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I got it! I'll check it out.

Great! Send it my way. Thanks.

Would you mind sharing the script you're talking about? I'm curious. What I'm trying to include isn't something out of left field, or something completely random. It might seem like a random bandit attack in the beginning, but toward the end the audience will realize these attackers were trying...

Thanks for the advice. This is my first feature (usually do shorts), so "dragging" hasn't been an issue for me.

Thanks and yes, it's just about done. 79 pages before I put in the sub-plot. I have a start and finish, but I'm like 2/3 of the way through a polish. There was a 12 month period where I didn't touch this, so my writing has progressed since then. During the polish, I'm whittling down action lines...

I've already done a basic outline of the sub-plot so yes, I think I can make it work. I'll cold-open with some sort of altercation in the town between the Sheriff and some (then) unnamed bandits. Then cut to the main plot and the two US Marshals. In the second act, these bandits will show up...

I guess that's kind of the point here. The Sheriff isn't the main character, but a very, very close second. He comes off harsh, but smart/witty. Think of Little Bill from Unforgiven. He's a "understandable cunt" given the world he lives in and the people he deals with. The accusation of the...

Yea, I know what you mean. I guess yea it is directly related. For some context, I should tell you this is a story of redemption, and how no matter how you think you've redeemed yourself, you're still responsible for your prior actions. The two main characters are this sheriff, and the older of...

Sometimes, especially during the second act, movies can drag. A good way to remedy this is to introduce a "B" story, or a "sub-plot." I know they're essentially the same thing. Question is, does it HAVE to be connected to the main plot? My thinking is that what if this sub-plot serves as a way...

True, look at In Bruges. Everyone was a cunt in that one and all likable in different ways.

Finally finished with the first act, which is 32 pages. I might trim a little but who knows. The story has changed since I last shared. Well, shifted. After having to make an unplanned stop in a small town during a prisoner transfer, two marshals get thrown into the middle of a battle...

A likable cunt is probably the best type of villain you can write.

I didn't share the script in question, but I probably should have. in each of the scenes that I've written, it's obvious to see who controls the scene, for lack of a better word. https://drive.google.com/open?id=1blGxIAHFEdRxiMCKqL0Do4h4-wZ0jml4 It's a home invasion-esque Thanksgiving themed...

Sorry, that was a half-thought thought I tired to express. I mean you shouldn't describe a character's feeling in an action line UNLESS YOU CAN FILM IT. So if I say something like "Bob looks at the house, he knows he'll never afford anything like it, but still admires his surroundings." How...

Writing emotion in an action line but NOT showing that emotion through dialogue or physical action is wrong, in every way.

Thank you, that's my way of thinking. I know there are writers who tend to accentuate their action lines with flowery details, but it isn't a necessity.

I've recently written a chunk of something and two separate comments suggested that I should be writing a scene from the POV of a specific character. I'm a little new to this, and maybe it's the phrasing, but I'm a little confused. I might be looking too much into this, but wouldn't that be a...

Thanks. Yea, I got a little wordy and I need to cut it down.

Because making the father fail at rescuing them helps his arc. Just after this, the other main character finds Frank and rescues him. Frank immediately runs back to the car to see his zombie kids. From there it flashes forward to day 100 which is present day.

Right, and took place in Amish country after that.