In one plotline, a young China expert learns an unsettling secret: the U.S. will use a hostage-taking as a pretext... more
Paul Ulrich
I adapted my first screenplay, SAUDI MATCH POINT, from my novel of the same name. Blacksmith Books, published SAUDI MATCH POINT in April 2007, and it's available at www.blacksmithbooks.com for $9.95, which includes free shipping worldewide. You can also get a...
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Bio
I adapted my first screenplay, SAUDI MATCH POINT, from my novel of the same name. Blacksmith Books, published SAUDI MATCH POINT in April 2007, and it's available at www.blacksmithbooks.com for $9.95, which includes free shipping worldewide.
You can also get a downloadable MP3 audio version of the unabridged novel, read by yours truly, for $7.95 at www.spokennetwork.com
A producer has recently expressed interest in optioning my second screenplay, THE SCARLET BAND, which I posted here several years ago and which is a "docu-horror" based on true events in China from 1958 to 1968.
Submissions by Paul Ulrich
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a screenplay by Paul Ulrich
Reviews by Paul Ulrich 46
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A review of Shades of Grayby Paul Ulrich on 10/12/2007This was a good script with well delineated characters and a nicely woven story line. The characters were believable, and the dialogue was good. The logline or production notes mentioned Boston as the locale, but I guess you changed that to Providence. At any rate, you captured the mannerisms correctly (I'm from in between the two places). One thing I'm not sure of - do blacks... This was a good script with well delineated characters and a nicely woven story line. The characters were believable, and the dialogue was good.
The logline or production notes mentioned Boston as the locale, but I guess you changed that to Providence. At any rate, you captured the mannerisms correctly (I'm from in between the two places).
One thing I'm not sure of - do blacks refer to whites as "nigga" as well? Sounded weird to me.
You could improve the script by tightening the descriptions. There's a lot of "we see","is revealed", "looks older than his age" - stuff that's not filmable. No need for "Cut to's" either.
I think you could also probably get rid of some of the minor characters to make this easier to follow, but that's not essential.
I liked how you kept the identity of the "OLD MAN" hidden in the beginning. At first, I wondered why you would have what seemed like a non-character doing an extended voice-over monologue.
Am not sure which movie this reminds me from in the late '80s, early '90s - maybe "Boys 'n Hood" or something like that. At any rate, well done. read -
A review of Slaveby Paul Ulrich on 10/11/2007Some page-by-page comments or notes below. This opened creatively – although by the first act I was wondering why it needed to be during the Civil War. The main characters are somewhat stereotypical – beautiful Virginia, handsome Brady. Could you make them more three-dimensional? As I read this, I’m also not buying into Brady’s dilemma of not wanting to sleep with a beautiful... Some page-by-page comments or notes below.
This opened creatively – although by the first act I was wondering why it needed to be during the Civil War. The main characters are somewhat stereotypical – beautiful Virginia, handsome Brady. Could you make them more three-dimensional?
As I read this, I’m also not buying into Brady’s dilemma of not wanting to sleep with a beautiful woman. That would be more believable if he has a wife and family back home.
Is there any reason you chose “Great Expectations” for the reading – any particular symbolism relevant to the story?
Now that I’ve finished, I think you have the makings of a good script, but it still reads like a first draft. I expect you can flesh out the main characters and remove some of the clunky exposition from the dialogue. The premise, plot, and setting are good, as is the structure.
I think you probably spent most of your time working through the plot and the various ironic twists, which I enjoyed and think are the best aspects of the screenplay (in addition to the creative premise).
P2 Man’s gotta fight for what he
believes in. – were they still this gungho by late ’62?
P10 look on – typo
P20 reminds me of Planet of the Apes
P32-33 dialogue a bit clunky
To P41 seems to be a lot of exposition in the dialogue. Couldn’t you perhaps show more of the world rather than have characters talk about it?
P63 two seasons – typo
P64 But your body won’t. You’re a
slave just as much as I am. – good line
p66 Why “vice-like” grip for holding hands?
