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 <p style="text-align: center;">&ldquo;What the hell are you?&rdquo;<br /> &ndash; Dutch (Arnold Schwarzenegger),<em> Predator</em></p>
 <p>What kind of story are you telling? What is your screenplay&rsquo;s film genre? These questions can be hard &ndash; a lot harder than many screenwriters think. If you don&rsquo;t know how to decide on your screenplay&rsquo;s film genre, don&rsquo;t worry, this post is here to help.</p>
 <p>In this post you will get:</p>
 <ul>
 <li>3 specific primary reasons why film genre is important</li>
 <li>2 main approaches to achieving your genre</li>
 <li>a list of the emotions each genre evokes</li>
 <li>some commonly misunderstood genres</li>
 <li>the difference between main genres and subgenres</li>
 <li>6 questions to help you figure out your film genre</li>
 </ul>
 <h2>WHY FILM GENRE IS IMPORTANT</h2>
 <p>When asked about their screenplay&rsquo;s film genre, it&rsquo;s surprising how many writers do not know how to clearly express it. Many writers start their answer by saying: &rdquo;Well, it&rsquo;s kind of a&hellip;&rdquo; and then listing a combination of different words, some of which are genres and some that aren&rsquo;t. &ldquo;Well, it&rsquo;s kind of a&hellip;&rdquo; is a phrase that immediately tells the listener that you&rsquo;re not completely clear on what kind of story your screenplay is. You&rsquo;re not clear on what you&rsquo;re selling your audience. Ultimately, you&rsquo;re not clear on what you&rsquo;re writing!</p>
 <p>In film and television, genres are important because they create expectations. When the audience goes to buy a ticket to your movie or sits down to watch your tv show, they&rsquo;re opting for a specific experience. Think about it &ndash; when someone asks you if you want to see a movie, one of the first questions you will ask is: &rdquo;What kind of movie?&rdquo; You are asking about the film genre.</p>
 <h3>Here are 3 primary reasons why film genre is important:</h3>
 <h4>Knowing the film genre &ldquo;primes the pump&rdquo;</h4>
 <p>For whatever reason, our brains are wired to better receive a story if we know what kind of story it is in advance. If we are expecting a comedy we subconsciously prepare ourselves to laugh. If we are expecting a horror film we subconsciously prepare ourselves to be scared. This heightens the experience of the story for us and basically puts us in the mood for the story.</p>
 <h4>Not knowing the film genre can be confusing</h4>
 <p><img class="alignnone wp-image-451 size-full" title="Two young women sitting on a sofa watching television" src="https://d36v1eselsqlxb.cloudfront.net/images/two-young-women-sitting-sofa-watching-television.jpg" /></p>
 <p>Without understanding what kind of story we are seeing, the audience will feel a subconscious questioning of what they are supposed to be watching. &ldquo;How am I supposed to react?&rdquo; is one of the most common confusions an audience will feel if they don&rsquo;t know the genre.</p>
 <h4>Disappointment when a different genre is delivered</h4>
 <p>If we are then given a different type of story from the one that&rsquo;s promised, we are either confused or let down &ndash; we expected one experience and got another.</p>
 <p>Example: How many times have you seen a comedic trailer for a movie, but when you went it was much more serious of a drama and you were subsequently let down?</p>
 <h2>GENRES AND OUR OWN SCREENPLAYS</h2>
 <p>So how do we know what film genre to choose for our screenplays? Another question that we can ask: do we even choose the genre or are we trying to identify one based on our material?</p>
 <p>Overall there are two main ways of figuring out the genre for your screenplay:</p>
 <ul>
 <li>Decide the genre early and write material to fulfill it.</li>
 <li>Explore and write ideas and discover the genre along the way.</li>
 </ul>
 <p>Either approach is completely valid. It may depend on the writer and their own process, or it can depend on the specific screenplay being written. The important thing is that at some point the writer needs to be able to clearly state what the genre of their screenplay is.</p>
 <h3>How do I know which film genre is the right one for my screenplay?</h3>
 <p>The first step is to understand the difference between film genres and what each one entails. Basically, each film genre creates its own emotion and/or set of expectations in the audience&rsquo;s mind. Knowing the differences in the emotions that the audience expects is a good way of thinking about it and choosing or identifying what your film&rsquo;s genre is.</p>
