Category Archives: reading

A Diamond in God’s Dirt – Poetry Reading by Tiriq R Callaway

Read Poetry Reading of A DIAMOND IN GOD’S DIRT:

Poem read by Holly Sarchfield

Get to know Poet Tiriq R Callaway:

1) What is the theme of your poem?

My sentiments within my poem shows that although I (the diamond) have been in the dirt (going through trials and tribulations in life), it has been God’s dirt – which indicates that I’ve been protected despite the things that I’ve endured in my lifetime – and it was ultimately up to me to be strong and rely on my faith to come out of these hard times to shine and share my story with others to inspire!

2) How would you like people to respond when they read or watch your poetry reading?

I want people to be moved by my words and understand that despite the things that we go through in life that those things are just temporary, and you’ll get through it by staying true to who you are, remaining determined, and above all, keeping your faith!

3) How long have you been writing poetry?

I’ve always written poetry since I was a child. It was my outlet to get away from everything going on around me. I became more passionate about writing as I got older.

4) Do you have a favorite poet?

I have many favorite writers, but my all time inspiration is Maya Angelou.

5) What influenced you to submit to WILDsound and have your poetry performed by a professional actor?

I wanted to showcase my gift of writing and being a poet. I have a lot of poetry and I feel as though it’s time to share my work with the world!

6) Do you write other works? scripts? Short Stories? Etc..?

I just became a published author to my first book entitled “A Diamond In God’s Dirt” which is a memoir about my life. I also have incorporated within my book some poems that I’ve written over the years. I am currently working on a short story, another book, a documentary, and a short film!

7) What is your passion in life?

My passion in life is to inspire, motivate, and encourage kids, adults, and all people who are hopeless and want to give up in life and on their goals, and those who feel like they can’t continue on in life. I want to reach them!

Read SOCIETY Poems

Deadline for POETRY Festival – Get your poem made into a MOVIE and seen by 1000s. Three options to submit:

Read POETRY in the SOCIETY Genre:

Thin Ice, by C. Platt
Read Poems

HEROES, by Reginald McKnight
Read Poems

On Gilded Shore by David B Coutts
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Katrina by Lee Hartsell
Read Poems

image by Julian Masindi
Read Poems

Read Poems

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CREATURES UNDER WOOD, by Michael Faunce-Brown
Read Poems

we fail harder…, by Stefanie Brown
Read Poems

BITTERSWEET, by Anne M. DiResta
Read Poems

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CRIES OF SHIPS, by Toyin S. Ajimati
Read Poems

RUN, RUN, RUN, by Suzie H Canale
Read Poems

Philospher Speaks on The Can, by Paulo Guimaraes
Read Poems

Interview with Molly Driscoll, winning TV Spec writer (Arrow)

    Watch ARROW “Second Chances”, TV Spec Screenplay Reading:


    NARRATOR – Amaka Umeh
    Arrow – Lucas James
    Felicity – Ashley Arnett
    Quentin – John Goodrich
    Diggie – Mark Sparks
    Roy – Andrew Tite
    Canary – Melinda Michael
    Mrs. Bagley – Val Cole

Matthew Toffolo interviews writer Molly Driscoll:

Matthew: What is your spec screenplay of the ‘Arrow’ TV show about?

Molly: The heart of my spec teleplay lies within the title, “Second Chances.” I wanted to explore why we give second chances and what makes some people take them and why others, unfortunately, refuse the chance to change.

OLIVER questions his mission and family loyalty when DIGG’s former lieutenant RICK FLAG threatens to make MOIRA pay for her unpunished crimes. Meanwhile, SARA visits LAUREL in rehab and ROY struggles with leading a double life from THEA. Back on the Island, Sara warns Oliver of SLADE’S increasing erratic behavior.

Matthew: Why does this script fit into the episode context of the show?

Molly: This script was originally conceived last spring, so it fits in the middle of the second season of Arrow. Oliver Queen, aka The Arrow, struggles with his no kill policy. He even questions his whole mission when his former friend turned enemy Slade Wilson seeks revenge. Laurel is also currently struggling with her own addiction. Before Oliver can defeat Slade, he has to reevaluate his mission and the importance of second chances.

Matthew: How long have you been writing stories?

Molly: I have been writing teleplays and screenplays for about six years, but I have been writing stories since I was in grade school. Television is especially my passion because I love great characters. Great characters are immortalized in books. They are highlighted in movies, but they live in television.

Matthew: What movie have you seen the most in your life?

Molly: I am a total TV person. I’ve given my Friends, Arrow, Dawson’s Creek, and Felicity DVDs quite a workout over the years.

Matthew: What artists would you love to work with?

Molly: My writers wish list would be Greg Berlanti, Marc Guggenheim, Andrew Kreisberg, Jennie Synder Urman, Patrick Sean Smith, Jenji Kohan, Kevin Williamson and Julie Plec.

Matthew: How many stories/screenplays have you written?

Molly: I have written three screenplays, three spec teleplays and three original pilots. I am also currently working on a new original pilot and new spec drama.

Matthew: Ideally, where would you like to be in 5 years?

Molly: Although I respect film, my endgame has always been Television. I would love to be staffed for a few years and working my way up. I would like to be developing original material with hopes to produce my own show.

Matthew: Describe your process; do you have a set routine, method for writing?

Molly: My process depends on what stage I am in the project. In the development stage and first draft, I try to be very regimented with daily writing, usually averaging an hour to two hours a day. When it comes to later rewrites, they tend to be a bit more chaotic, sometimes including all day sessions. The one thing I try not to do is let more than two days go by without some sort of writing. It really is a muscle. You know what they say, if you don’t use it, you lose it.

Matthew: Apart from writing, what else are you passionate about?