P71 good twist with Brady’s identity
P85 another good twist with “She’s my daughter”
read -
A review of The Lonesome Crowded West-by Paul Ulrich on 10/06/2007I dunno. Your title was lame (everything else in the script was pretty good, though) so I'm just imagining a potential other title. I'm sure you can think of something better. Overall you wrote a well structured, romcom – played by the book, but it kept my interest, and I read it more carefully than is often the case. The banter didn’t have me laughing out loud, but I recognized... I dunno. Your title was lame (everything else in the script was pretty good, though) so I'm just imagining a potential other title. I'm sure you can think of something better.
Overall you wrote a well structured, romcom – played by the book, but it kept my interest, and I read it more carefully than is often the case. The banter didn’t have me laughing out loud, but I recognized most of them as jokes, which is more than I can say for the typical comedy script.
I thought your characters were believable and the interactions good. Plus, your concept was unique and timely. Maybe some of your readers will be trying it out for themselves. Lol. Or already have.
You also did a good job weaving in Sid’s paranoia subplot, and although I’ve seen the crazy trucker done before, it seemed to work fine.
I had forgotten about the Suzy Miller character by the final act. You might want to add some mention of her – maybe in the second act, as Jack approaches his low – have him explain her to the friends, by name and even a fleeting flashback, so that it makes readers/viewers remember.
So the backstory motivation for Jack was good too. Overall, I think you did a very good job, and I hope you have some takers when you send this out. They may want you to sharpen or tighten some of the dialogue, but I can’t recall any glaringly obvious lines. That’s fairly easy to fix if someone points it out.
Now that I think of it – the Tom character was your weakest. He was too much the goody goody, and therefore not funny. Is there any way for you just to get rid of him and make it three pals instead of four?
Your script had quite a few typos. As you requested, I noted many of them below, along with a few nits as to choice of words. I hope this helps.
P6 What is “a near glutton in appearance”?
P9 let’s NOT lets play
Take your shots, guys. Needs comma
Don’t celibate? Is that a joke or a typo?
P12 Do Internet cafes still exist? I thought they were just for underdeveloped countries now.
P24 a lot OF people
Why can’t he just pay by credit card?
P27 maintains himself?
P30 stealthily
P38 other’s presence
P40 going TO
P43 Jack’s
P65 would you like to
P76 without. If screaming, you need ! marks
P88 a long time
P106 waist NOT waste
read
Write a Comment
Submissions by Paul Ulrich
-
a screenplay by Paul Ulrich
In one plotline, a young China expert learns an unsettling secret: the U.S. will use a hostage-taking as a pretext... more
Reviews by Paul Ulrich 46
-
A review of Shades of Grayby Paul Ulrich on 10/12/2007This was a good script with well delineated characters and a nicely woven story line. The characters were believable, and the dialogue was good. The logline or production notes mentioned Boston as the locale, but I guess you changed that to Providence. At any rate, you captured the mannerisms correctly (I'm from in between the two places). One thing I'm not sure of - do blacks... This was a good script with well delineated characters and a nicely woven story line. The characters were believable, and the dialogue was good.
The logline or production notes mentioned Boston as the locale, but I guess you changed that to Providence. At any rate, you captured the mannerisms correctly (I'm from in between the two places).
One thing I'm not sure of - do blacks refer to whites as "nigga" as well? Sounded weird to me.
You could improve the script by tightening the descriptions. There's a lot of "we see","is revealed", "looks older than his age" - stuff that's not filmable. No need for "Cut to's" either.
I think you could also probably get rid of some of the minor characters to make this easier to follow, but that's not essential.
I liked how you kept the identity of the "OLD MAN" hidden in the beginning. At first, I wondered why you would have what seemed like a non-character doing an extended voice-over monologue.
