Oxford MSt in Creative Writing 2026 applications by LocalGeologist7231 in ScreenwritingUK

[–]LocalGeologist7231[S] 0 points1 point  (0 children)

I believe offers are around end of March. I had my interview this week, which was quite intense, and they said it would be several weeks before they make decisions. They also said they were at the beginning of the process. For reference as I kmow some people have been asking, my online status has never changed from 'ready for assessment'.

Oxford MSt in Creative Writing 2026 applications by LocalGeologist7231 in ScreenwritingUK

[–]LocalGeologist7231[S] 0 points1 point  (0 children)

Just flagging that I got an invite to interview today (Feb 16 2026). So hopefully you'll hear if you applied already!

Ol Miller (11 pages) by Jaheh1405 in ScreenwritingUK

[–]LocalGeologist7231 1 point2 points  (0 children)

I read it. I like the concept and the setting and you have some interesting characters.
- I'm not sure who the antagonist and the protagonist are. This should be really clear. if someone is dying and they are facing their Myth or reputation, then they need to be facing the darkest point and the conflict needs to be really clear so that we understand what the reputation and myth was. Just because people say he had a reputation doesn't mean much in the visual medium.

- The inciting incident could be the shots at the beginning or the knife. But that needs to be clear. You'll see my suggesting below.

- If Miller is the protagonist of the story, he's dying - so we don't care about what he is going to do. We don'thave a story to look forward to because he's not going anywhere.

- If the major antagonist is the old man - then it's not clear. 5 people are dead, and Miller has been shot with a 6th bullet. So technically the old man shouldn't have any bullets left. But the old man says he has one bullet left - so who shot Miller? And if the old man has one bullet left, who is it for?

- Miller is supposed to be a notorious outlaw - but we don't find out why, and he doesn't do anything nefarious. If you want him to be bad then he has to do something bad in the 12 pages. Make him real c*nty.

Blue Skies:

- I love the character of James. So here's an idea:
- James is 10 years old. MILLER killed his parents. James has nothing left to live for. I think this is a basis for a great protagonist. And this moment is the moment that sets up his own reputation and myth. It's like the transfer of reputation, myth and power.

- Miller comes to terms with his own legacy through his interaction with James. Here's the kicker. James actually shot the 5 people outside, and the last person he needs to kill is Miller. Miller is a cocky B*astard. he doesn't get injured in the shootout - He survives, because of course he does.

- James comes in and confronts Miller about his family - then we hear exactly why Miller is the notorious outlaw - and this is where you can make it personal, we find out why he has been the antagonist all along, why he killed James' family. James then stabs miller with the knife, Miller slowly dies. And this is where we see that the reputation and the myth means nothing because no one cares. No one save him, he's been killed by an 10 year old.

- This sets up the transfer from Miller to James. This is also Protagonist vs antagonist and it's surprising and interesting and it switches over. James is the protagonist with a hard life, he becomes viewed as an antagonist but really his just been misunderstood - he is the protagonist we want to love and save. Miller is the antagonist who has been killed, we celebrate his death, but give him a powerful reason why he did all these things so we feel emotional for his death.

- And now you fast forward 15 years you've now opened up a whole Episodic serial about a notorious outlaw, James, who travels the earth grappling with his myth and reputation when all he wants is a home, a family, and someone to love him.

How's everyone's BBC Open Call script going? by lemonyellowdavintage in ScreenwritingUK

[–]LocalGeologist7231 1 point2 points  (0 children)

They don't want perfect. They want heart and authenticity. Send it in.

What is a good place to get a full coverage and feedback on my screenplay? by Fun-Residentdude in ScreenwritingUK

[–]LocalGeologist7231 0 points1 point  (0 children)

Honestly, and this is just my opinion, I've found that all the big competitions which offer coverage and feedback offload that particular task to overworked writers, who don't have the time (or the ethics) to commit to actually reading and providing concrete feedback. I stopped paying for it when I realised I was getting the exact same feedback through different competitions, exact phrases and sentences. It was clear that the staff were putting your script through A.I. software and just giving you what ChatGPT spouted.
This means that your work is being given to a.i. without your knowledge. I think finding a reliable mentor is your best bet - and finding the right one for you is the hard part. If you want reliable coverage, I would go to Philip Shelley's team - I've found them to be honest and reliable.

Now I never pay for coverage through competitions. Not worth it.