Screenplays in Pitch 2026

Duffy's Cut--Based on the true story of murder on the Main Line. "In June of 1832, after a nearly three-month sail from Ireland aboard the ship John Stamp, 57 men and two women arrived in Philadelphia with hopes of finding work and beginning a new life in the United States. Just six weeks later they were savagely killed along the very stretch of the Main Line track they were hired to build. Their families back in Ireland would never learn their tragic fate or hear from them again." by Virginia Lindak OCTOBER 28, 2020

The Black Bottom-- My screenplay, “The Black Bottom” is based on the true story of gentrification and urban renewal in Philadelphia, PA and what can best be described as controlled, governmental ethnic neighborhood elimination and intimidation in the late 1960’s. I hope the story shows how helpless and vulnerable people can be when they don’t anticipate their own fate, or appreciate the malice, vindictiveness and jealousy which surrounds them. We must all guard against, unfettered and unchecked hatred against any people, or race. When that type of circumstance is revealed and we all stand up and fight, we can champion evil and make life right again.

Linda J. Collier, writer, editor, lawyer, humanist seeking justice wherever it is needed, providing positive solutions, when requested, and info expeditiously. https://stories2btol.com/

A sci-fi drama series that's mostly about music and dance. It is set in the year 2159 in an underwater artist's colony 2000m deep in the Atlantic, built by the prophet Enos Dartarien. It is a utopian society in a dystopian future. These 6000 people are all that's left of humanity. After 120 years, they are now approaching The Great Ascent, when they will journey back up to the surface of the Earth, to begin rebuilding society. There are 3 seasons written with 10 episodes in each.

I was born in New York City. I grew up in northern Delaware. I have lived in Maine, Colorado, Montana, Georgia, and mostly The U S Virgin Islands, on St John and St Thomas. I've been writing screenplays for 25 years. I first got into it from so many friends telling me the bizarre things that had actually happened to me sounded like "something out of a movie". These were mostly incidents that occured while playing live music for a living as a solo act, in duos, trios, and bands in my early years.

My screenplay projects are: SMALLTIME - Feature Film (dark comedy): Fictional accounts of autobiographical events SPACE JUMPERS - Feature Film (high adventure Sci-Fi): Spacesuit/wingsuit allows jump from orbit, land on Earth TESLA & TWAIN - 4 Episode mini-series (Drama/comedy): The little-known story of their friendship NIGHT OF THE SILENT DRUMS - Feature Film (Sci-Fi Drama): Buddy film set to the backdrop of a historical event CHILDREN OF POSEIDON - Series (Futuristic Sci-Fi/Fantasy Drama): 3 seasons of 10 episodes each (continuing series). Set in an underwater city, with emphasis on music and dance, as the last 6000 humans rebuild civilization and evolve into the next version of us…

I study the way people actually speak. My benchmarks for this are Good Will Hunting and Silver Linings Playbook. I study the way great writers make you care about their characters. My benchmarks for this are Contact, Titanic, and Queen's Gambit. I study the way great fictional characters tell their own stories. My benchmarks for this are Forest Gump and Aliens.

Prior to my screenwriting years, I worked as a professional musician and audio engineer. I have a degree in Classical Guitar Performance and have written a 4-movement Suite and a book of 10 Etudes available in sheet music. I also play music in many other styles and genres; jazz/pop, folk, blues, and rock. I'm a singer/songwriter/composer multi-instrumentalist (guitar, harmonica) with six full-length commercially released albums. I toured the United States for 7 years with the trop-rock band: A1A.

I was an audio engineer at Real2Reel Studios in Atlanta, GA for 20 years, producing over 35 albums and specializing in analog microphone placement and gain-staging for recording acoustic instruments. My clients included Donny Henderson, Collective Soul, and KANSAS. I have also designed and installed large, permanent audio systems for restaurants, bars, casinos, and racetracks.

I've been scuba diving all of my adult life. Living in The Virgin Islands allows me to do that often. Being surrounded by the ocean and the jungle is consistantly inspiring. I live here with my girlfriend who is also my editor. I wish I had several lifetimes to absorb all the science, literature, cinema, and music that interests me and write screenplays about it.

I feel an obligation to share my gifts with the world. I had a rather privileged upbringing and although both my parents died tragically before their time, they were always very supportive of me in everything I did and in everything I wished to learn.