Am not sure which movie this reminds me from in the late '80s, early '90s - maybe "Boys 'n Hood" or something like that. At any rate, well done. read -
A review of Slaveby Paul Ulrich on 10/11/2007Some page-by-page comments or notes below. This opened creatively – although by the first act I was wondering why it needed to be during the Civil War. The main characters are somewhat stereotypical – beautiful Virginia, handsome Brady. Could you make them more three-dimensional? As I read this, I’m also not buying into Brady’s dilemma of not wanting to sleep with a beautiful... Some page-by-page comments or notes below.
This opened creatively – although by the first act I was wondering why it needed to be during the Civil War. The main characters are somewhat stereotypical – beautiful Virginia, handsome Brady. Could you make them more three-dimensional?
As I read this, I’m also not buying into Brady’s dilemma of not wanting to sleep with a beautiful woman. That would be more believable if he has a wife and family back home.
Is there any reason you chose “Great Expectations” for the reading – any particular symbolism relevant to the story?
Now that I’ve finished, I think you have the makings of a good script, but it still reads like a first draft. I expect you can flesh out the main characters and remove some of the clunky exposition from the dialogue. The premise, plot, and setting are good, as is the structure.
I think you probably spent most of your time working through the plot and the various ironic twists, which I enjoyed and think are the best aspects of the screenplay (in addition to the creative premise).
P2 Man’s gotta fight for what he
believes in. – were they still this gungho by late ’62?
P10 look on – typo
P20 reminds me of Planet of the Apes
P32-33 dialogue a bit clunky
To P41 seems to be a lot of exposition in the dialogue. Couldn’t you perhaps show more of the world rather than have characters talk about it?
P63 two seasons – typo
P64 But your body won’t. You’re a
slave just as much as I am. – good line
p66 Why “vice-like” grip for holding hands?
P71 good twist with Brady’s identity
P85 another good twist with “She’s my daughter”
read -
A review of The Lonesome Crowded West-by Paul Ulrich on 10/06/2007I dunno. Your title was lame (everything else in the script was pretty good, though) so I'm just imagining a potential other title. I'm sure you can think of something better. Overall you wrote a well structured, romcom – played by the book, but it kept my interest, and I read it more carefully than is often the case. The banter didn’t have me laughing out loud, but I recognized... I dunno. Your title was lame (everything else in the script was pretty good, though) so I'm just imagining a potential other title. I'm sure you can think of something better.
Overall you wrote a well structured, romcom – played by the book, but it kept my interest, and I read it more carefully than is often the case. The banter didn’t have me laughing out loud, but I recognized most of them as jokes, which is more than I can say for the typical comedy script.
I thought your characters were believable and the interactions good. Plus, your concept was unique and timely. Maybe some of your readers will be trying it out for themselves. Lol. Or already have.
You also did a good job weaving in Sid’s paranoia subplot, and although I’ve seen the crazy trucker done before, it seemed to work fine.
I had forgotten about the Suzy Miller character by the final act. You might want to add some mention of her – maybe in the second act, as Jack approaches his low – have him explain her to the friends, by name and even a fleeting flashback, so that it makes readers/viewers remember.
So the backstory motivation for Jack was good too. Overall, I think you did a very good job, and I hope you have some takers when you send this out. They may want you to sharpen or tighten some of the dialogue, but I can’t recall any glaringly obvious lines. That’s fairly easy to fix if someone points it out.
Now that I think of it – the Tom character was your weakest. He was too much the goody goody, and therefore not funny. Is there any way for you just to get rid of him and make it three pals instead of four?
Your script had quite a few typos. As you requested, I noted many of them below, along with a few nits as to choice of words. I hope this helps.
P6 What is “a near glutton in appearance”?
P9 let’s NOT lets play
Take your shots, guys. Needs comma
Don’t celibate? Is that a joke or a typo?
P12 Do Internet cafes still exist? I thought they were just for underdeveloped countries now.
P24 a lot OF people
Why can’t he just pay by credit card?
P27 maintains himself?
