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But cops are one thing - as FSF was pointing out earlier, there's that whole brotherhood thing. Villains too, as they are already involved in a crime and taking that extra step to go beyond where they might have planned is plausible. Random grieving family members of victims? It doesn't...

I would be careful with the family members - you can't lump them all together and assume that everyone would have the same reaction. In fact, to a certain extent it's unbelievable for characters who, by definition, are trying to rebuild their lives to want to do something that actively tears it...

Maybe the accomplices' 'why' can feed into the protag's why. What if the protag gets the grieving families together as a sort of support group, out of guilt and wanting to help them once justice has failed them, but he soon realises that it wasn't a good idea as their individual rage and...

The 'how' and the 'why' are a lot harder to write, and probably even harder to sum up in a forum such as this - it's the sort of thing that film studies and literature classes delve into. Often it's conveyed by subtext, and subtle acting and direction. Without seeing your script in its...

Again, you're listing the 'what', instead of the 'how' and 'why' of the descent. Those are the important things, and what you need to show (not tell), and on which you need to sell the audience. One of the most important traits of a writer is empathy. You (and readers/viewers) should be...

I would guess it has to be something that he takes personally or something which poses a direct threat to those he holds dearest (as in Breaking Bad). You don't want to kill of his wife - how about his parents? His children? I still suspect that if readers are really not believing in the...

They are the 'what' rather than the 'how' or 'why' that are involved in demonstrating or illustrating motivation. How has he come to believe those things? It makes for a much more interesting story if he originally held different principles, but they were tested by events and couldn't bear the...

Maybe she ends up trying to do the same things as she wanted to escepe in her boring suburban life, just in a different, more beautiful setting? It depends on if you want to give the message that we are all ruled by our routines and our technology... quite a bleak message :)

Contacting the BBC is probably a good way to start, and you're more likely to get a response from them than FIFA.

For viewers to believe that a 'good' character is going down a dark path, they have to be able to empathise with the reasons and progression that lead them down that path. It can be one big thing that happens, or a series of little things, but they have to grind the character down. The tricky...

So are there two sets of aliens? The ones who are going to invade, and the ones sending the warning? I thought the idea was for the schizophrenic to be a conduit for messages rather than an alien him/herself? The "imminent alien invasion" sort of hints at an unfolding storyline, but only if...

That seems a strange conclusion! :)

I'm not sure what you're asking for here in terms of 'solutions'. Solutions to what? Do you just mean "what happens next?"? Did you have an idea of how your story is going to end before starting out on it?

Having a title sequence for a series is fine, but there were two issues with it. Firstly it was too long, and secondly it turned its back on convention by not having a cold open to draw viewers into an episode. While it's true that HBO dramas don't generally have a cold open AND have a long...

I quite enjoyed it - it was very stylish and, I guess, stylised. Nothing particularly original in there, but it was edited and put together nicely, with decent music (strange popping sounds at some points though?) An intriguing first episode and I would maybe tune in for more on the basis of...

I have a friend who's campaigning for a particular miscarriage of justice to be brought to light, and wants to make a documentary about his progress. Though largely brushed under the carpet these days, it is historically quite a major case, and there's a chance he could ruffle quite a few...

OK, I think I'm entering the twilight zone now (possibly the same one this script is set in, where criminals have a reasonable expectation of privacy to break the law wherever they are), so I'm going to step away from this thread...

One other thing: who has called in the two-oh-seven (I had to look it up). Who is reporting a kidnapping when Sheila is in her own property? And if she has been moved from one of her houses to another, then why? If it's just a coincidence that there happens to be a despatch call for a...

He doesn't need probable cause to enter that lodge (or more realistically, it will never impact on his investigation). And there really does need to be some reason why he goes from filling up his car to seeing a man outside a lodge and assuming a crime is being committed. I've read the five...

So the gang is filming it for an entirely different reason than having something over Manning? This scene is confusing in the extreme! I looked at the LTK video. It's a very simple scene which immediately establishes two characters and the dynamics among them. There is no comparison to your...