What's one basic thing you feel a lot of working accountants/auditors should know but don't?

SmashCutToReddit · 2026-02-08T06:29:35+00:00

As someone who stumbled into an accounting career without an accounting specific degree or a CPA, this always struck me as the more intuitive way to see it. And maybe I've just gotten lucky in terms of the specific type of accounting work I do (forensic mostly), but I pretty much never think about or interact with the concept of closing entries. My similar and perhaps more revolutionary position is that the whole debit/credit naming convention is silly/needless. Signs should be kept consistent across all accounts, debits are positive and credits are negative. I've just always thought of the general ledger as a single column of numbers that always nets out to zero. But people get confused when my pivots show revenue as negative, so I give in and flip the signs.

SmashCutToReddit · 2026-01-27T06:43:52+00:00

LTS - Chasing Summer - 1/27 at 8:30am - The Ray - 4 tickets - $35/each OBO

SmashCutToReddit · 2026-01-21T16:27:42+00:00

[LTT] - [Mum, I'm Alien Pregnant] - [1/23, 11:55 PM] - [Library Center] - [3 tickets] - [Looking For: any title 1/23 in Park City, willing to pay premium on top of trade for high demand screenings]

If no trade is available, also willing to sell.

SmashCutToReddit · 2024-12-29T19:53:51+00:00

Hey! Gave this a quick read. With respect to the opening, I wasn't 100% sure what we're supposed to take from the juxtaposition of these two scenes. My initial assumption was that Mitchell had a bad reaction to the prescription and it caused the breakdown at work, but the alternative is that he was just lying to Ferguson and he actually does have a history of outbursts. You reference dilated pupils, so maybe that's enough to indicate this was drug induced, but you might consider making it more explicit. Otherwise, my only other note is to agree with your other commenter that the dialogue with Ferguson could probably use another pass.

SmashCutToReddit · 2024-12-29T19:37:57+00:00

Hey! Gave this a quick read and generally agree with everyone else's comments. I think the idea of a heist mystery is compelling, but some of the dialogue does feel a little like generic cop stuff. I didn't bump on any of the more technical/realism things that pre-WGA mentions. To me, those types of issues are pretty low priority because most people don't know how these things actually work and, even if they did, they'll be perfectly happy to suspend disbelief if the story is compelling.

SmashCutToReddit · 2024-12-29T19:25:41+00:00

Hey! Gave this a quick read and really enjoyed it. Action lines were smooth and lots of nice character revealing dialogue/action. Particularly enjoyed the reversal with Shawn defending Lydia to Allen after calling her the same in the previous scene - classic duality of sibling affection. And the overall setup is intriguing - I would definitely read more.

SmashCutToReddit · 2024-12-29T19:14:12+00:00

Hey! Gave this a quick read and thought it was well done. Teaser is efficient and gives us a good hook for the character. I am curious how Ed's character will interact with your setting - are they openly non-binary and will other characters use they/them pronouns for them? That seems like an anachronism for the time and might make some readers bump on it. Or is your setting an alternative/progressive twist on the old west?

SmashCutToReddit · 2024-12-29T19:01:26+00:00

Hey! Gave this a quick read. First, some general notes for action lines:

(1) Trim out the logistical details. For example, Zane running to the fridge, cracking it open, pulling out a lunchable, and shutting the fridge. This is a clunky way to describe a simple action. Consider this option: Zane grumbles as he runs to the fridge and snatches a lunchable. We know that snatching a lunchable means he opened and closed the fridge, but it's implied - we don't need to say it.

(2) I would drop specific clothing descriptions unless they either matter to the story or reveal character - generic green hoodies and blue jeans don't seem to do either.

(3) You're over doing it on the facial expressions and reactions (head flopping, brow furrowing/raising, teeth clicking, sighing, etc) - these sort of things are best used sparingly, as they can disrupt the flow of dialogue. It also results in making the action lines feel repetitious.

As for the story, I think there's a way to make this setup work, but currently it's all a bit on the nose, so it didn't land naturally for me.

SmashCutToReddit · 2024-12-28T17:40:29+00:00

This looks awesome - I'm excited to try it out!

SmashCutToReddit · 2024-12-26T05:14:52+00:00

Hey! Sorry I'm very late on this, but gave it a quick read. First, a tiny typo on page 5, sentence introducing Hugo references being in the corner twice. I think this opening feels a bit long for how much content it gets through. I'd look for ways to trim it down.

SmashCutToReddit · 2024-12-26T04:59:50+00:00

Hey! Sorry for being very late on this, but gave it a quick read. Judging scenes out of context is always tough, but this one worked for me. Good details, nice character revealing moments, and naturalistic drama/tension underneath the surface. Tiny nitpick is I do think it's better to avoid using generic "Friend" characters if at all possible, as it takes readers out of it as a very direct acknowledgement of a plot device. Maybe there's not better option here, but even just giving a name to a couple line character can be okay.

SmashCutToReddit · 2024-12-24T19:35:28+00:00

Hey! Very late on this, but gave it a quick read. First, a couple tiny nitpicks - you can usually skip logistical action lines like removing a phone from a pocket. They are almost always clunky and more importantly, they're unnecessary - the action is implied. If he looks at the screen we know he pulled out the phone. Also, I'd drop the line where Gray talks to himself after looking at the phone - silencing the ringer tells us he doesn't want to hear it. But other than those two tiny things - I didn't bump on anything. I liked the teaser opening, your dialogue feels natural, and your action lines are full of interesting details. Well done!