P30 stealthily
P38 other’s presence
P40 going TO
P43 Jack’s
P65 would you like to
P76 without. If screaming, you need ! marks
P88 a long time
P106 waist NOT waste
read -
A review of The Musicianby Paul Ulrich on 09/29/2007Your first ten pages lack a hook to develop a reader’s interest. There’s too much of the “pouring tea” syndrome – a problem for both novelists and screenwriters. You’re describing mundane things, with dialogue about counting change, how are you, blah blah. Not interesting, unfortunately. Movie dialogue shouldn’t be like real-life dialogue, most of which is boring chitchat... Your first ten pages lack a hook to develop a reader’s interest. There’s too much of the “pouring tea” syndrome – a problem for both novelists and screenwriters. You’re describing mundane things, with dialogue about counting change, how are you, blah blah. Not interesting, unfortunately. Movie dialogue shouldn’t be like real-life dialogue, most of which is boring chitchat. You have to cut to the chase quickly. Plus you need drama, which means conflict – characters at odds with each other right from the get-go. They don’t have to be arguing per se, just you need to make clear that their interests are not in line, or whatever.
Which is more interesting: a bunch of nice people being pleasant to one another, or a bunch of conniving so-and-sos scheming to backstab the other guy?
First act – so far the only remotely novel thing is the missing car door. Otherwise, it’s just visits to restaurants.
A screenwriting guru – I forget which one – said never do a scene in a coffee shop. I think the same should hold true for restaurants.
At 50 pages, everyone is way too nice to everyone else. One kiss so far. Hmm.
At pg 61 now we’re into the “passionate needing kiss”. Those crazy college kids.
Now p 73 another “lean in” for the kiss, but it goes further…
Virtually every scene of this was in either a restaurant/coffee shop or someone’s apartment, with a bit at the orchestra hall. Why would you even need a movie format: just stage it as a school play. read -
A review of Evenings And Weekendsby Paul Ulrich on 09/29/2007This script seems vaguely familiar: perhaps I read an earlier incarnation about two years ago. The premise I think was the same, but hey it was assigned to me, so here goes: a setting entirely in a hotel is more suited to a stage play than the big screen. For those who have stayed at nice hotels, as many film execs presumably have, the descriptions and dialogue related to... This script seems vaguely familiar: perhaps I read an earlier incarnation about two years ago. The premise I think was the same, but hey it was assigned to me, so here goes:
a setting entirely in a hotel is more suited to a stage play than the big screen. For those who have stayed at nice hotels, as many film execs presumably have, the descriptions and dialogue related to what goes on in a 5-star place are not particularly novel.
I think you intended this as a comedy, but you'll need to ratchet up the laugh per page factor. So far, it's still at the smile (oh, that's kinda cute) stage.
Maybe it would be more interesting to have someone accustomed to staying at the best places forced, for whatever reason ,to slum it at a real dive. But that's probably a whole new screenplay.
Good luck with it. read -
A review of The Line Of Departure (Rev. 1)by Paul Ulrich on 09/28/2007This has a good concept, but I got the sense that you were padding the story, or else that, as presently constructed, it should be a short film, not a feature. The best parts were, for me, the emotional interchange or unspoken concerns between the two fathers. If I were you, I’d focus more on that, and less on the mechanics or details of the military field. As you can see... This has a good concept, but I got the sense that you were padding the story, or else that, as presently constructed, it should be a short film, not a feature.
The best parts were, for me, the emotional interchange or unspoken concerns between the two fathers. If I were you, I’d focus more on that, and less on the mechanics or details of the military field. As you can see from some page-by-page notes or comments made while reading, I thought a lot of this stuff superfluous.
The three act points occurred at about the right times, but the first was way too slow in terms of dramatic impact, and the closer to the start--for me at least-- the more turgid it got. That’s a big problem because readers aren’t going to have the patience to wade through it, unless they’re assigned to.
You might even start the story in ’99 and then work back to the war through flashbacks. You have enough of them already, so you don’t seem skittish about that technique. Maybe even do it through the peephole scene, which was a powerful transition. The guy’s getting ready to meet the family, and sees this face that staggers him. Why? Readers will want to know: then you go to the same face seen through intel, or better yet, the sniper scope (perhaps with the intel overlay later, although that part isn’t necessary, I think).
