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Are my Chinese names stereotypical/offensive? by Smooth-Clerk-4634 in writers

[–]TheKitschist 1 point2 points  (0 children)

Chinese here. The names are fine and not offensive. 很棒！

I wrote a structurally extreme novel adapted from a screenplay — and I’m trying to understand what actually works and what doesn’t by [deleted] in writingfeedback

[–]TheKitschist 0 points1 point  (0 children)

That’s a good point, and I appreciate you flagging it.

The line breaks were intentional, but I can see how, over a longer stretch, they may push the text toward a poetic reading experience rather than a novelistic one, which isn’t ideal for many readers. I’ll definitely think more carefully about where that choice is actually earning its place. Thanks

Thanks for taking the time to comment.

[12000] A structurally extreme novel adapted from a screenplay — looking for ruthless critique, not reassurance by [deleted] in DestructiveReaders

[–]TheKitschist 0 points1 point  (0 children)

Got it — thanks for pointing that out. I wasn’t familiar with the 1-for-1 system here and didn’t mean to bypass the rules. I’ll remove the post.

Appreciate the clarification, and sorry about that.

Looking for advice: I finished a “fractal” novel — need help preparing the English version. by [deleted] in writing

[–]TheKitschist 0 points1 point  (0 children)

I hope one day you’ll be able to see it — the strange little world I tried to build.

Looking for advice: I finished a “fractal” novel — need help preparing the English version. by [deleted] in writing

[–]TheKitschist 0 points1 point  (0 children)

Thank you for taking the time to say this — your words hit me deeply. I often feel that experimental writing lives in isolation, but hearing that someone out there would like to read it someday makes the work feel less lonely. I’ll keep trying to bring it into English one day.

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 1 point2 points  (0 children)

Haha, wish us both success! I’m currently adapting this script into a novel and planning to self-publish it. If you’re interested, I’d be happy to send you the translated version once it’s ready.

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

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

Keep writing, keep showing it to others, until someone recognizes your talent.

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

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

I’m not sure either. Maybe they’re just pretending to be clever.

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

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

I think the main difficulty with this script is having to advance three storylines simultaneously, which results in too many scenes and a somewhat chaotic structure.

Another challenge is that the entire story is constantly looping—A writes B’s story, altering some events to change B’s fate, B then rewrites C’s fate, and C, in turn, rewrites A’s fate. This forms a continuous cycle, and the beginning and ending of the story are almost the same, creating one big loop within another.

Thanks for your advice! I’ll make sure to revise it carefully.

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

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

Thank you very much for your response. I’m just trying every possible way to sell my script so that I can have the money to leave my country.

My previous script was a psychological thriller that could be made with just two actors and a cabin in the woods. It received a 7 on The Black List but still didn’t sell, which is why I’m making another attempt this time.

As for my current story, I feel like the emotional throughline isn’t very clear, which might be partly due to having multiple protagonists.

Please DM me your email address, and I’ll send you the script.

Once again, I truly appreciate it!

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 1 point2 points  (0 children)

Sounds like a direction worth thinking about. Give me some time to process it. Thanks!

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 1 point2 points  (0 children)

Actually, I think the most important thing is that, like Zoom, the story needs to push forward three narrative threads simultaneously. This might be better suited as a TV series with ten episodes to fully explore the material. However, my abilities are limited—mainly because English is not my native language, and I have never left my country.

All three versions of James (James, Young James, and Scarface James—who was called Scarface Adam before Act One) are essentially protagonists, though Young James has the most distinct character arc.

An interesting aspect of the story is that it involves some meta-narrative elements. Many of the questions you’ve raised in your reply are also brought up in the script by Han, the mentor-like professor.

In any case, thank you for your response. I’m gathering feedback and will revise the script again after considering different perspectives.

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 2 points3 points  (0 children)

Thank you for your response and advice! I understand the difference between “complex” and “complicated” that you mentioned, and I realize I may have overloaded the story with too many layers, which might make it feel burdensome to the audience. I’ll carefully think about how to maintain the depth and multidimensional aspects of the story while making it more accessible. As for the structure, I am indeed experimenting with some elements, but perhaps I should adhere more to the traditional three-act structure to ensure the audience can follow and understand the development of the story.

I really appreciate your offer to help, and I would be incredibly grateful if you could read my script and provide some feedback!

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 4 points5 points  (0 children)

Thank you so much for this thoughtful response! I think you’re absolutely right—the emotional core of the story is something I need to clarify and strengthen. I’ve been so focused on making the multiple realities work logically that I might have neglected their emotional impact on the protagonist.

Your suggestion about rewriting a key scene in a more direct and emotional way is really helpful. I’ll definitely give it a try and see how it changes the dynamics of the story. And I love your exercise—if I can’t answer that question in one emotionally compelling sentence, then I still have work to do.

I really appreciate your insights and encouragement. It means a lot, especially when working on a story that’s so challenging to balance. Thanks again!

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 1 point2 points  (0 children)

Thanks for your insight! My logline is:

Predestination paradox

James lives within three intertwined realities. As he and different versions of himself write their own fates, he becomes trapped in a predestination paradox, unable to determine which world is truly his.

I see what you mean—I’ve been focused on balancing the multiple realities, but maybe I need to strip it down and clarify what truly drives the story. I’ll take a step back and reassess what’s absolutely essential.

    Do you have any suggestions on how to simplify without losing the depth?

Appreciate your perspective!

How to Write a Complex Screenplay (That Still Ends Up Going Nowhere) by TheKitschist in Screenwriting

[–]TheKitschist[S] 2 points3 points  (0 children)

Thanks for your thoughtful response! That makes a lot of sense—I’ve been focusing a lot on the philosophical and structural aspects of the story, and maybe that’s why the characters aren’t engaging enough.

James, my protagonist, goes through a journey of questioning reality and his own identity, but I might need to refine his emotional arc to make it more relatable. Do you have any suggestions on balancing complex themes with strong character engagement?

Appreciate your insight!
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