 <h4>Basic emotions each genre creates</h4>
 <p><img class="alignnone wp-image-452 size-full" title="Young friends watching film" src="https://d36v1eselsqlxb.cloudfront.net/images/young-friends-watching-film-2.jpg" /></p>
 <p>Genres are complex and each can have a variety of emotional impact on audiences, but at the risk of oversimplification, each genre can be thought of in broad terms that describe the emotion the audience will feel while watching that genre.</p>
 <p>Here is a list of the main film genres and the emotions each one creates:</p>
 <p><strong>GENRE </strong>&ndash; EMOTION</p>
 <ul>
 <li><strong>Drama</strong> &ndash; serious feelings; usually being &ldquo;moved&rdquo; in some way</li>
 <li><strong>Comedy</strong> &ndash; laughter, lightness, and release of tension</li>
 <li><strong>Suspense</strong> &ndash; a tension that can be low-energy and a desire to see how story elements play out</li>
 <li><strong>Thriller</strong> &ndash; a tension that is high-energy and makes the heart beat faster</li>
 <li><strong>Horror</strong> &ndash; fear, revulsion, disgust</li>
 <li><strong>Action</strong> &ndash; attention-grabbing, larger-than-life moments that engage the flight-or-fight response</li>
 <li><strong>Adventure</strong> &ndash; ideas of new places or experiences that are exciting</li>
 <li><strong>Musical</strong> &ndash; a lightness that comes from hearing music</li>
 <li><strong>Adult</strong>&ndash; heavy sexual eroticism</li>
 <li><strong>Tragedy</strong> &ndash; sad or down feelings that usually come from the concept of loss</li>
 <li><strong>Sci-fi</strong> &ndash; intellectual engagement through ideas that could be theoretically possible through science</li>
 <li><strong>Fantasy</strong> &ndash; stirring of the imagination through not-of-this-world concepts</li>
 <li><strong>Documentary</strong> &ndash; something that makes us evaluate our real world or experience and the human condition</li>
 <li><strong>Mystery</strong> &ndash; piquing our curiosity and desire for knowledge or moments of revelation</li>
 <li><strong>Romance</strong> &ndash; the warm, nurturing feelings of love and desire and human connection</li>
 <li><strong>Experimental</strong> &ndash; feelings of surprise through new uses of the film medium or storytelling form</li>
 </ul>
 <p>Now that the difference among film genres is understood, then we can move on to applying them to our own material.</p>
 <h4>Some questions you can ask to help figure out your film genre:</h4>
 <p><img class="alignnone wp-image-453 size-full" title="Questions mark word with wooden cube block" src="https://d36v1eselsqlxb.cloudfront.net/images/questions-mark-word-with-wooden-cube-block-2.jpg" /></p>
 <ul>
 <li>What kind of emotions do I want to create for the audience?</li>
 <li>Are there certain ideas or tropes that I want to use that are standard to certain genres?</li>
 <li>Does my story already fall into a category or type?</li>
 </ul>
 <p>One of the difficulties when determining your film genre is how we&rsquo;ve seen stories sorted in the past. For years video rental houses, major institutions, journals, online tools, and tv stations have lumped film genres in categories that have ended up being confusing.</p>
 <p>Remember Blockbuster Video&rsquo;s shelves and how they were categorized? They would always lump sci-fi and fantasy films together. But these are two completely different genres with different expectations, and writers don&rsquo;t often understand the difference because they repeatedly saw these two genres listed together. Same thing with the genres suspense and thriller.</p>
 <h4>Blended Genres</h4>
 <p>Blended genre screenplays have two genres paired together that carry relatively equal weight in their entertainment value of the material. The three most common pairings of blended genre are:</p>
 <ul>
 <li>Romantic Comedy &mdash; we laugh as often as we feel a tug on our heart.</li>
 <li>Action Adventure &ndash; not only do we feel the excitement of a new or unfamiliar setting (adventure), we also get wowed by larger than life moments of physicality (action).</li>
 <li>Horror Comedy &ndash; fear or disgust is paired with laughter in equal amounts.</li>
 </ul>
 <p>The trick of blended genre screenplays is to be sure that you&rsquo;re delivering on both genres fully. Otherwise, you most likely have a screenplay that has a single main genre with another genre as a smaller part of the story.</p>
 <h4>Commonly misunderstood genres:</h4>
 <p>Some genres are often misunderstood as being one thing when they are actually another. This is a function of writers not learning more about what film genres are and what they are not.</p>
 <p>The most commonly misinterpreted film genres are:</p>
 <ul>
 <li>Experimental &ndash; This does not mean a story that has an experiment in it, it is a completely different genre that does something new with the craft of screenwriting. Many people writing a drama or thriller with an experiment as part of the story misidentify their screenplay as an experimental genre.</li>
 <li>Adult &ndash; This does not mean story about adults, this means the film that has explicit sexual content. Again, some dramas are misidentified as &ldquo;adult&rdquo; just because there are adults in them.</li>
 <li>Mystery &ndash; A mystery genre requires that the story withhold key information from the audience and pique their curiosity. If the story does not revolve around a central question that remains unanswered until the end, it is probably not a mystery genre screenplay.</li>
 </ul>
 <p>And while we&rsquo;re on the topic, here is one subgenre that&rsquo;s often misidentified:</p>
 <ul>
 <li>Family &ndash; Not a story about a family, this is a film that the whole family can watch. Many dramas about family issues are misidentified as having family as a subgenre. Always ask the question: &ldquo;can children watch this?&rdquo; If not, it&rsquo;s not a family subgenre story.</li>
 </ul>
 <h4>Two genres that can have a range of different emotions or experiences for the audience</h4>
 <p><img class="alignnone wp-image-454 size-full" title="Gold theater mask" src="https://d36v1eselsqlxb.cloudfront.net/images/gold-theater-mask.jpg" /></p>
 <p>Both dramas and comedies share an interesting quality &ndash; they can have one of many effects on an audience, depending on the exact nature of the story being told. In other words, there are different kinds of dramas and different kinds of comedies.</p>
 <p>Check out these lists of types of dramas and comedies:</p>
 <p><strong>Dramas:</strong></p>
 <ul>
 <li>inspirational drama</li>
 <li>heartwarming drama</li>
 <li>bleak drama</li>
 <li>light drama</li>
 <li>instructional drama</li>
 <li>heavy drama</li>
 </ul>
 <p><strong>Comedies:</strong></p>
 <ul>
 <li>light comedy</li>
 <li>edgy comedy</li>
 <li>broad comedy</li>
 <li>intellectual comedy</li>
 <li>dark comedy</li>
 <li>tongue-in-cheek comedy</li>
 <li>quirky comedy</li>
 </ul>
 <p>Note that the words used above are words that evoke a feeling or emotion. These words are subjective, and therefore speak to the entertainment experience that the audience will feel when watching these types of stories. <strong>These words are not subgenres</strong>, but they do show how genres like drama and comedy can have a wide range of impact on the audience, depending on what kind of story is being told.</p>
 <h3>What is the difference between main genre and subgenre?</h3>
 <p>Confusing, isn&rsquo;t it? We are constantly exposed to words that are meant to describe the tv shows and films that we watch, and they are often used interchangeably or incorrectly.</p>
 <p>The simple answer is this:<br /> <strong>Main genres create an emotional response as well as potential expectations of ideas.</strong> Subgenres generally create ideas but not emotions.</p>
 <p>For example, &ldquo;comedy&rdquo; is a main genre and lets us know we will laugh. But &ldquo;futuristic&rdquo; does not tell us what we will feel &ndash; instead it clues us in that some element(s) of the story will be about or involve the future.</p>
 <p>Here is a list of subgenres (which will get their own blog post for further explanation). Note they are different from main genres:</p>
 <table style="width: 100%;">
 <tbody>
 <tr>
 <td style="width: 55%;">biblical</td>
 <td style="width: 45%;">biopic</td>
 </tr>
 <tr>
 <td>blaxploitation</td>
 <td>buddy</td>
 </tr>
 <tr>
 <td>chase</td>
 <td>college</td>
 </tr>
 <tr>
 <td>concert</td>
 <td>counterculture</td>
 </tr>
 <tr>
 <td>courtroom</td>
 <td>crime</td>
 </tr>
 <tr>
 <td>deconstructionist</td>
 <td>disaster</td>
 </tr>
 <tr>
 <td>docudrama</td>
 <td>escape</td>
 </tr>
 <tr>
 <td>epic</td>
 <td>conspiracy</td>
 </tr>
 <tr>
 <td>erotic</td>
 <td>fairy tale</td>
 </tr>
 <tr>
 <td>family</td>
 <td>farce</td>
 </tr>
 <tr>
 <td>film noir</td>
 <td>futuristic</td>
 </tr>
 <tr>
 <td>found footage</td>
 <td>gangster</td>
 </tr>
 <tr>
 <td>gross-out</td>
 <td>heist/caper film</td>
 </tr>
 <tr>
 <td>high school</td>