Molly: I’m originally from the Volunteer State, Tennessee, so helping people has always been close to my heart. Whether it is volunteering or listening to a friend, there’s nothing more rewarding than knowing you have helped someone.

Matthew: What influenced you to enter the WILDsound Festival?

Molly: I had heard good things about the Festival via word of mouth. I was impressed with the continuous promotion the Festival does via Twitter and Facebook. Also, the idea of having a Youtube link to email was extremely appealing. People get so tired of reading scripts, a link seemed like an easier sell.

Matthew: Any advice or tips you’d like to pass on to other writers?

Molly: Write what you are passionate about and don’t worry about trends. Don’t rewrite your first draft as you are writing it. Keep pushing through it. It will not be pretty, but once you get a bad first draft out of you, then you can rewrite and rewrite.

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Deadline: SUBMIT TV PILOT/SPEC Script – Get FULL FEEDBACK. Get script performed by professional actors

Watch WINNING TV PILOT Screenplay Readings

Watch WINNING TV SPEC Screenplay Readings

READ 100s of testimonials for past submitters –

7 Questions with the November Feature Screenplay Winner ELAN CARLSON

Today we like everyone to get to know the talented screenplay writer Elan Carlson. The feature script winner for her script CAHOOTS. Watch it here:


When their fishing village is invaded by brutal immigrant thugs, a Chinese family runs for secret shelter, asking help back to China from a pair of bickering Scottish and Irish rail hands who work a remote railroad spur and breakfast on beans and beer. Smitten by La Ling’s strength and beauty, Haggis twists Ketch’s terrified arm until he agrees. Now, all terrified, they join together undercover and set forth in a survival of scheming, conniving — whatever it takes.


NARRATOR – Becky Shrimpton
HAGGIS – John Goodrich
KETCH – David Schaap
LA LING – Anjelica Alejandro
VARIOUS – Sean Ballantyne
VARIOUS – Stephen Flett


1. What inspired you to write this screenplay about the railroads in the 1800s?

My inspiration to write of 1800’s railroads must have started when I was a little kid and LOVED the trains — the sound as they came and went thru town, when we got to ride, their beautiful structures… It was awhile before #0110 came to be a story.

2. Did you do a lot of research on this time to prepare for your script?

I schooled early in Berkeley, CA. Loved every trip to San Francisco, so finally moved there. Spent every moment possible in Chinatown, wallowing in the food, exploring every shop, neighborhood — and listening. Even bought their Chinese newspapers for special gift wrap.

One night I dreamed clearly of a Ruby/LaLing women standing in a shabby old western bar. With her back to me she was pleading with a man leaning against the bar — never saw his face. “She” stayed with me from then on — every day more intense for me to get to the library and find her story.

After work on evenings and weekends, I began prowling the books and discovered more and more the heart of our early Chinese tale. Which spoke of the time of Chinese emigration from Canton in its economical ruin — people in deep suffering — starving to death. Mostly men came to work the mines and new railroads or needed funds. There was one flourishing center of prostitutes in Chinatown (not the auction house), but CAHOOTS ladies chose man’s labor in disguise. So now I hear my “dream lady’s” story of how her whole self connects to the railroads’ two quirky, compassionate rail hands and how the five become bonded forever in the shelter of the trains. Makes me wonder if that really happened …

3. The interesting thing about your script currently is its tone. It reads like a PG family script for all to watch, but with racism, prostitution, and other mature plots. Was this done on purpose?

Yes — :o) — spent tons of time researching and learning, learning, learning! (and loved it!)

I met my “dream lady” with a sense of deep familyness, then researched and learned her real story — I’m sure, she needed to be heard.

4. Who would be your main target audience for this script?

Main audience target would be all adults, not any youngies, for sure.

5. In a perfect world, what actors would you love to see casted in the the main roles?

Wow! — my first feeling is George Clooney with Matt Damon as Ketch. They live their talented lives in true compassion and understanding of all others. And their ages would be fine with the roles. Wow — would that be “perfect” or what?!

6. Apart from writing, what else are you passionate about?

ALL that brings peace, prosperity, joy and love to everyone everywhere!!!

7. What influenced you to enter the WILDsound Script Contest?

I’ve always loved the movies I see that carry the approval laurel of Toronto International Films.
When I was searching my email for festival entries on Withoutabox, WILDsound popped up — I “WHOOHOOed” and popped in my submission.

Elan Carlson BIO

My second-grade teacher was first to hand me a pencil to create a story. For years, other teachers did the same, and I came to embrace my inspiration with my own pen. First by publishing stories in Berkeley Gazette’s Human Interest Column and to writing PR columns for Phoenix Gazette.

Graduating on to working full time day job, my boss let me skew my work hours to get time off to work in film and to begin screenplay studies. My mentors were Richard Walter UCLA, Dov S-S Simens, Syd Field, Robert McKee, John Truby, William Goldman and Dave Trottier. I have had Linda Seger’s and Richard Walter’s supportive critiques on my beginning scripts. With studies complete in Feb 2003 I signed onto Trigger Street with my first draft of CAHOOTS. It was a daily reading/feedback to other writers and learning their feedback for me. Three months later in May 2003, I had to drop out of TS to care for my ailing dad (then my mom), so CAHOOTS came away with a rating of “Excellent — 11 out of 1,837.”

When my parents came to rest, I moved to Colorado Springs to be with my family in 2014. Here I discovered my first year in submitting screenplays to film festivals — a treasure being Toronto’s WILDsound Festival, who has mentored me with hours and pages of expert feedback and acceptance of CAHOOTS for promotion.

As of this writing, La Femme Film Festival, has awarded CAHOOTS a Finalist Laurel, and Women’s Independent Film Festival has chosen CAHOOTS as first place winner in their script competition.

Deadline is TODAY to submit your own feature script to the festival: