AFTER ACTION (9-page short drama screenplay) by STEVE MEREDITH

A young Army JAG attorney defending a soldier on trial for assaulting a superior officer must convince the opposing counsel to have a redacted after-action report declassified… a report that could exonerate the mentally ill defendant.

There’s a very blurred line between right and wrong in writer Steven Meredith’s courtroom military drama, After Action – a masterclass in dialogue. Yes, film is a show me medium, but when dialogue is this good, seeing two people talk can be just as fascinating as a dazzling set piece. In what reads like a play – this is 99% dialogue – every moment of dialogue simmers with tension as grizzled Captain Peter Crawford faces off with young army JAG attorney, Lieutenant Benjamin Walker in a chess game of words.

Though this has the feel of a military courtroom drama, it all takes place in a conference room as young Lieutenant Walker tries to convince Captain Crawford to have a completely redacted after-action report declassified to help exonerate his mentally ill defendant, Private Sam Ross who faces charges for violently attacking his commanding officer. But he claims that the attack was provoked by constant abuse at his commanding officer’s hands that caused severe PTSD.

Lieutenant Walker’s client faces an uphill battle though.

Of course, there’s much more to the story – and that redacted after-action report could very well determine the fate of Private Ross.

Just as compelling as the strongest scenes in A Few Good Men, this would be a piece of cake to film, especially when taking COVID precautions into account.

BUDGET: Shoe string. Two actors and a conference room.

ABOUT THE WRITER: Steve Meredith began writing short screenplays as a student in college, and while he currently works as a small business lender, in his spare time he continues to write heavily dialog driven short screenplays that are ideally suited for production by independent film companies, or student filmmakers. Steve holds a Bachelor of Arts in Music from Seton Hill University, and he currently lives in Western Pennsylvania with his wife Kelly, and his son Preston. Steve can be reached at: steve.meredith (a) live.com

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

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DOOMSDAY FOR DENTON (6-page short drama screenplay) Written by Anthony Cawood

Some legends are best observed from a safe distance…

So, today’s review is of a script from October’s Twilight Zone themed OWC that I felt was a tad underrated – it was my 2nd favorite of all the entries. With its colorful dialogue and cleverly executed twist ending, this script definitely stood out.

If the title sounds familiar, the script was inspired by the 3rd episode of TZ’s very first season, “Mr. Denton on Doomsday”. If you haven’t seen it yet, check it out AFTER reading this take on the source material.

The story opens when a tough, scrappy young man named Barry enters a bar called the Nag’s Head. Carrying with him a chip on his shoulder, he’s not here looking to knock a few back – he’s here looking for a fight. But not just with anybody – he wants to fight the legendary bare-knuckle brawler, Denton.

As Barry searches for Denton, who’s a known patron of the bar, bartender Danny points to a man nearly passed out at a table, drunk as a skunk. Determined to defeat the legend, Barry buys him a pint and challenges the drunken Denton, who’s obviously way past his prime. But not before praising the man who was formerly dubbed, “Destroyer” Denton.

            BARRY
Ma Dad still talks about when you
put O’Leary in the hospital.

            DENTON
Lucky shot.

Downplaying his accomplishments and seemingly not in the condition to fight, Denton turns down the challenge at first… emphasis on “seemingly”.

I won’t spoil the rest of it, but let’s just say when Denton eventually DOES accept the challenge, things don’t go as planned for young Barry.

A very fun script with great dialogue, it was easy to visualize this on a movie screen. And with essentially one simple location and small cast, it would be a piece of cake to shoot in this COVID climate.

BUDGET: Low. One location. Three main characters.

ABOUT THE WRITER: Anthony Cawood is an award-winning screenwriter with one feature produced and a further four features optioned or in pre-production. In addition to features, he has over forty short scripts produced/sold/optioned – including ten filmed. Also occasionally pens screenwriting articles, interviews with writers and filmmakers, and even a short story or two. He can be reached on his website AnthonyCawood.co.uk.

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

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ARE YOU LOOKING AFTER YOURSELF? (19-page short drama screenplay) Written by BEN CLIFFORD

After feeling his wife has checked out mentally, a young father bonds with a widower in his neighborhood over a shared sense of loss.

The story opens with a very dreamlike voice over as John, husband and father in his mid 30s, holds his breath underwater at a local public pool. He describes this reoccurring dream he’s been having: he’s driving his old car with his wife, Annette, in the passenger’s seat and son, Hayward, in the back. And they’re driving straight into a river. Is it an accident? Or is John purposely driving the car into the river with his family inside? He doesn’t know for sure because, before he can figure out that part of the dream, he wakes up.

If you haven’t guessed, John is having a bit of a mid-life crisis. His alcoholic wife, Annette, seems to be barely there, often times waking up on the couch, hungover. They rarely speak and, when she does attempt to do everyday things, like cooking dinner, she serves it under-cooked. Annette does seem to care, but there’s this distance between her and her family, John and Hayward often spending time together away from her. Things haven’t been right for a while. Perhaps she’s aware of John’s closeted homosexuality. But, even then, they don’t talk about it, which only creates more distance.