My screenplays are like my children, since I don't have any… The more I put into my memory, the more it expands to accommodate me. My creativity is an endless fountain that I do not take for granted. I give thanks for it every day.

"When her husband suddenly and mysteriously dies on their wedding day, Noor is haunted by Aster's apparition. A strange man, reappearing in her wake, convinces Noor to journey to the ‘Underworld’ and bring him back to life; but with a baby on the way, and the forces of fate to contend with, Noor must resist temptation to look back. An interpretation of the Orpheus myth in 2024."

Screenwriter | Filmmaker | Visual Artist Eleanor Veness is Cannes Script winner for Best Female Screenwriter, Winter 2026. Her Feature Film script, 'Aurora Sky’, has won and made Finalist in multiple international awards, including ‘Best Fantasy’ at Hollywood Indie Festival 2026. Her specialist sub-genre is magical realism. All of her stories are in synthesis within rich, encapsulating world-settings, constructed by character-driven narratives. Eleanor’s stories carry other-worldly or fantasy aspects, grounded in humanistic realism. Eleanor’s work is unconventionally told, often breaking traditional structures with a desire to innovate storytelling method and inspire imagination from gritty reality. Eleanor writes to get to the core of humanity and communicate those messages. In ‘Aurora Sky’, the central imperative to ‘not look back’ carries the weight of generational trauma and the protagonist Noor’s Arab refugee heritage. Noor must accept the traumas of her past in order to face a brighter future of stability. ‘Aurora Sky’ explores the concept of oral histories and migrational diasporas as told through commentary on refugee rights in the United Kingdom. Her portfolio demonstrates a wide range of genres and formats, including Drama, Comedy Drama, Historical, Biopic, Memoir, Horror and Thriller. Eleanor is currently adapting a 2024 novel into a feature film screenplay. She has written for feature, TV series and short, a play and another book adaption. Eleanor became 4 x award-nominated for her TV pilot/series 'Sam: A Teenage Girl' in 2020 - 2021. Eleanor also works as an artist and lives in South-West London with her husband and their cat, Pixel.

In the tumultuous era of World War II, "Proclamation 2526" explores the compelling and untold story of a group of enemy aliens – German and Japanese immigrants – whose lives become intertwined in an internment camp. As they grapple with fear, prejudice, and the loss of freedom, an unlikely alliance forms, challenging societal norms and revealing the resilience of the human spirit against the backdrop of war.

My journey as a storyteller began long before I ever wrote a screenplay.

From an early age, I was drawn to creative expression. During my school years, I began playing music with friends, but before long I found myself wanting to do more than perform songs written by other artists. I wanted to tell my own stories. That desire led me to songwriting, where for several years I collaborated with another band member—writing lyrics while he composed the music. Looking back, I realize those lyrics were my first real introduction to storytelling.

Over the years, my creative journey continued to evolve. I began writing both lyrics and music and eventually took my work into the recording studio. Later, my creativity found a new outlet in theatre, where I acted in numerous stage productions and also directed. Once again, I discovered that I was drawn not only to interpreting stories, but to creating them.

That realization eventually led me to screenwriting. Since then, I have written screenplays and a stage play, exploring stories that range from historical drama to lighter, more entertaining subjects.

When I write historical stories, research becomes an important part of my creative process. I spend countless hours studying the people, events, and circumstances behind the story because I believe authenticity gives historical drama its emotional foundation.

That approach is especially important to Proclamation 2526, a WWII-era story inspired by the experiences of German and Japanese immigrants who were detained as enemy aliens. The project has taken me deeply into the history surrounding wartime fear, prejudice, loss of freedom, and the unexpected connections that can emerge under extraordinary circumstances.

Whether I am writing a historical drama or a story with a lighter touch, my goal is the same: to create characters and stories that connect with an audience.

I feel blessed to have had the opportunity to explore my creativity through music, acting, directing, theatre, and now screenwriting. Each chapter of that journey has brought me closer to what I have always wanted to do—tell stories of my own.

