Script writer Phil Parker hired again!

Job complete. Client thrilled. Hired again! That’s the kind of news I love to hear!

Recently, the award-winning filmmakers at Tent Pictures Productions contracted me to write a comprehensive treatment/ outline for their animated feature film, ‘A Street Cat Named Anbar’. With only minimal character outlines and a basic concept to go by, I set about creating a compelling adventure, sprinkled with both comedy and drama. Think ‘Lady and the Tramp’ meets ‘The Pink Panther’.

My client was thrilled with the results:

“The story is perfectly constructed, with compelling characterizations and appealing plot. My story would NEVER have happened without the assistance of Phil. I am very grateful to work with him, and still continue to do so. Thank you for running such a fine business. Great work!” – Fadel AlMheiri, Director (TPP)

I’m very pleased to announce that TPP has hired me again to write a comprehensive treatment/ outline; this time for a road-trip comedy/ drama feature film. Work begins soon, and I can’t wait! I live and breathe for great storytelling.

If you, or someone you know, need the help of a passionate and in-demand screenwriter, please feel free to contact me. I look forward to working with you!

For more information about me, please visit


“My story ‘Kindred’ is now a unique, fun, powerful, meaningful and kick-arse screenplay because Phil challenges your story to be the most potent it can be. He really knows structure and how to write with economy, flair and versatility. Your script will be in great hands!” Josh Bryer, Creative Director

“Directors and production companies from around the world are hiring Phil! And rightly so. His ability to turn a good idea into a great screenplay is a talent anyone would want for their project.” – Karel Segers (Founder,

Script Writer Phil Parker Earns High Praise for KINDRED

Off the back of his multi-award winning screenplay, ‘The Third Bomb‘, screenwriter Phil Parker was hired to write ‘Kindred‘ – an action/ sci-fi story by director Josh Bryer. Set in the Australian Outback – and with Indigenous Australians in lead roles – Kindred is a rollicking adventure in the vein of District 9 and Star Wars. It tells the tale of one man’s failed alien abduction and how he must work with his would-be captor to save humankind from extinction before the monsters from his past catch up with them.

Already, high praise for Kindred is coming in from industry sources:

“(Kindred is) fantastic, adventurous, and loads of fun as it takes readers across The Outback, introduces them to uncommonly featured peoples, and manages to tell a story of grand proportions… The action and conflict were absolutely awesome… The stakes were high, the energy was great, and the fights were thrilling to read.” – reader

Indigenous Australian sci-fi has made the news recently with the exciting new series, ‘Cleverman‘ being picked up for a second season by SundanceTV. The brains behind ‘Kindred’ – Josh Bryer and Phil Parker – are also on the lookout for interested producers and agents to help bring their action/ sci-fi tale to life. Your help in spreading the word will surely be appreciated 🙂


Script writing job complete. Client thrilled!

After being selected from a short list of script writers, I was hired to turn the outline of a great story into a great script. But only pages 15 to 85! The client was to write the rest.

However, once I finished – the client was so happy with my work – we renegotiated, and I was commissioned to write the entire script.

The result?

‘Kindred’ – a feature-length, action/ sci-fi script. Kindred written by Phil Parker story by Josh BryerWritten by Phil Parker. Story by Josh Bryer

Logline: After a failed alien abduction, a headstrong Indigenous Australian must join his captor in a fight for humanity’s future, before they’re destroyed by the monsters from his past.

“Kindred is unique, fun, powerful, meaningful and kick-arse because Phil challenges your Story to be the most potent it can be. He really knows structure and how to write with economy, flair and versatility. Your script is in great hands.” – Josh Bryer (client)

Needless to say, I am also thrilled! I cannot wait to see this exciting and timely story reach the big screen one day.

I’m also looking for another great project to sink my teeth into. If you, or someone you know, is looking to hire an award-winning writer to make their story kick-arse – let me know.

Feel free to use the social-media buttons below to spread the word. 🙂

Many, many thanks!


SCRIPT WRITING: How to introduce your main character.