 <td>historical</td>
 </tr>
 <tr>
 <td>holiday (any)</td>
 <td>martial arts</td>
 </tr>
 <tr>
 <td>military</td>
 <td>medieval</td>
 </tr>
 <tr>
 <td>mockumentary</td>
 <td>modern</td>
 </tr>
 <tr>
 <td>parody</td>
 <td>post-apocalyptic</td>
 </tr>
 <tr>
 <td>period</td>
 <td>investigative reporting</td>
 </tr>
 <tr>
 <td>political</td>
 <td>pre-historic</td>
 </tr>
 <tr>
 <td>prison</td>
 <td>psychological</td>
 </tr>
 <tr>
 <td>religious</td>
 <td>rockumentary</td>
 </tr>
 <tr>
 <td>romp</td>
 <td>satire</td>
 </tr>
 <tr>
 <td>sexploitation</td>
 <td>silent</td>
 </tr>
 <tr>
 <td>slapstick</td>
 <td>slasher</td>
 </tr>
 <tr>
 <td>social commentary</td>
 <td>sports</td>
 </tr>
 <tr>
 <td>spy</td>
 <td>stoner</td>
 </tr>
 <tr>
 <td>summer camp</td>
 <td>superhero</td>
 </tr>
 <tr>
 <td>supernatural</td>
 <td>surf</td>
 </tr>
 <tr>
 <td>survival</td>
 <td>suspensespoof</td>
 </tr>
 <tr>
 <td>swashbuckler</td>
 <td>tearjerker</td>
 </tr>
 <tr>
 <td>techno</td>
 <td>teen film</td>
 </tr>
 <tr>
 <td>urban</td>
 <td>war</td>
 </tr>
 </tbody>
 </table>
 <p>&nbsp;</p>
 <p>Also note that you can take each of these words and pair it with different main genres. Example: the subgenre &ldquo;war&rdquo; can be paired with other genres &ndash; war drama; war comedy; war romance.</p>
 <p><strong>So how do subgenres work?</strong></p>
 <p>Subgenre classifications give the viewer an idea of the kinds of moments they will expect to see, but not creating an idea of a specific emotion.</p>
 <p>For example, if I say I&rsquo;m taking you to a comedy you can expect how you will react physically &ndash; you will laugh or be amused and smile. But If I say I am taking you to a crime movie, that doesn&rsquo;t mean anything in terms of how you will feel. It does create ideas of things you can expect to see &ndash; criminals, wrongdoings, weapons, theft, etc.</p>
 <p>But in terms of feelings, it doesn&rsquo;t mean anything off the bat. <strong>It just so happens that most crime subgenres are paired up with the main film genre &ldquo;drama,&rdquo; so you will probably think of crime stories as being serious in some way</strong>. But there have also been plenty of crime comedies.</p>
 <p>Same thing if I say I&rsquo;m going to take you to a sports movie &ndash; does not create an emotional response, but you can expect to see a sport or moments relating to sports happening on screen. That&rsquo;s why &ldquo;sports&rdquo; is a subgenre and not a main genre.</p>
 <p><strong>The general rule of thumb when trying to figure out if the word you were thinking of is a main film genre or subgenre, ask yourself this question:</strong></p>
 <p><strong>Can the word be easily paired up with other genres?</strong></p>
 <p>If so, it&rsquo;s probably a subgenre, not a main genre.</p>
 <p><strong>What if my movie has two main genres as the primary sources of entertainment?</strong></p>
 <p>Do you have a sci-fi thriller? Do you have a dramatic comedy? Or a comedic drama? These can be difficult questions to answer but it is vital to understand which genre will be the prime genre of your screenplay, and which genre is the supporting (or lesser of the two).</p>
 <p>A few questions to ask with the primary genre of your film will be:</p>
 <ul>
 <li>Overall, scene-to-scene, what is the entertainment approach and/or the intended emotional impact on the audience?
 <ul>
 <li>Generally, your material will gravitate towards one genre over another, unless you are truly confused about the material and write different genres in different scenes and continually pull the viewer back-and-forth.</li>
 </ul>
 </li>
 <li>What emotion do you want to be the last moment of the screenplay or storyline?
 <ul>
 <li>What emotion do you want the audience to have when they walk out of the theater or stop watching the episode? The last moment can often indicate what a screenplay is meant to be &ndash; does it end on a serious note, a comedic note, a horror moment?</li>
 </ul>
 </li>
 </ul>
 <p>In this post we went over why film genre is important and ways to help you with yours.</p>
 <p>While it can be difficult to understand film genres and their nuances, it&rsquo;s important to learn more about them so that you can effectively give the audience the kind of experience(s) that they are asking for.</p>
 <p>But now that you better understand film genre and how to approach it in your screenplays, go and take your audience on a ride&hellip; no matter what kind of ride it is.</p>
 <p>Have fun! (Or a scare, or a good cry, or&hellip;)</p>
 </div>
 </div>