The Quest to Overthrow Heaven is a dramatic retelling of the fall of man that ultimately leads to war in heaven. The story begins at the dawn of time in a fully realized universe populated by seraphim, cherubim, and countless angels – all with their own agendas and allegiances. At the center of the conflict is the cherub prince, Lucifer, who is filled with vanity and wants to be renowned as the Supreme Spirit who rules over all things in the continuum of space and time. Before long, Lucifer rebels against the Supreme Spirit and convinces a third of the angels to follow him. The fallen angels then begin an endless reign of evil enticing mankind to commit every imaginable sin. The actions of the demons also give rise to giants who terrorize humans, and monstrous beasts that destroy everything in their path. In a world of growing wickedness, Michael and half of his angels are sent to earth to watch over and protect virtuous people. But the angels soon confront legions of armed demons who slaughter them since the angels have no weapons. Only Michael and another angel manage to escape with the help of the Supreme Spirit. Satan then sets up his headquarters in hollow earth and steals Moses’ magic staff which he uses to cause havoc on the surface of earth and in outer space. After several centuries, he mobilizes all his demons and attacks heaven. Upon arriving at the outskirts, a massive battle ensues between Satan’s forces and Michael’s angels in which the outcome conclusively determines who would rule heaven forever...

Bolko Zimmer spent 21 years in the United States Army, where he reached the rank of lieutenant colonel, and 26 years as an adjunct professor. He holds a Ph.D. in Educational Human Resource Development from Texas A & M University and completed his dissertation on prison ministries. He has taught at Baylor University, Webster University, Wayland Baptist University, and Union University, and has published several articles on health-care administration and faith-based programs. Dr. Zimmer has also served as president of the board of directors for the Bexar County Detention Ministries in San Antonio, Texas. Dr. Zimmer and his family live in Humboldt, Tennessee.

JAMES SANDMAN, an African American/British S.A.S. soldier, whose father was British and his mother African American, studied at West Point. When his father died he went back to England to look after his mother where he completed his Masters at Oxford. He then joined the British Army after his mother died, and was singled out for the S.A.S.

Critically wounded in Afghanistan, James is transferred to the U.S. where the government uses him as a guinea pig for a top-secret project. Surgeons rebuild his body using Nano-Bots, which give him super human speed, strength, hearing and eyesight. The problem is, the government had run out of money while rebuilding James and now his parts are breaking down at the worst possible moments.

Reluctantly trained by the unscrupulous Lt. General Lester Silverman, James embarks on a crucial mission to gather intel about an Al-Qaeda weapons deal, all while his Swedish-designed/China-made bionic parts fail at the most inconvenient times. To repair himself, James must navigate a wild encounter with inept Indian tech support guys who prank him for their amusement. Infiltrating Al-Qaeda, he faces laugh-out-loud challenges as he strives to save allied forces from certain catastrophe.

Tagline: Fortune helps the brave.

After losing his wife and nine-year-old daughter, former professional wrestler Jeremy has withdrawn from the world. Once he was used to crowds, noise and the discipline of the ring. Now he lives an isolated life, struggling to work out how to keep going without the people he loved most.

Then he meets Mîn, an elderly Chinese widow who has her own experience of loss. Their friendship is unexpected. They are different in almost every way, but somehow they understand each other.

Mîn doesn't treat Jeremy like someone who needs fixing. She simply lets him be who he is, while slowly drawing him back into the world around him. In return, Jeremy becomes an important part of Mîn’s life too, giving her companionship at a time when she is facing some difficult decisions of her own.

One Day at a Time is an intimate, emotionally grounded drama about grief, friendship and the possibility of beginning again. It's about learning that moving forward doesn't mean forgetting the people you have lost — sometimes it simply means learning how to carry them with you.

Alana Maley-Berg is an Australian screenwriter and creator drawn to character-driven stories about grief, connection, resilience and the unexpected relationships that change us. Her writing explores the human moments behind difficult experiences, balancing emotional depth with warmth, humour and hope.

Her screenplay One Day at a Time is a quiet, intimate drama about two people brought together by loss and the unlikely friendship that helps them find a way forward. At its heart, the story explores how connection can emerge in the most unexpected places, and how healing doesn't necessarily mean leaving grief behind.

In a desperate attempt to save a relationship failing due to repressed desires, a couple tries a new designer drug called Gush. Gush is meant to release you from your inhibitions, but it releases something much darker. Convinced an intruder is in their apartment, Ollie and Raven fail to see where the real danger is coming from. Will they make it through the night?