In other words, the best part of your story is in the modern day. The military stuff is the backstory that should be woven in. Don’t lead with backstory.
Good luck with any future revisions.
P1 Do we need all these details?
P2 “magic of the moment”? How is this a magical moment?
“This is signified by the plastic on the door which now FLAPS
Roughly” – you need to condense this kind of language: don’t use the passive tense.
Story opens too much like a novel.
“sans words” – too cute. Half your readers might not know that sans = without, a dictionary won’t tell them either.
“The BARK of COMMANDS outside are the final end of a moment of
peace in war.” – what is this kind of language? Non-filmable, and takes a double read to get your meaning. Need to write in concise, no nonsense language that provides just the facts – what the reader needs to know to follow the action (physical or otherwise).
“tools of their trade” – cliché; again just say what they gather. You could have spread out the overlong description at the start by describing it here: they pick up X, Y, Z.
Example of how to condense:
P3: INCOMING FIRE cracks overhead and it is apparent that the
fire base is under attack. Becomes: incoming fire: the base is under attack.
P4 “Mark leans his XM 21 M-14 rifle mounted with a 3x9 Redfield scope carefully wrapped in a OD towel, on a makeshift gun rack.” – your viewer’s not going to care or notice what kind of rifle he uses, nor will most readers.
Your crucial first four pages: what happens – I guy pins up a butterfly (foreshadow), the troops come under attack. You could and should dispense with that in under a page.
P5 Col. Steedman is formally dressed. Period. What’s a dickey?
P6 I see your writing has “passivitis”
P7 A page of description could become: Mark, now 57, sits at home in a moderately afflutent living room with a butterfly collection.
P9 Remember in slugline, to tell reader we’re back in 1969. Why are you harping on about what the characters wear?
P10 End of page 10. Where’s the hook? If this weren’t an assignment, and I were a reader for a studio rep – out it goes. The hook has to occur by now, but instead it’s been all description, punctuated by one brief episode of incoming. Two offspring saying their dad’s are closed books – that’s not a hook. That’s a line of dialogue..
P13 Tuyen and Bian don’t last long – just call them BROTHER-IN-LAW and SISTER
P14 – p15 only difference from a novel is that you’re using 2 line paragraphs.
P16 O’Neil doesn’t last either: just call him HANDSOME SOLDIER
P22 Good tying of images: scope and peephole
P31 Active duty soldiers can get life insurance? Must be a steep premium.
P33 Not believable he’d give someone he relies on for his life the benefits of his death.
P42 Too many names. Just use PRIVATE 2 etc and have Mark refer to them as “You”
P45 I’m confused: The VCs were with the North, the victors. Why would Bao (a) be treated as the defeated and (b) get political asylum?
P56 “War
is good business... so invest
your life” – good line
p69 Aren’t we getting a few too many coincidental acquaintances for ole mark?
.
read -
A review of WITCHEVERby Paul Ulrich on 09/27/2007As a closet homo-phobe, this isn't exactly my style, but hey it seems to work. Several reasons: 1) This reads very quickly. 2) The dialogue is sharp, witty, and spot on. 3) concision. You don’t waste a single word so kudos on that. I also like how you effortlessly convey Carlos’ accent with the “ju” instead of “you” and your single line characterizations of some of the... As a closet homo-phobe, this isn't exactly my style, but hey it seems to work. Several reasons:
1) This reads very quickly.
2) The dialogue is sharp, witty, and spot on.
3) concision. You don’t waste a single word so kudos on that.
I also like how you effortlessly convey Carlos’ accent with the “ju” instead of “you” and your single line characterizations of some of the characters.
Moreover, you did a good job in minimizing characters and names when necessary and just referring to them by their function in the story.
It's a polished piece.
Areas for improvement:
The plot is a bit thin, but that’s okay. Also, with regard to the plot, I don’t think the silver ring fit well with the rest of the story. It’s a kind of deus ex machina. You might want to work on that.
Lastly, the cinematic quality of this was not so high: it could probably run as a stage play with only a few variations.
