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Submitted Work

Movie Projects


Title Average Rating Downloads Date

The Invisible War G.'s Original Draft (Script 1)

No rating
15 08/15/12


I have been writing all my life, but for money starting in 1996. After writing more than 60 published books and articles and several spec features, I wrote my first produced script, YORKTOWN, an educational TV program for Colonial Williamsburg, which was nominated for a regional Emmy. My second, FOUNDERS OR TRAITORS?, was awarded an Emmy on June 14, 2008. My third script to be produced is THE WAR OF 1812, which premiered in January 2012. Upcoming projects include a TV program for kids about Civil War ironclads.

An earlier draft of THE INVISIBLE WAR (PRIVATE THOMPSON'S SECRET WAR) was a Nicholl semifinalist and an Austin Film Festival semifinalist.

I was happy for the opportunity to write script and dialogue for BETWIXT FOLLY AND FATE, an interactive 3-D role-playing game, which won a Gold MUSE Award. The judges said the game “parlayed its mastery of storytelling to bring players right into some of the stories it finds most profound. And those stories are likely to stay with its players long after the game is done. The game makes the player think and feel and wonder as he or she assumes the role of a character in Williamsburg in 1774. Some judges were engaged and emotionally affected, and some spent hours assuming new roles…”

I have a bachelor's in history and theater (concentration in acting and playwriting) and a master's in history--and I'm halfway to a master's in screenwriting. The real value to it is not the degrees themselves but the experiences you have and colleagues you meet. It's great finding online writer communities like Triggerstreet and Amazon Studios! Makes a HUGE difference!

Reviews G. Has Written

Memory, Alex's Original Draft

5 out of 6 people found the following review helpful:

MEMORY feels like a real movie, in the best possible sense

Overall Recommendation:
4 stars
5 stars
Story structure:
4 stars
5 stars
4 stars
3 stars
February 18, 2011
A pitiful anti-hero of a protagonist draws you into this story, seeing what he sees: the visions he suffers every day. The supporting characters never seem anything less than three-dimensional. The plot moves along fairly well, and I couldn’t see the twists coming—though in retrospect, they seemed to fit just right, which is the true test of any thriller (to me, anyway). There’s no shortage of serial-killer stories, and yet this one feels fresh—that’s no mean achievement.

Only two points struck me as revision-worthy:

First, one of the toughest things about screenwriting, at least for me, is staying on that fine line of telling the reader enough that he can see the surroundings/action/characters clearly in her mind, without telling so much that the story slows down and the action drags. This script has so much beautiful detail in it, so much meat to it, that rather than needing to be fleshed out, it could do beautifully with a little more streamlining. If I had to target which particular areas, I’d say the first act and the third act—because that’s where you really don’t want your reader to feel like anything’s slowing down. But throughout, the description/action feels more like a novel than a script.

Second, by about the middle and getting on toward the third act, the visions started to feel less horrifying than distracting—or perhaps I mean not the visions themselves, but their frequency. At certain points, I didn’t care so much about Nick’s horrifying problem as I did about moving forward. (The exception was the visions that showed us something we hadn’t seen before.) On the flip side, the most fascinating parts were when Nick summoned these nightmarish memories purposely to learn some new clue. That’s when they were the most gripping and had the most forward momentum—and when I was rooting for Nick the hardest.

And the tiniest, nitpickiest point of all: at the climax, I found it hard to follow where we were and what Nick was seeing, and found myself wondering if more precise (or perhaps more distinguishable?) scene headers might have helped the casual reader.

With those (pretty minor) caveats, I’ll repeat: this is a compelling, very visual story, with fleshed-out characters and a real-world feel. This is the kind of movie I’d have to see several times to absorb all there is to absorb—and that’s the best kind of movie there is. Kudos to a gifted writer—and many more where that came from!

Favorite Movies

Off the top of my head...


There are a lot of writers/directors whose work I like and greatly respect. You may say I'm willfully blind, but I can't honestly say there are any particular influences. Great writing is great writing.


6 People