Kyle McNamara is a Los Angeles–based writer, producer, actor, and filmmaker and the founder of Media Misfits, an independent production company focused on bold, character-driven stories. His work spans psychological thrillers, horror, comedy, and socially conscious storytelling, with an emphasis on provocative concepts and complex characters. He is currently developing and producing several feature films, including INTRUSIVE, a psychological thriller exploring love, drugs, paranoia, and the dangerous impulses we usually keep inside.

Photo by E.M. Fielding.

Logline: A closeted gay man, trapped in a rural nursing home, seizes a chance at freedom when his free-spirited estranged sister whisks him away on an unexpected journey across northern Minnesota.

Overview: “There’s no place like home,” right? Imagine being forced out of your beloved house and placed into a lonely, hostile nursing home. That’s where we meet Arthur, a closeted gay man who longs for escape. He finds it thanks to his beloved but complex sister Violet and a beautiful yellow convertible. Amidst the kaleidoscopic backdrop of a northern Minnesota autumn, Arthur and Violet carve their own path to the Judy Garland Museum, finding strength in themselves and in each other along the way as they come face-to-face with death, homophobia, abuse, and loss.

Filmmaker J.M. Sorensen grew up in northern Minnesota before moving to Los Angeles. There, she graduated with an Associate of Arts in Cinema Production at Los Angeles City College and embarked on multiple editing internships, creating videos for editors working for MTV and SAG/AFTRA. Over the years, she has created documentary content on subjects ranging from Seattle Seahawks fans to life in a remote Antarctic research station. Sorensen became a 2024 Film Fellow of the Twin Cities Film Festival and in December 2025 graduated with a Bachelor’s in Screenwriting at Metropolitan State University in St. Paul, Minnesota. In 2026 alone, her feature script, "Beyond The Yellow Brick Road," has earned multiple honors including Runner-Up in the Optimus Screenplay Competition and Quarter-Finalist for Scriptapalooza. She strives to tell stories that cast light upon the shadows of humanity, illuminating the qualities that unite and carry us through struggles both ephemeral and eternal.

Life was never easy for Sabine. Her parents were murdered while she was in the house. Years later she is attacked again and survives being raped. Her attacker returns and they are thrust into another realm where they find they have been watched.

William Murphy’s life reads like an archetypal journey — a path shaped by loss, wandering, and eventual return. Born on a date that resolves to nine, he grew up between German and Irish ancestral lines, unaware that the myths of the old world were quietly shaping his imagination. His mother’s death at seven marked the beginning of his descent, while his father’s work in desegregation modeled the moral courage of the civic warrior. Murphy’s early playwriting hinted at deeper mythic currents, and his later battles — including a decades long struggle with alcoholism — became his confrontation with the shadow. His sobriety marked the emergence of the self. At sixty, encountering the Hávamál awakened a lineage of symbols, stories, and inner knowledge he had long avoided. Today he writes and speaks from the threshold between lived experience and mythic insight, offering work rooted in transformation, ancestry, and the enduring human search for meaning.

UnChristmas in Bethlehem is a dramatic script that reimagines the traditional Nativity story, mixing Biblical events with modern sensibilities, generational dynamics, and social commentary.

The script, which has won five awards at film festivals in the United States and Europe (best twist screenplay, three best original screenplay, and best author), explores themes of justice and injustice, freedom and occupation, faith and doubt, wealth and poverty, and above all, love and hope.

As the story opens, the Innkeeper and Andrew, a Millennial couple, prepare for a busy census season. On a trip to Jerusalem, corrupt Roman soldiers ambush and kill Andrew to steal a payroll, leaving his family to navigate grief and uncertain inheritance laws. The Innkeeper, with children Micah, Agatha, and Miriam, faces challenges managing the inn and family property, primarily with support from Rabbi Jacob and Sarah.

Simon, a Gen X shepherd/orphanage manager, oversees a group of boys, including Boy #1 and Boy #2, who struggle with authority and personal loss. Their banter and mischief provide comic relief and emotional depth. In terms of personality, the boys resemble the Odd Couple.

Gen Z brothers Wise Man #1 and Wise Man #2, inspired by a mysterious star, embark on a journey from Babylon to Palestine. Their personalities echo Dell (John Candy) and Neil (Steve Martin) from Planes, Trains, and Automobiles. During their difficult quest, they manage a corrupt bureaucracy, financial challenges, logistical issues, and family expectations. They eventually present gifts to the newborn King.