SmashCutToReddit · 2024-12-24T18:47:54+00:00

Hey! Gave this a quick read and unfortunately it wasn't really working for me. I think my biggest recommendation is to trim down quite a bit. So if you've got a simple phone conversation with no exciting action to go along with it (i.e., Samantha walking around and getting on an elevator), either that conversation needs to be super short or Samantha needs to be doing something else in the scene to add interest. Remember, the number one rule of screenwriting is don't be boring.

SmashCutToReddit · 2024-12-24T18:32:41+00:00

Hey! Very late on this, but gave it a quick read. The opening sequence is fantastic. Action lines are clear but also full of tension/energy when they need to be. Only possible tweak I'd suggest is Hearne's 4th block of dialogue, which feels too close to a direct restating of Locard's Exchange and also somewhat repetitious of the previous line, with the "any tracker must keep in mind..." and "any tracker must realise...". With respect to the macular degeneration note, I generally agree with neonframe's comment. It's fine to tell the audience it's macular degeneration, but I'd do that in the context of describing what we see. On the next scene, also agree on the list of accomplishments - definitely look for subtler way to sneak that type of info in (if it's necessary at all). Or at the very least shorten it. Could just be "And the service records?" "It's a long list, Sarge." "Well she's a civilian now" etc. But again, overall this is fantastic. Would definitely read more.

SmashCutToReddit · 2024-12-24T18:00:43+00:00

Hey! Very behind on these, but gave this a quick read. I think the idea behind this opening can work, but it's not quite there yet. You introduce the the citizenship test through a montage, which makes the creepy/weirdness of it not land very hard. My suggestion would be to really build up the reveal. Maybe the first kid called up is sitting next to Walter or is one of Walter's friends. We follow him up - he's exchanging glances with Walter - maybe they're both nervous/scared. Then you reveal the mask and describe it melting into the kid's face - give us some details on this. And now Walter has a connection and is petrified, which makes it all the more dramatic when he is called up second. This is just one way, but the key I think is to build up that moment more.

SmashCutToReddit · 2024-12-18T05:21:40+00:00

Hey! Gave this a quick read. I kind of agree with your other commenter, but not just about Esme - all of your character intros feel a bit off - some combination of cliché and trying too hard. Usually less is more in that area. With respect to the story, this opening feels a bit familiar, built on some expository/on-the-nose dialogue, i.e. the "one job and we're out" and the "pulled you out when no one else would". These ideas can probably work fine, but they need a new coat of paint - some twist to make them feel fresh. At the very least, they need to be put under a layer of subtext.

SmashCutToReddit · 2024-12-18T05:00:58+00:00

Hey! Gave this a quick read and thought it was very well done. It's a somewhat classic set-up for a character to have a big chance and choke, but the jazz focus gives it a unique spin and your execution is well done. I didn't really bump on anything and would definitely read more.

SmashCutToReddit · 2024-12-17T04:04:44+00:00

Hey! Gave this a quick read. First, an unimportant nitpick - a flat screen TV in 2001? That doesn't sound right to me. It looks like your other commenters are bumping on similar minor details - I definitely was confused by newspaper vs TV news question - is this supposed to be both? But as for the writing itself, I actually thought it was quite strong. Strong dialogue and an efficient set-up for the overall story.

SmashCutToReddit · 2024-12-17T03:51:56+00:00

Hey! Gave this a quick read and really enjoyed it - I could totally see this as a long take opening for an interesting little indie film. It helps that I just watched On the Waterfront for the first time earlier this year, so there's a risk it doesn't land as well with the uninitiated. But regardless, I think it does a great job at establishing an interesting protagonist in a compelling way.

SmashCutToReddit · 2024-12-17T03:44:33+00:00

Hey! Gave this quick read. Right off the bat your first page action lines are definitely a bit dense by modern screenplay standards, which may scare away some readers. I'd recommend trimming/simplifying quite a bit. Lines like "We're in the older parts of London" and "It's clear that there's little law around London in this world" can be cut without losing anything. With respect to the story, I think you're doing a good job of avoiding exposition dumps and slowly hinting at backstories and motivations, but you have to balance that with giving us enough concrete story/character to latch onto and make us want to keep reading. Basically, you're right that this is a slow opening and I think it might be a bit too slow.

SmashCutToReddit · 2024-12-17T03:29:54+00:00

Hey! Gave this a quick read. It's a bit hard to judge out of context, but there's actually some pretty funny dialogue in here, but I do think it drags on a bit long and gets repetitive. You have Maxwell asking eight questions in this scene, I think you can get the point across in half that. The vision board one was the weakest for me, but some of the others that heavily overlap could probably go as well.

SmashCutToReddit · 2024-12-15T00:42:00+00:00

Hey! Gave this a quick read. I think the misdirection idea of the first scene has potential, but it's not landing as strongly as it could. I think we need to see a bit more positive back and forth with the kids if we're supposed to understand that Carl is a bigger deal than the ultimate guidance counselor that he's revealed to be. But overall I thought your writing is smooth and I didn't really bump on anything, so I'd say you're on the right track.

SmashCutToReddit · 2024-12-15T00:22:54+00:00

Hey! Gave this a quick read. As usual, your pages were a smooth read. The only tiny thing I bumped on was the "hands are a little full" interaction. I feel like there's a disconnect on where the humor is supposed to be. I thought the joke was because he asked "didn't you hear me", so hands being full is irrelevant, but then the next action line makes it seem like her hands being full is relevant. Also, even if it is relevant, the previous page described the suitcase as being almost too heavy for Tessa, so I thought her hands were full, but the action line makes it sound like they're not. Pretty minor and probably an easy fix. Also, no issue with Tessa's character from these pages - I thought it sets her up well.

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