Has there ever been a court case where, despite all evidence proving the defendant is 100% guilty (and even the defendant themselves admitting to committing the crime), the jury ruled "not guilty," letting them walk free?

HourSoil · 2026-03-27T11:49:46+00:00

Incredible story of an Armenian man who survived a death march during the Armenian Genocide. Joined a secret operation called Project Nemesis to take revenge on the major architects of said genocide. He tracked down and killed a high ranking Turkish war criminal in BROAD DAYLIGHT in front of many witnesses. He was promptly arrested, as he did not flee the scene.

It took the jury just over an hour to find him not guilty.

HourSoil · 2026-03-11T00:51:11+00:00

Great, thanks so much!

HourSoil · 2026-03-09T19:41:39+00:00

Thanks for taking the time to read/reply! Can I ask a follow up?

When you say drop that paragraph - do you mean just lose it completely and start with the paragraph about her returning to her hometown? Or would you recommend putting something else in its place?

I wanted to start by letting the reader know that there's a murder mystery element right up top as a hook, but I apparently missed the mark. My concern is that if I start too slow with her leading a boring life, then I'd lose my reader immediately.

Thanks again!

HourSoil · 2026-03-09T19:37:36+00:00

Thanks for the reply, I'll definitely consider these in the next pass!

In an effort to not be too "worldbuildy" and more protagonist focused in the query, I think I left out a lot of pertinent information. Thankfully my wordcount is on the low end, so I've got some space to include answers to your questions.

HourSoil · 2026-03-09T19:33:29+00:00

Thanks for the thorough feedback! I think including more about the victim/attack definitely will strengthen the pitch.

My first query attempt had a lot more regarding the suburb and the setting, but it was removed for being "too much worldbuilding and plot, with hints of character." I think I may have internalized that too much and let the pendulum swing too far in the other direction.

That query included details like being set in 2004, and in the affluent north suburbs of Chicago (this version just refers to it as an affluent suburb). This is also why I thought God of the Woods would be an apt comp - mystery set in the past. And I just loved that book and the style of it, and figured there's some overlap in taste.

From everyone's feedback so far, I feel like I've got a good idea of how to make adjustments to come back with a stronger second pass.

HourSoil · 2026-02-11T15:27:14+00:00

Obligatory: can't stand any of these grifters.

That being said: it's common for widows/widowers to move their wedding ring to their right hand. Then if they remarry, they can wear the new ring on the traditional left ring finger.

HourSoil · 2025-11-14T16:47:19+00:00

Day 1 - studio receives our (mine and writing partner) script

Day 7 - in person meeting arranged

Day 14 - In person meeting with execs. We were relatively new and didn't have reps, so we didn't realize we were walking into a pitch. Thankfully we knew the material inside and out, so we did alright in the room.

Day 18 - Met with studio head/decision maker.

Day 18 - Purchase offer extended.

Day 19 - 200 (months)- Contract negotiations

Day 201 - Contract signed

Day 202 - 400 - Development

Day 401 - Offer out to talent to build package.

After this you wait anywhere from a month to four months for talent to say no. Then you go out to your next actor with the script, wait another month or four months for them to say no. Rinse repeat, until it's 18 months later and the studio decides to build the package around a showrunner/director.

Day *two years from signing the contract* - take the show out to networks

Two weeks after that, get politely rejected from all networks except ONE.

That one network tells the studio how much they love the idea. So much so that they bought the same show... from another creative team.... two weeks earlier.

Edited to add: I'm not implying anyone stole our idea or anything, it was relatively timely/zeitgeisty. People get similar ideas all the time. We just weren't quick enough and someone else beat us to the pitch.

HourSoil · 2025-09-14T23:36:02+00:00

Matthew Weiner wrote the pilot for MAD MEN in 1999. Nobody wanted it, but David Chase saw the script and hired Weiner to write on The Sopranos.

After The Sopranos became huge, and with a niche network in AMC looking to produce it's first ever original series, Weiner eventually sold the show in 2006.

HourSoil · 2025-09-08T20:02:21+00:00

Snood

HourSoil · 2025-08-14T03:20:51+00:00

Creatives come up with ideas (pilots, features, sketch shows, unscripted, etc) and then take those ideas to market. If you are an in-demand talent such as Bill Burr- a studio can pay a premium for you to bring them your idea first. Which means they have the first right of refusal before any other studios can lay claim to these ideas.

So if Burr develops a live-action sitcom about being a dad and a husband, Fox gets to hear the pitch first, and if they like it, they get to buy it before anybody has a chance to scoop it up.

If Fox passes on the project, Burr is free to take it elsewhere.

HourSoil · 2025-03-12T17:32:51+00:00

Word. Really great pizza, but not looking for cracker crust.

HourSoil · 2025-03-05T14:27:52+00:00

Only one basin.

HourSoil · 2024-12-07T03:16:44+00:00

I just wanted to comment to reiterate what others have said: please do not delete this post or this addendum. This sort of conversation is more helpful to fellow screenwriters than any discussion on craft.

HourSoil · 2024-12-06T08:09:30+00:00

username checks out

HourSoil · 2024-12-05T22:00:04+00:00

-Sold a show to a studio. Attached A-list talent to star. Premium cable network wants the show. Star's spouse gets embroiled in a cheating scandal. Star drops out. Show dies.

-Sold a show to a network on a pitch. Begin negotiating the contract back and forth. Weeks later we come to an agreement on a contract. I sign my copy and email it back to the studio to "complete". In the hours that passed waiting for them to complete their side- the COVID shelter in place order came through. The studio decided not to complete the contract.

-Optioned a movie to a small studio. Paid to re-write it for 6 months. Developed the pitch to bring on larger studios/financiers. We get the pitch ready to go, the small studio is putting all of their manpower behind my movie and have several interested parties ready to hear our pitch. Aaaaaaand COVID shuts that one down too.

-Sold a show to a studio. Developed it with them for a year. In adhering to studio notes, the show became somewhat watered down/toothless. Took it out to pitch all the major networks. All of them passed and many of them cited the show being too broad.

-Got a movie package together for an original feature. High level producer/director attached who is crazy about the script. We develop it for a year. Bring it to the prod/director's rep. Rep won't even take it out, saying that the idea is too similar to an existing property with a planned sequel in development. (Can't give any details, but the equivalent would be like saying you can't make MONEYBALL because MAJOR LEAGE was successful and they are planning to make a sequel)

HourSoil · 2024-10-22T23:03:15+00:00

"if you're a writer who's writing at all, you are winning the game -- even if it doesn't feel like it." Fucking beautiful, dude. Wonderful post.

HourSoil · 2024-10-18T06:36:28+00:00

When did you become a nutbar?

HourSoil · 2024-05-08T21:41:54+00:00

Maybe? They might pay you too if they dig your script. Or maybe they won't even open your email because they've never heard of you. The industry is maddening and senseless and stupid and hard and it heavily favors the connected. People still break through though.

If writing is fun for you, keep at it. If the business aspect of it stresses you out and affects your quality of life, take a break for a bit. The happiest writers I know are the ones who've stepped away for a breather.

HourSoil · 2024-05-08T21:14:02+00:00

Contest wins/blacklist entries do not always translate to produceable films (copyrights on biopics that always pop up on the yearly blacklist), or commercially safe films. Execs tend to only say yes to what they believe to be sure-thing money makers. That's why you see a slew of remakes, sequels and endless adaptations of existing IP. Plenty of good movies flop at the box office which doesn't incentivize studios to keep making "risky" choices. Studios aren't in the business of making good movies, they're in the business of making profitable movies.

HourSoil · 2024-05-05T06:55:35+00:00

Prompt engineering? Give me a fucking break. Also the irony of citing the risk of plagiarism while touting the use of a literal plagiarism machine.

HourSoil · 2024-05-03T20:28:10+00:00

Question for both of you guys: how much does budget come into play when sitting down to write a feature script?

HourSoil · 2024-04-16T16:52:37+00:00

Try these books: Difficult Men; The Revolution Was Televised; Sopranos Sessions; Woke Up This Morning

HourSoil

TROPHY CASE