A few nits below:
P30 Why would Karson save the news clipping of his own crime?
P34 typo: gonna to be gay read -
A review of A Funny Thing Happened on the Way to the Altarby Paul Ulrich on 09/15/2005I recently read another romcom that suffered from a similar drawback as this one: you fail to explain why the heroine is engaged to such a fool in the first place. The characters all seem like flat cut-outs with nothing distinctive about them. Lacking anyone to cheer for, I didn*t really care what happened in this story. You probably had too many characters and therefore didn*t... I recently read another romcom that suffered from a similar drawback as this one: you fail to explain why the heroine is engaged to such a fool in the first place. The characters all seem like flat cut-outs with nothing distinctive about them. Lacking anyone to cheer for, I didn*t really care what happened in this story. You probably had too many characters and therefore didn*t spend enough time making any of them distinct or unusual. The plot itself was okay, albeit predictable, and relied heavily on coincidence.
The dialogue is often stilted and pretentious, or just plain weird. Moreover, the rhyming of the cabbie didn*t do anything for me. What was the point of having the cabbie tell the woman the story? Does that technique make it somehow more or less *believable*? Or was it just to add in some corny rhymes and remind the reader this is a modern fairy tale, although of the adult variety?
I didn*t really notice whether your structure was correct or not. If neither characters nor plot capture my attention, the act breaks aren*t likely too either.
I took some notes as I read along: the page number refers to text copied into Word at Times Roman 12 count.
P1 Would a cabby give his name?
Funnel?
P8-9 Cindy-William dialogue is weak and unnecessary
P12 How does Cindy *pour* out of an entryway?
P13 your NOT you*re heart
P35 Cindy*s financial lingo is mumbo jumbo.
Tenebrous night? Are you making William sound like a pompous ass on purpose?
P48 Why would she tell her parents, and virtually everyone she meets about the one-night stand?
P100 a lair?
P108 I*m confused. John wait on tables and is also the heir to a vast fortune?
P130 I like the *Love*s overrated line after the 2000 dollar offer. read -
A review of An Unnatural Soldier (Rev 4)by Paul Ulrich on 09/13/2005The writing in this script was excellent: clean and to the point. You cover a lot of ground, giving the reader a kind of synopsis of the Union march to victory in the Civil War. By doing that, however, the story becomes picaresque, with events following one after another to the tune of history, but not as consequences of earlier actions. Characters appear along the way and... The writing in this script was excellent: clean and to the point.
You cover a lot of ground, giving the reader a kind of synopsis of the Union march to victory in the Civil War. By doing that, however, the story becomes picaresque, with events following one after another to the tune of history, but not as consequences of earlier actions. Characters appear along the way and then disappear. In other words, there is little room for suspense, of wondering *Oh, no, what will happen to Sarah now?* Her brother dies, and she just marches on. Tom dies; she soldiers forward.
You develop a kind of subplot in the love story with William, but often nice guys are less interesting than villains. Virtually everyone on the Union side is invariably good to one another, and uncommonly fierce with the enemy, killing without remorse, without hesitation.
The premise of a woman in disguise, as you note in the script with references to Shakespeare, has filled the pages of literature for hundreds of years. It holds lots of promise, for humor and, as I mentioned, suspense. So far, however, this story doesn*t seem to milk those aspects for all they*re worth.
I liked the relationship between Sarah and Ethan, so was disappointed by its abrupt ending two thirds of the way in. I think it would be nice to see a story about the Civil War, not just with the interesting twist of a woman in uniform, but also with other atypical descriptions of what happened: betrayal, madness, fear, desertion, treachery, or what have you.
The dialogue was good. You capture what sound like authentic mannerisms and turns of phrase, without any unnecessary exposition. The structure also seemed solid, with inciting incident and act points at about the right spots. I did like your main character and side-kick, but gradually lost interest in what would happen to them once I realized, two thirds in, that the story was more about the war and less about their personal lives.
Good luck with this.