Mary and Joseph, the usual main characters in this drama, are UnChristmas supporting characters. The couple arrives in Bethlehem for the census, facing suspicion, hardship, and imprisonment. Mary’s pregnancy inspires skepticism in some and hope in others. The couple quarrels frequently, at least until the turbulent events related to her pregnancy and blood purification period end.

Incidentally, the shepherds, wise men, and innkeeper are anonymous, just like they are in Matthew 2:1-12 and Luke 2:1-20, the textual basis for this period drama.

I'm a recovering lawyer and author of multiple award-winning screenplays that focus on real people overcoming real challenges. I'm very proud of the awards I've won, but I don't write scripts to collect awards for myself. I write screenplays to share stories and touch lives. My cat Chicken Broth and I live in Dallas.

LOGLINE: After being born blind, a determined young girl named BETH overcomes loss and self-doubt with the help of a compassionate teacher who teaches her to “see” the world in her own way and to shape her destiny beyond darkness.

Jason is a Las Vegas screenwriter specializing in grounded, character-driven genre stories. His work combines emotional authenticity with bold visual storytelling, creating scripts that are both intimate and cinematic. He is currently developing new feature and pilot projects. Jason was born into a middle-class family in Minnesota. He has always enjoyed telling stories. By age 2, Jason was reading entire books at a first- and second-grade level. He attended Humboldt State University and earned a Bachelor of Arts Degree in Communication, and later attended the University of New Mexico School of Medicine, earning a Certified Nuclear Medicine Technologist degree. Having worked 30 years in patient care in radiology, Jason has honed his ability to understand others' journeys through recovery from disease. Jason is a single father to an adult son whom he raised on his own. He resides in Las Vegas and still works in healthcare.

After cartel violence shatters her family in Honduras, a headstrong teenage girl leads her family north on a dangerous journey to the United States—but when cartel killers close in and Texas vigilantes capture them, her need for control might threaten her survival (and her family's) until she - after the siblings share long-buried secrets - finally sees the fears her brother carries and learns the value of sharing challenges, thus turning the tables on the cartel and the vigilantes.

I have been writing my entire life: childhood diaries, journals, book reviews, film reviews, legal briefs, and opinion pieces. The quest for social justice permeates my stories. I know what it is like to flee violence and to challenge injustice. Those experiences inspire my screenplays.

I practiced law for 27 years before spending several more years as a mediator.

I also taught writing part-time at the college and law school levels, as well as at the Maryland House of Correction.

In the early 2000s, I created award-winning short videos, but I love storytelling. I eventually shifted my focus to screenwriting while occasionally writing poetry and completing an unpublished novel based on one of my screenplays.

I have lived on both the East Coast and in the Southwest. I love road trips and traveling throughout the United States. Beyond writing, my interests include music, Spanish language study (conversationally fluent), photography, and the outdoors.

In short, I write character-driven dramas inspired by overlooked people, untold history, and the pursuit of justice. A number of these (including MIGRANTS) have been honored as the "Best Screenplay" in various film festivals (see website: lindsaywaitefreelance.com)

Crow Girl is a folk horror drama adapted from an original short story by the author. Set in 1800s Devon, it tells the story of Martha, a profoundly deaf girl, the illegitimate child of a Romany woman, who is found in a hedgerow as a baby and adopted by a farming couple, Sally and Jonah Watts. She is provided for materially but not emotionally and her main companions are the birds, particularly a crow which she rescues as a fledgling. When Martha goes to a fair, she has a sexual encounter with a pedlar which results in a pregnancy. The local priest, James Banbury, tells her adoptive parents she must leave the village and she has to move to an abandoned cottage in the woods. In order to survive, she falls into sex work with two of the local villagers and is later abused by the priest. When the baby is born the priest and villagers conspire to take it away from her and Asa, a local woman, takes care of it. Martha goes to confront the congregation in church, pointing at the men who have abused her. Anger and suspicion grows in the village as to who the child's father is and one man, Tom, is targeted by the villagers for a 'stag hunt', a Devon tradition, which results in his death. Asa asks a local fortune teller for advice and is told she must abandon the baby at a local landmark, the Witch's Stone, which is linked with stories of child sacrifice. The male villagers group together to do a 'skimmity ride' (a shaming ritual with effigies and rough music) attacking Martha but are driven away by crows, which mass around them after being summoned by Martha. The priest is killed by the crows and the fortune teller, who is Martha's mother, rescues the baby and secretly returns her to Martha. The end of the film shows Martha living peacefully with her son, now a respected local healer, and feeding her birds in the forest.