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<p>Sandy Climan is a Golden Globe and British Academy Award winning producer of Martin Scorsese&rsquo;s The Aviator. He previously served as part of the senior management at CAA for 12 years, representing talent including Robert De Niro, Robert Redford, Kevin Costner, Danny DeVito, and director Michael Mann. He also founded CAA&rsquo;s corporate practice, working with global companies including Sony Corporation on its acquisition of Columbia Pictures, Matsushita Electric on its acquisition of MCA/Universal, Credit Lyonnais on its restructuring of MGM, Coca-Cola, NYNEX, Bell Atlantic and other Fortune 500 Companies.</p>
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Sandy Climan - Strategic Advisor

<p>Mr. Reed co-founded and serves as the publisher of&nbsp;<strong>Brick Moon Fiction</strong>, a media company that produces original science fiction short stories and audio dramas by working with writers from diverse backgrounds to explore the impact of technology and trends on human society.&nbsp; Building on his experiences at The Walt Disney Company and Brick Moon Fiction, Mr. Reed is in the process of launching a new company,&nbsp;<strong>KidPod Theater</strong>, that focuses on bringing high-quality family entertainment to podcasting.</p>
<p>Mr. Reed received degrees in Philosophy and Cinema-Television Production from the University of Southern California and lives in Los Angeles with his wife and two children</p>

