every character driven dramedy you have to balance a satisfying ending for the audience with the right arc and culmination of each character. And here, since I had fallen deeply in love with each member of my protagonist triumvirate, it was hard to decide exactly how to end it.

10. Apart from writing, what else are you passionate about?
Acting, filmmaking, and discovering little known gems in the Indie films out there that make you feel, but mostly make you think.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I have entered “The Mortality Game” in a great many film contests and festivals over the years, and it has won upwards of 50 Awards over that time. Yours was one I had won at before (with a TV Pilot: “Psi-Com 5” years ago), but hadn’t entered lately, so I figured I’d take a chance to see how one of my favorite full length screenplays would do up against what I’m sure was a very strong field of excellent writers and concepts. As for the initial feedback, I found a couple of the ideas most useful, and stimulating insofar as possible tweaks to the script goes. Although one, turning my 12 year old character of Tugger into an older teen (like 15-ish), I’ve heard before and have rejected before due to the idea that I wanted to present three characters at different intervals in the their lives, and the idea of Tugger, a kid not yet having had a real chance at life, was very necessary to me. Also with Halada being a 19 year old, having Tugger as anything but a child seemed redundant to me.

Sci-Fi/Political/Action – A popular President’s re-election campaign is beset by a relentless, brutal Assassin with whom he shares a dark, shocking history.

Get to know the writer:

1. What is your screenplay about?

The fundamental story of Justice and the Machine is about one of the most popular presidents in US History, William B. Justice, becoming the target of a brutal assassin during his run for re-election. Calling himself “the Machine”, the assassin unpredictably succeeds in killing the President’s innermost cabinet. His loyal wife gets kidnapped by the Machine, and he soon reveals that he has a secret history with her husband that goes beyond anything she understood to be reality.

Much to her disbelief, she comes to accept the truth that her husband, the President of the United States, is an alien from another planet with murderous intentions to conquer the planet. The Machine is, in fact, his sworn enemy, and whenever they meet, they are obligated to duel to the death.

So, on its surface, there’s a lot of fun action and sci-fi sort of genre bending elements, but at its core is a story of deception and betrayal and the discovery that completely changes one woman’s world view.

2. What genres does your screenplay fall under?

I used to enjoy calling it: My Sci-Fi/Political/Action/Thriller – so, depending on which page you turn, it’s one or more of those.

3. Why should this screenplay be made into a movie?

Are you freaking kidding me!? This is a franchise starter baby, come on! I’ve got the sequel and a follow up if they wanna go for three – I know how to meet a deadline, let’s write up that deal!

4. How would you describe this script in two words?

Crazy Politics

5. What movie have you seen the most times in your life?

Probably LotR: Fellowship, because I would put it on at work in the evenings to have something running on the monitors. But if you want to talk about movies I watched, scrutinized, analyzed, it would have to be the first Star Wars or Team America. I drove a girlfriend of mine nuts with Team America being on a loop, but I was fascinated with how well constructed the whole thing was – truly brilliant. It’ll never happen again.

6. How long have you been working on this screenplay?

From initial concept to this draft was about three years of writing and revisions spread out over maybe five years in total. I find it helps to work on multiple projects simultaneously so I don’t get too buried in one project & can come back to things often with adjusted perspectives.

7. How many stories have you written?

Lots. From little stories and comic books as a young boy through most of high school, where I also wrote wonderfully terrible poetry, up to my first screenplay in college. Also terrible. But I learned a lot and it became my first feature movie: Maxwell’s Frontline. I have a 6 feature screenplays available for production and about as many projects in various stages of development ready for presentation/consideration.

8. What motivated you to write this screenplay?

I was interested in the idea of blending different conspiracy theories which basically came down to the question: if there were aliens, why would they bother to negotiate when they could just take over? And if they did take over, how would they do that? And then I thought of a more proactive style Manchurian candidate kind of approach, but I love action and had to have some solid stage combat and explosions in there as well.