Tabitha Potts is a novelist and short story writer whose career includes script editing for BBC Television Drama. She was a Finalist in MIROnline's Folk Tale Festival, and Highly Commended in MIROnline's Booker Prize Competition judged by Ian McEwan. She won the Almasi League Flash Fiction Prize judged by Courttia Newland and had an Honourable Mention in the Alpine Fellowship Writing Prize. 'Crow Girl' is her first screenplay and is adapted from her original short story of the same name.

A brilliant but emotionally isolated thirteen-year-old girl creates a homemade time machine to visit her eleven-year-old mother in 1990 and her fifteen-year-old daughter in 2057, forcing three generations of young women to confront race, identity, friendship and family legacy through the inherited lessons of Dr. Martin Luther King Jr.

I was born the son of a musician. So, unlike some parents that steered their children away from the creative arts, mine encouraged it. As a teenager, I was involved in choreography, video editing , music production and subsequently attended and graduated from the Art Institute of Atlanta. Writing did not come naturally until much later in life after having experiences that actually give me subject matter to write about. Family Time was inspired when I realized that my Black/Hispanic daughter attending private school and her Caucasian best friend who attended public school knew more about each other's race and culture than their own. Family Time was written to be a tv show geared at my daughter's young adult demographic, but I felt it could be a feature film as well to get a wider audience thinking about racial and family identity and how it changes over time...or does it?

Inspired by a true story,. An isolated American aid station in the Hurtgen Forest is overrun by the Germans, who then provide their own medics and supplies, to the embattled station. The lead American medic is a German-Jewish refugee who attempts to hide his religion from his captors. The four German and American medics for a close bond in the midst of a major battle, as they probe the deeper meanings of life and death, love and war. Two of the medics are killed in the climax, but a young German defies his superiors to allow the surviving Americans safe passage to their lines.

BIOGRAPHY OF TIMOTHY A. HASTINGS

I was born in Japan, and had in many ways an idyllic childhood with a very close family, vacationing for the entire summer on the Chesapeake Bay, or pier fishing on Lake Michigan or the Outer Banks of North Carolina.

When I was twelve, my family moved to Gloucester, England where we lived for nearly two years. On almost every weekend we would visit a different castle, cathedral, battlefield, or Roman or Neolithic site. This experience crystallized my love for history.

I attended the University of North Carolina, Chapel Hill on an NROTC scholarship, and served as an officer on what was at the time, the worst ship in the Navy, USS DETROIT (AOE-4). The crew, however, turned around the Flying Dutchman of the Atlantic Fleet, so that it became a viable asset during Operation Desert Storm.

After my time in the Navy, I lived in Philadelphia and had a seven year rampage as one of the hottest drag queens in the Northeast Corridor. I worked as the manager of the USS OLYMPIA after she had fallen into disgrace by amateurs for over two decades, and oversaw a major lead abatement and repainting under intense public scrutiny. I also worked as an operations manager at Tiffany & Company in Philadelphia, where I worked for three Christmas seasons.

Upon their retirement, my parents bought a summer cottage on a salmon river off Lake Ontario, and we shared many memorable moments together. In 2003, I volunteered to serve in the Navy again, and was recommissioned at my old rank of Lieutenant, one of the oldest in the Navy. I served as a patrol boat commander at Mina Ash Shuaiba, Kuwait, which has now been abandoned by the U.S. military.

Once I returned to the United States, I applied for law school, and attended Rutgers School of Law-Camden the following year. As a law graduate, I clerked for the Anchorage Superior Court, and now work as an associate attorney in a boutique law firm in Fairfax, Virginia.

Nevertheless, I developed an intense passion for writing , and began screenwriting in earnest in my spare time.

In 2023, I graduated from the Vermont College of Fine Arts with an MFA in film, completing three screenplays while I was in attendance; two transgender rom-coms, and a drama of a Union veteran suffering from PTSD in the Gilded Age.

I live in Fredericksburg, Virginia, with my wife, Myra, my greatest support, my cat, Camden, and help take care of my elderly mother.