Jason Reed

<p>Nancy Peterson is the Founder &amp; CEO of HomeStars, a company she founded in 2006. Today, HomeStars is Canada&rsquo;s #1 home improvement marketplace that connects millions of homeowners and home service professionals each year. In 2017 HomeStars was acquired by ANGI Homeservices. Nancy has been recognized on two prestigious lists for Canadian business over the past five consecutive years: The Profit 500 list of Canada&rsquo;s fastest growing companies and the W100 list of Canada&rsquo;s top female entrepreneurs.</p>
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Nancy Peterson

<p>Richard Kletter taught screenwriting to grad students at USC&rsquo;s School of Cinematic Arts for a decade.&nbsp; After graduate school in Communications Policy at Stanford and consulting work for major foundations, NGOs and corporations, he turned to Hollywood and has written, directed and/or produced nearly twenty films and TV movies, including &ldquo;Never Cry Wolf,&rdquo; and &ldquo;Odd Girl Out.&rdquo;&nbsp; He&rsquo;s worked for nearly every major studio and network.&nbsp; His work has been nominated for a Golden Globe and his short film, &ldquo;Teach 109,&rdquo; based on an idea by Isaac Asimov, won a Cine Golden Eagle and was chosen to represent the U.S. in festivals and cultural exchanges around the world.&nbsp; He has run web content and mobile software companies and co-holds two mobile software patents.&nbsp; He consults on&nbsp;story&nbsp;and character development both internationally and domestically for game and software companies, and for writers, directors and producers.&nbsp;</p>
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Richard Kletter

<p>Maysoon Zayid is an actress, comedian, writer, and disability advocate. She is a graduate of and a Guest Comedian in Residence at Arizona State University. Maysoon is the co-founder/co-executive producer of the New York Arab American Comedy Festival and The Muslim Funny Fest. She was a full-time On Air Contributor to Countdown with Keith Olbermann and is a guest writer for Vice. She has most recently appeared on CNN&rsquo;s New Day, 60 Minutes, and ABC News. Maysoon had the most viewed TED Talk of 2014 and was named 1 of 100 Women of 2015 by BBC. As a professional comedian, she has performed in top New York clubs and has toured extensively at home and abroad. Maysoon was a headliner on the Arabs Gone Wild Comedy Tour and The Muslims Are Coming Tour. She appeared alongside Adam Sandler in You Don&rsquo;t Mess with the Zohan and is a recurring character on General Hospital. Maysoon limped in New York Fashion Week and is the host of the web series, Advice You Don&rsquo;t Want to Hear. She is the author of the bestselling memoir, &ldquo;Find Another Dream&rdquo; and is the creator of the &ldquo;Book of Bay Ann&rdquo; children&rsquo;s graphic novel series.</p>
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Maysoon Zayid

Andy Wolk

<p>Julia Bacha is a Peabody award-winning filmmaker, Guggenheim Fellow, and the Creative Director at Just Vision. She started her filmmaking career in Cairo, where she wrote and edited Control Room (2004), for which she was nominated to the Writer&rsquo;s Guild of America Award. Subsequently she directed Encounter Point (2006), Budrus (2009), My Neighbourhood (2012) and Naila and the Uprising (2017). Her work has been exhibited at the Sundance, Berlin and Tribeca Film Festivals, broadcast on the BBC, HBO and Al Jazeera, and profiled in The New York Times, The Washington Post, and The Economist.</p>

Julia Bacha

<p>Mark V. Vlasic is an Executive Producer on&nbsp;<a href="http://variety.com/2017/tv/news/cbs-blood-and-treasure-1202627098/" target="_blank">a major network action-adventure scripted summer series</a>&nbsp;in pre-production. With experience that spans multiple industries connecting high-level stakeholders around the world, Mark&rsquo;s extensive background speaks for itself: an international lawyer, advisor, professor, prosecutor and diplomat, Mark has worked for the White House, the Pentagon, the World Bank, the United Nations, and a large international law firm.</p>
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Sir Mark V. Vlasic, KHS