Paul
P1 *mounds up high* is awkward.
Drownded?
Who is *Jack*, as in *Jack*s shirt*?
Good opening scene with so much unexplained death interspersed with the rhyming ditty.
P9 Why not call them horses, at least the second time?
P28 lol. I like both the lines about changing drawers.
P31 Some of this dialogue repeats the information you already provided at the recruitment center, and is therefore unnecessary.
P37 I*m wondering what Sarah*s goal is. If just to avoid marriage, why would she voluntarily enlist? By 1863 wouldn*t most know how horrible war is? Why not just head out West with her brother?
I guess I*d like to see some tangible antagonist or suspense at Sarah*s being discovered, yet a few pages later the sergeant figures it out and does nothing.
P56 A few months from learning her a, b, c*s and she*s now able to read Shakespeare? Seems a bit of a leap.
P70 In terms of bathing, what did Sarah do for the first half year in the army? Would be nice to see more remorse or impact at Ethan*s death.
P76 Dan, Clem, and Marcus? If they*re new, you need caps.
P80 Interesting touch about *I was killed at Cold Harbor*.
P104 Interesting part about there having been 400 real-life, disguised women soldiers in the Civil War. read -
A review of Lost Sonby Paul Ulrich on 09/04/2005Very nice story and the best I*ve read for quite some time. You had a great premise and followed through with a good structure, sympathetic characters, and clear/believable dialogue. One area that could use a bit more thought would be the plot and the interaction between husband and wife. I thought the last part of the second act was the one weak area in the story. Maybe you... Very nice story and the best I*ve read for quite some time. You had a great premise and followed through with a good structure, sympathetic characters, and clear/believable dialogue. One area that could use a bit more thought would be the plot and the interaction between husband and wife. I thought the last part of the second act was the one weak area in the story. Maybe you could set that up earlier to have the growing tension between husband and wife apparent from the start (as it was with the mother-in-law).
I also think you could trim the dialogue quite a bit: you don*t have to record everyone*s thank-you or goodbye. Also, I had a problem believing a key plot point: that a computer scientist and paralegal have no computer (and Internet connection) at home. You could fix this in one of several ways: set the story in the late 1990s or change their occupations. Maybe have the father as a truck driver who*s away for long periods and thus doesn*t have the chance to observe his son Taylor as much as the mother.
One other potential problem is having the boy switch quickly from 6-year-old to hardened adult pilot and then switch back again without any apparent motivation. You might want to have something- -maybe stress- -trigger the switch-over. All in all, you succeeded in making this a believable premise. Good job.
Good luck with this.
Below are some page-by-page comments made as I read along.
By the end of page 1, I felt like the air traffic controller: cut the chatter.
P8 That was a fast house closing if they’re already in it after a few weeks.
P12 I like the *ship out* line.
P16 LOL. Taylor*s *fuckin* broad* line.
P20 Good line about ‘please, son, shut your mouth’.
P44 sits in THE center of the room
P47 just LYING here faking it- -better, both grammatically and perhaps with double entendre potential.
P51 Where ARE YOU now?
P63 corrg?
P66 nice line: *if that plane could cook, I*d marry her*
Great scene with the *relax toots*
P69 you*re NOT your gonna
P75 Not believable that I guy who works such long hours in software QA doesn*t have a computer at home. Not to mention a paralegal, whose JOB is to research things.
How about: * I DON*T THINK I can do that*--more believable than the current line.
P80 you*re right RATHER THAN you are correct.
P81 *a bit dejected* is an awkward turn of phrase.
P83 Eric*s question of an affair is abrupt. Needs better set-up early on. I*d think she might believe HE was having one with all the late nights.
P87 I like the school secretary scene.
Reincarnated FROM not BY someone with a little more class.
P88 The sudden switch from *Mommy* to the pilot talking is disorienting. Couldn*t there be some clear trigger for the pilot personality to emerge---stress perhaps?
P94 You*re repeating the line about the plane could cook.
P102 I think the sister should express shock and surprise and Taylor*s first correct comment. read
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