BASED ON A TRUE STORY

In Nazi-occupied northern Greece, eighteen-year-old resistance courier Parthena Gelitsalis is arrested and imprisoned after refusing to betray her comrades. Inside the prison, she encounters Dimitrios “Mitso” Statharos, a wounded Greek veteran reluctantly serving as a police guard under German command. Their lives fall under the authority of an ordained German pastor who commands the local Secret Field Police office while continuing to preach from the pulpit.

When Mitso intervenes to protect Parthena from one of the pastor’s Greek collaborators, his determination to remain uninvolved begins to collapse. As arrests, executions, reprisals, and torture escalate, Mitso quietly helps prisoners and civilians while risking exposure from both the Germans and their local allies. Meanwhile, the pastor’s cultivated relationship with Parthena’s German-speaking father reveals a man capable of selective kindness while presiding over a machinery of terror.

Bound together inside a system designed to force betrayal, Parthena and Mitso struggle to survive without surrendering their humanity. When the pastor threatens to execute every prisoner in Katerini, Mitso must choose between obedience and open resistance, a decision that will bind his fate to Parthena’s and change both their lives forever.

Steven M. Statharos is a Greek-American attorney and writer based in New York City. His work focuses on character-driven historical narratives rooted in rigorous, multi-country archival research and personal family history.

Growing up with fragmented accounts of his family’s experiences in northern Greece during the Nazi occupation, Steven tracked down primary sources, oral histories, and documentation across Greece, Poland, Germany, and the United States. This extensive investigation culminated in his debut feature screenplay, KATERINI, a pressure-driven historical drama examining moral compromise, the limits of control, and quiet resistance under occupation.

Balancing his professional career in law with his writing, Steven brings a meticulous, structural eye to his storytelling. He is drawn to complex historical anomalies that resist easy categorization, focusing on observational detail, behavioral truth, and restraint rather than conventional wartime tropes. He holds a Juris Doctor from Emory University and a Bachelor of Arts from Adelphi University.

Tagline: Trust can be the most dangerous illusion.

Joanna Seberg — a woman in transition — is a steady, compassionate recruitment specialist at a local newspaper, the kind of person colleagues rely on without noticing how much she carries. Her week begins to unravel when the paper’s restructuring delays her final gender‑affirming surgery, leaving her emotionally exposed just as Millie Cooper, a fragile new hire struggling with bipolar disorder and homelessness, enters her life. Joanna’s kindness toward Millie draws attention from Gwen, a brittle coworker whose resentment has been quietly simmering for months.

When Joanna is promoted into the job Gwen wanted, Gwen interprets it as favoritism and “identity privilege,” deepening her jealousy. Beneath her helpful façade, she has already begun undermining Joanna — steering difficult clients her way, rewriting her own mistakes as Joanna’s, and planting doubts about Millie the moment she arrives.

After Joanna takes Millie in, Millie begins noticing unsettling details in their Victorian house and at work — signs that Gwen’s instability is accelerating. When Millie abruptly disappears, Joanna’s trust fractures. The truth erupts in a violent confrontation that exposes Gwen’s escalating obsession and the deadly plan she’s crafted to silence Joanna forever.

Being Joanna is a psychological thriller built on emotional manipulation, shifting perceptions, and the slow erosion of Joanna’s sense of safety. The suspense grows not from spectacle, but from what Joanna believes, what she fears, and what the audience sees her walking toward — danger hiding in plain sight until it finally breaks.

I’m an author and screenwriter who gravitates toward intimate, emotionally grounded storytelling. I write character‑driven dramas, dark comedies, and psychological thrillers that explore identity, resilience, and the quiet moments that shape relationships. My background in poetry and short‑form writing influences my approach to voice, tone, and emotional clarity across all my creative work.

I also write internationally set romantic‑suspense fiction under my Kiva Wolfe™ brand, a world that deepens my sense of atmosphere, tension, and human connection.

I wrote Being Joanna to explore a timely and complex subject with empathy and nuance. Joanna’s journey — a transgender woman navigating trust, vulnerability, and the danger of being misunderstood — reflects my commitment to telling stories that illuminate the courage it takes to remain authentic in a world that doesn’t always make space for it.

What if you could feel your brother’s physical pain from half a world away?