9. What obstacles did you face to finish this screenplay?

I genuinely thought my first draft was good. I thought I was really on to something and it was clear how cool this whole thing would be – obvious to anybody who made it through the introduction. So few made it through the introduction. But one man, bless him, one man decided to plow through that murdered forest, using his fury to fuel the journey. When he was finished, he had eviscerated nearly every paragraph on every page – the dialogue, the structure, the plot reveals – all trash.

And thank god I had someone to kick my legs out from under me and rub my nose in my own pretenses long before I dared show my work to anybody that might employ me. It reshaped my entire approach to screenwriting and now I’m winning awards. Funny thing is, I don’t think he ever read the final draft.

10. Apart from writing, what else are you passionate about?

I love everything about making movies. I trained on both sides of the camera and now I try to scrounge for work wherever I can find it.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

Well, I call Justice and the Machine my Sci-Fi/Political/Action/Thriller, and your fest is called: Action/Fantasy/Sci-Fi/Thriller Festival – I thought I had a pretty good shot at it. I was pleasantly surprised & delighted by the feedback, and have been eagerly awaiting the update. Thank you for the detailed coverage, I was glad to see someone had actually read my work & enjoyed it.

1. What is your screenplay about?
HUMDRUM is an exploration of complex family dynamics, particularly the strained relationships between Gloria and her daughters Esther and Lily. On the surface, the film is about Gloria, a widow who suffers from tinnitus. As Gloria’s tinnitus worsens, her daughters’ lives start to fall apart. While Lily keeps her distance, losing herself in suburban motherhood and marital woes, Esther bears the weight of their mother’s deteriorating condition, while also coming to grips with her own desires and struggles. Desperate for relief from Gloria’s relentless criticism and manipulation, Lily and Esther turn to an experimental treatment that promises salvation. But as Gloria’s behaviour becomes more disturbing post-treatment, the lines between care and control, reality and delusion, start to blur.

2. What genres does your screenplay fall under?
HUMDRUM falls under Psychological Horror, Body horror and Family Drama genres.

3. Why should this screenplay be made into a movie?
HUMDRUM’s exploration of psychological horror rooted in familial trauma feels especially relevant in today’s genre climate, where audiences increasingly seek horror that provides both visceral scares and emotional depth. I haven’t seen tinnitus used as a catalyst in this way before in a film; this excites me, as it offers a unique perspective on the genre. The film’s focus on women’s experiences also speaks directly to contemporary conversations about women, mental health, and family dynamics, which I am passionate about showcasing in a film.

4. How would you describe this script in two words?
HAUNTING and VISCERAL.

5. What movie have you seen the most times in your life?
Wow, I had to think this one through. I would say either Dirty Dancing or The Breakfast Club.

6. How long have you been working on this screenplay?
It’s been about 1 year. I wrote the first draft in August 2024.

7. How many stories have you written?
I’ve written 4 short films, and HUMDRUM is my first feature. Before that, I wrote several short stories (back in my early teens).

8. What motivated you to write this screenplay?
I was motivated to write HUMDRUM because of my personal experience watching my mother struggle with tinnitus that worsened significantly after my father’s death. Witnessing how grief can transform into physical torment compelled me to explore this story. I was also motivated by the possibility that audiences might recognize their own struggles with aging parents, family guilt, or the search for meaning during a crisis, and that the story could spark meaningful conversations about grief, faith, coping, generational trauma, and how we care for one another.

9. What obstacles did you face to finish this screenplay?
Is it ever really finished? I’m still working on a draft! So I guess I would say, knowing when to leave it be, to truly accept that it’s a completed piece of work, is the biggest obstacle.

10. Apart from writing, what else are you passionate about?
The ultimate goal for me is to direct feature films. I’ve directed a few short films, but I really want to get on more film sets as a second AD, get my feet wet, pay my dues, and possibly shadow a director. Watching movies is my ultimate passion. I could do that every day – and almost do!

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I loved that the festival was geared toward female talent and female stories. I was also very intrigued by the idea of having a scene from my script performed–that’s such a great opportunity for new writers to hear their work out loud, read by professionals.