In screenwriting, you’ve only got the first 10 to 15 pages to make people care about your hero. Make them count! #screenwriting #amwriting #storiesbyphil #writerforhire


On a recent day off, I realized I had a problem – I had two movie vouchers that were about to expire, but a glance at my Flixster app revealed there wasn’t much on that was worth seeing. What’s a script writing cinemaphile to do? Loath to waste the vouchers, I went for the two best rated films I hadn’t seen yet. Their ratings weren’t high, but I figured, hey, sometimes everybody else is wrong and I’m right, right?

Well, kiss my grits! Everybody else was right.


character intro - low ratingsThere was plenty wrong with both films, but I’m not here to bash the blood, sweat and tears of fellow filmmakers. Instead, I want to muse in general on a critical part of screenwriting that I think could have been done better.  To that end, I will talk about the beginning.

The first 10 minutes of a screenplay (and thus a film) is the most critical part of the whole enchilada. This is where the everyday life of a hero is revealed. This is their world. The writer is inviting the audience in to have a look around… and to give a shit. To care. To get emotionally invested in the hero before their world is turned upside down by events in the film.character intro - first 10 minutes

Have you ever walked into/ turned on a movie more than 10 or 15 minutes into it? Bet you felt lost, huh? Of course you did. I bet you didn’t really end up caring that much about the hero, even if there were specials effects and boobs.

What about walking OUT of/ turning off a movie after 10 or 15 minutes? Ever done that? Bet you did it for the same reason: you just didn’t care about the hero.

character intro - inciting incidentUsually around that point in a film is when the crapola hits the fan. Something big happens to the hero and they end up spending the rest of the film trying to make things hunky-dory again. If the writer hasn’t done their job properly – or if you missed the first 10 or 15 minutes of the film – you won’t really care. Oh, you might care on some kind of primal level (gee, I hope that baby doesn’t die) but you won’t understand the beating heart of the story that was setup (or was supposed to have been setup) in those vital first minutes/ pages.

Screenplays and films that do succeed in making you care by that point are the ones you can watch over and over again. The ones that win awards and people talk about many years later.

This terrific video by Michael Arndt (Toy Story 3) reveals how Pixar does it:


Listed below are a few examples of what some great movies/ tv shows did to introduce their heroes. Maybe it’ll give you an idea of some of the things a writer needs to do to capture the hearts of their audience.

Breaking Bad – Walter is left out in the desert in his broken down caravan dressed in his underwear. We see how he’s passionate about his job and loves his wife and handicapped son. That’s when he gets hit with the news he has cancer. By then we like him, so WE CARE.

Gladiator – Maximus is liked by his soldiers for being a skilled general who cares about and inspires them. He is liked by the emperor’s daughter and makes the emperor’s son jealous. He misses his family and keeps wooden carvings of their likeness. Then he’s betrayed and must flee for his life. WE CARE.character intro - classic movie 2

Casablanca – Rick is the owner of the hottest café in town. People want to know him. Women want to sleep with him. He says he “sticks his neck out for no one”, but he has a warm relationship with his black piano player and helps a young couple desperate for money to win at his casino. Then the old girlfriend who dumped him walks into the bar. WE CARE.

Rocky – He’s a blue-collar everyman, struggling to get by. He gets his face bashed in boxing for nickels, but he loves it and he’s pretty good at it. He collects debts to pay his own bills but doesn’t like being the bad guy. He has a crush on nerdy girl at the local pet store and he loves dogs and turtles. He’s such an underdog, that when the world champ gives him a shot, WE CARE.

The Godfather – Vito Corleone holds a lavish party for his daughter’s wedding. He is feared and respected by all who seek his favors. He holds loyalty above all else and rewards those who show him the same. His love for his family and his status in life makes us (God help us) CARE. Oh, and he likes his cat. So he can’t be all bad, right? (*choking on fur ball)

character intro - classic movFor some in-depth tips on how to create great characters like these, I recommend having a look at Michael Hauge’s book “Writing Screenplays that Sell”. You can read it online here:

After reading the examples I’ve given above, the techniques in Chapter 3 – Character Development – will make more sense. They’ll definitely get you excited about making your own characters come alive.