As Saigon falls, sixteen-year-old twins Kimoanh and Cuong Nguyễn are violently torn apart. Kimoanh escapes aboard a crowded refugee ferry, grief-stricken and unsure if her brother is dead or alive. But as bruises and injuries mysteriously appear on her body, she begins to suspect the unthinkable: her twin is alive, and suffering.

She feels her twin’s pain; he sees his chance at fame.

As Cuong endures unspeakable torture inside a Viet Cong re-education camp, Kimoanh is stuck in Camp Pendleton's refugee community, struggling to have her connection to Cuong taken seriously. She finds an unlikely ally in Cameron Bailey, a brilliant but embittered American filmmaker who sees Kimoanh as his ticket to fame.

Can a mysterious jade cicada deliver a miracle?

A jade cicada is the enigmatic symbol of an underground resistance effort that guides our characters through the dangerous landscapes and forgotten war tunnels of Vietnam in this visually rich, emotionally powerful limited series in the tradition of HBO’s "Chernobyl" and Netflix’s "The Queen’s Gambit."

Lisa Duffy is a four-time published non-fiction author based in South Carolina. Drawing from a deep personal connection to the real-life sister and brother who inspired the story, she brings emotional authenticity and narrative urgency to The Jade Cicada, her first dramatic series. With a voice rooted in truth and compassion, Duffy crafts character-driven stories that resonate far beyond the final frame.

A Viking shield-maiden searches through the centuries for the god responsible for her immortality.

My name is Caroline Boll and I am a naturally creative person from a widely creative family. Throughout my life, I have learned the ways of playing & composing music, writing stories, and creating my own art. With degrees in both history and film, and a lifetime of being taught about and appreciating the disability community, I write the stories that I always wanted to read, the songs that I always wanted to hear, and the paintings that I always wanted to see. The Last Valkyrie is a culmination of my love of history and my need to see more stories about disabled women living their lives (and fighting with swords, naturally). It is also the creative point of my master's degree thesis.

It’s early September 2001. Charlene never took advantage of her late dad’s connections to advance as an author. But at 27 she really hopes the lead on a Cold War science race she had picked up from dad’s private archive is worth something.

In September 1967 a low-key conference took place in Leningrad that brought together a small team of world-class transplantologists from the U.S., U.K., and Canada to exchange best practices with the Soviets. Three months later Americans were shamed to see a South African doctor beat them with the first heart transplant. A leak?

When Charlene learns that during the conference in Leningrad, Dr. Eugene Cooper, an American delegate, died mysteriously following a thunderous row with Dr. Darya Mikoyan, an Armenian-Canadian transplantologist born in Smyrna, she has a feeling this is the scoop.

She needs to wring the truth from another Leningrad participant, the man who is sitting in front of her at a reluctant interview: Dr. Jon Goldberg, 40 years her senior—for now, he is her only option.

Why did the Greek-Soviet delegate connect so easily with Dr. Mikoyan? Did Dr. Mikoyan kill Dr. Cooper in a bungled intelligence operation? And why is Goldberg denying the story has any value?

DENIERS is a mystery drama set in New York City, Leningrad and Smyrna.

Maciej Litwin was born and raised in Wrocław, Poland. He worked in government and learned about politics in Poland and the European Union the hard way. Ten years ago he moved to academia. As an academic, he has taught and written about language and communication across languages. But some things could only be said in stories, like this script.

Lech Zdunkiewicz was born in Los Angeles and went to a film school there. After graduating, he moved to Europe where he worked in the television and the film industries in the UK and Poland. This experience brought him to a mid-level role at the set of The Bridge of Spies (2015), shot in Wrocław, Poland, where he settled. Lech has written and produced documentaries and shorts, and he has taught screenwriting.

Lech and Maciej write together in English and in Polish.

Frank is struggling with depression and substance abuse. He falls down on his ass but picks himself back up only to find out that sometimes, life, no matter how good you're doing, can still throw shit at you.

Daniel McEwan was born on December 10th, 2002. He is a writer/director and has made his first short horror, slasher film, The Welder. It premiered at his alma mater, UC Clermont, which had a modest crowd of seventy people. He is now shopping it around at various film festivals and got selected into Film Fest Fusion.

Daniel is also writing a feature film called Anguish about a depressed alcoholic, Frank, who is dealing with a major loss in his life. He is currently submitting to screen writing contests. It has won best screenplay drama at New York Script Awards and has other selections behind it!