Luis Saffie

<p>Dave Hanley founded Banyan Branch, a leading social media marketing agency, which was acquired by Deloitte Digital. Prior to Banyan Branch, Dave was VP of Marketing at Shelfari, the social network for book readers, which he helped grow to more than 2 million members in 18 months, before it was acquired by Amazon. He also served as Director of Product Management at RealNetworks, where he oversaw the launches of&nbsp;<a href="http://www.rhapsody.com/" target="_blank">Rhapsody.com</a>&nbsp;and Rhapsody&rsquo;s Web services program.</p>
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Dave Hanley

Daliah Vakili

اساسيات كتابة السيناريو - ٢

W24 Screenwriting Intro - 2 

Jason Bash is an Emmy Award and Peabody Award-winning writer, director, and producer. At age 12 his play was in The Young Playwrights Festival in New York, was produced at the Public Theater, and then made into a primetime movie which subsequently won his awards. Jason worked for companies such as The Dramatists Guild, VH1, and MTV. He taught screenwriting for 14 years and instructed hundreds of writers on the craft of screenwriting. He also is a script doctor and consultant.

Emmy & Peabody Award Winning Screenwriter & Instructor

Group #1 (Jason Bash)

Laura Sweeney is an award-winning screenwriter, director and actress with an impressive list films that found success across the international film festival circuit. Laura has taught screenwriting for Writers Boot Camp and is a highly demanded script consultant. A graduate of Georgetown University and studied acting with the Moscow Art Theatre.

Laura Sweeney

Accomplished Filmmaker and Screenwriting Instructor

Group #2 (Laura Sweeney)

Group #3 (Jason Bash)

Group #4 (Jason Bash)

Group #5 (Jason Bash)

Essential Screenwriting Course

رعب كونكشن

روح تائهه (November 27, 2024)

روح تائهه

فيلم المغامرة رقم 1

بدون عنوان (نوفمبر 26, 2024)

من أنا؟!

طفل فقير يترك مدرسة

النداء الاخير

لا ينتمي

اسطورة في جبال العلا

Justice For My Brother (November 10, 2024)

Justice For My Brother

بدون عنوان (نوفمبر 2, 2024)

Getting lost in school

The journey to get there

طبل

فيلم قصير في أسلوب " الواقع المرير"

نصف وجه

مسابقة سيناريو الفيلم الدرامي القصير

ضجيج

انت ذاكرتي وذكرياتي

مسابقة الفيلم الروائي

الوجه الخفي

حلقة تجريبية لمسلسل تلفزيوني (30 دقيقة)

لعنة هايا

اكتب لممثلك المفضل

مسافر

الأنبعاث و الفوضى

حذاء الباتشينو (محمود حميدة)

جزيرة فاروس (سيد رجب)

نواره(يحيي الفخراني)

SADAF , in her shoes

Ibrahim

حلقة تجريبية لمسلسل تلفزيوني (60 دقيقة)

سيد الصمت - The Silent Sir

كلانديستين - Clandestine

فيلم الثانويه العامه

النتيجة

لصحوة الأخيرة

عين التنين

نمل خارج المنزل ant out home

الطرف الآخر (أغسطس ١٩، ٢٠٢٤)

احترس و لا تخبر احد !

Risk 2

بدون عنوان (سبتمبر 24, 2024)

الداهية

رتيبة

اسرار المقهى

"بين الألم والأمل :رحلة رزان في مواجهة الإدمان" (سبتمبر ١٦، ٢٠٢٤)

"بين الألم والأمل :رحلة رزان في مواجهة الإدمان"

العار

كتابة سيناريو فيلم قصير

the now day.s

حلاوة البديات

النافذة (02-08-2022)

رهاب اجتماعي

لهيب في قبضه القدر

أبي فوق الشجرة (Sample)

نزهة الى الأبد (أبريل ٤، ٢٠٢٣)

حرب اهلية - بغداد (أغسطس ٢٦، ٢٠٢٢)

جلدت أمي سابقًا فجلدني فلذتي

مدام ديلمان

الاب المكافح

نفسي ابقي قطة

الفتاة ذات الرداء الأخضر

مها الصغيره

تعريفيك

مسامير ومطارق

خصلة

لاني لا اعرف عن مصر كثيرا اتمني ان يكون لدي مساعد  من مصر

꧁𝒗𝒂𝒈𝒂𝒓𝒊𝒏꧂~..لذة الانتقام.. ~

لدي ابطال كثر في السيناريو الخاص بي

Zombie king

جريمة حلم اليقظه (مارس ٢٦، ٢٠٢٤)

انا جديد في كتابة السيناريو

ساعود من جديد

بلا عنوان (سبتمبر،٢٠٢٣،٠٦ ٠٧:٣١:١٣)

ارجو المسا عدة في كتابتي او مواصلتها في وقت الحاجة لاتمامه

poker face وجه البوكر

أحتاج متعاون من ٱجل كتابة هادا إنجاز أريد متعاون يفهم حياة ومتعاون ويحب أكشن وخيال العلمي

قدرات محطمة

وانا اقوم بكتابه مخطط المشهد للقسم الثاني لا ادري ما الذي حدث لكن الموقع لا يتجاوب معي يبدو انني يجب ان اتعاون مع احد الاشخاص حتى استطيع اكمال تاليف هذا او هذه الروايه ولهذا اود فعلا ان يساعدني احد في اتمام هذه الروايه

الهاويه

فيلم واقعي يتدرج من نظره عامة وتحليل لشخصية الابطال سريعا ثم تتدرج القصه ل مستقبل كل فرد من أفراد قصتنا

هاري بوتر وحجرة الاسرار (أغسطس ٣، ٢٠٢٣)

أريد أكتب سيناريو باللغه العربية تجسيد قصه هاري بوتر

حب عبثي

أؤمن  أن المشاركة تزيد الإبداع إبداعا،  وتخلق من الأرض القاحلة حياة، قصتي التي أعمل عليها جاهزة تقريبا ينقصها بعض التدقيقات والتغيرات فحسب   لتتناسب مع فلم قصير  ويسعدني قراءتها  ومشاركتي أرائكم فيها وتزويدي بااقتراحاتكم وأفكاركم المذهلة (الإنجازات الكبيرة دائما تبدأ بفكرة)

لوريس

احتاج الى المساعده من المتعاونين

Kiffah

A want to be the must scenarist in the word who come to my country

الأضحية (يوليو ٣١، ٢٠٢٣)

أبحث عن كاتبة او كاتب يعطيني بعض الإلهام 
للعلم محتوى القصة هو عبارة عن غموض و رعب

امنيات السعادة (يوليو ٢٩، ٢٠٢٣)

ابحث عن متعاون لأنني نوعا ما مبتدئة في هذا المجال 🤍

الغطاء

بعض رؤوس الاقلام في نطاق مضمون السطر التعريفي ...

لُقًدِ ادِرَكِتْ..

ابحث عن متعاون لهذا العمل لاوصل رساله للمجتمع العربي ماذا يحفروا ويصنعوا في ابنائهم بسبب عدم الوعي الكافي في المجتمع وكيف يؤثروا عليهم في شتى مجالات حياتهم واسميته لقد ادركت وذالك لاني فعلا ادركت كم للاهل من تاثير على ابنائهم وانه يجب ان يكون لهم الوعي الكافي في تربيتهم(ماتعانيه من مشاكل نفسيه اليوم لقد صنعته طفولتك)

شقة رقم 112

سأبدأ كتابة سيناريو وعب وإثارة واريد ان اشارك أفكاري مع شخص واخد نصائح منه

الأميرة البيضاء

أريد كتابة قصة وأبحث عن متعاون لتنجح قصتي

قاتل مأجور

السلام عليكم 
احتاج الى شخص يساعدني في بناء احداث للقصة . ملاحظة القصة انكتبت بطابع غربي مليء بالاثارة

جنازة حب

ابحث عن متعاون ف الكتابة ..دى قصة حلم حياتي ...ونفسي من زمان الناس تقراها

KIN

الشقيق