As his marriage continues to flounder, John becomes attracted to his neighbor, Alex, a single father who’s wife had recently passed away. Everyone has been really nice and helpful to Alex since the passing of his wife. Maybe a little TOO nice.

Even though John’s wife is very much alive, he relates to Alex, sharing his sense of loss. And the two men bond over it. But, as their bond continues to grow, so does their attraction to each other.

Part “American Beauty”, part “Happiness”, the complex, true-to-life characters in writer, Ben Clifford’s slice-of-life, coming-of-age drama highlight a very poignant, heartfelt script that hits all the right notes.

BUDGET: Low. Some locations, such as a public pool, may require extras. Other than that, there are six speaking roles (2 children).

ABOUT THE WRITER: Ben Clifford is an Australian screenwriter interested in writing drama and comedy. He’s greatly inspired by the works of Peter Weir, Harmony Korine, the Marx Brothers, Todd Solondz, Andrea Arnold, and Cate Shortland. Ben can be reached at: cliffordben502(a)gmail.

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

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UNSAID (8-page short drama screenplay) by DAVID LAMBERTSON

An unhappily married woman contemplates leaving her husband and finally confronts him about it…

Relationships aren’t easy, especially when it’s a relationship you don’t want to be in. But as difficult as relationships like these can be, sometimes there are factors involved that make leaving even more difficult. Especially when marriage is one of those factors.

In David Lambertson’s dialogue-driven, September OWC winner, “Unsaid”, the story’s protagonist, Jennifer, isn’t happy with her marriage. It’s made pretty clear as she and her husband, Derek, watch TV from separate couches. As she sips a glass of wine, watching him guzzle beer and inhale nachos while watching football, she contemplates the possibility of leaving him. She’s been thinking about this for a long time. And, after a few glasses of wine, she finally musters up the courage to end things then and there.

Turns out that Jennifer didn’t even want to get married to Derek in the first place. So, why go through it? Well, it turns out that the reason they got married is the same reason why Jennifer ends up second-guessing her decision – their daughter, Emma.

I won’t give away too much. But though this may seem like a straight-forward marriage drama at first, the unique structure gives the story an unexpected level of depth that hits even harder. It reminded me somewhat of the bittersweet final sequence in “La La Land”, though much more grounded and with opposite circumstances.

The dialogue and the character work here is about as good as it gets in a story like this. And the subject matter is handled with such realism, it’ll strike a chord with anyone who’s ever been in a relationship. It sure as hell struck a chord with me.

BUDGET: Shoe-string – three actors (one child) and a house.

ABOUT THE WRITER: David Lambertson: I took up writing rather late in life having already been retired before I put pen to paper (okay – finger to computer key) for the first time. My favorite genres to read and write are dramedies and romantic comedies. In addition to this short, I have written four features; “The Last Statesman” (a 2015 PAGE finalist and a Nicholl’s and BlueCat quarter-finalist), “The Beginning of The End and The End” (a PAGE Semi-Finalist). “Taking Stock” (a drama) and a new comedy – “Screw You Tube”. Want to learn more? Reach Dave at dlambertson (at) hotmail! And visit his website.

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

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THE LIST (one-page short drama screenplay) by Steven Clark

A troubled man visits a park with a friend he must always make excuses for.

All right, filmmakers. If you’re looking for something safe and easy to shoot while keeping social distancing in mind, look no further than Steven Clark’s poignant and poetic micro-short, “The List”. Although this one is only a one-pager, Clark packs a lot into this brief yet very emotional journey.

We open the story at a park early in the morning as Don, a middle-aged man suffering from severe depression, sits on a bench, contemplating suicide. Though we’re not sure exactly what he’s been through, we get a sense of it as we hear painful memories flash by inside his head as he stares off during the early-morning sunset…

And hold this moment. Hold as the sound of VOICES are heard – men, women, children. Talking. Shouting. Arguing. A SLAP. A GUNSHOT. The CRASH of a car. The whisper of a LOVER.

Then silence.

While reliving those painful memories, he stares at a gun, seriously considering ending it all. That is, until a songbird landing on a nearby tree branch grabs his attention, its melodic chirping distracting him for just a moment. Getting lost in the beautiful simplicity of nature.

He brings out a notebook, a list of various things written down in it, mostly simple things such as, The sun shined today and My daughter called. Once he writes down, The call of a songbird, we realize that these simple yet beautiful things are the little things in life that has kept him from ending his own life despite all of the pain and tragedy that continues to haunt him daily.

Depression is indeed an everyday battle.

BUDGET: Shoe string. One actor and a park bench.

ABOUT THE WRITER: Based in upstate, NY, Steven Clark is the writer of over 30 short scripts, several of which are under option, in pre-production, or have already been made into films. On A Clear Night, a family Christmas feature aimed at a Hallmark Channel-type audience, is currently in the works. Steven can be reached at Steamroller138 (a) gmail.

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

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FROM VILNA WITH LOVE (5-page short historical screenplay) by Warren Duncan

Twenty-four years after the death of their parents in war-torn Germany, a brother and sister seek revenge on the man responsible.

The second-place entry of Week Three’s Writers’ Tournament was the emotionally gut-wrenching and thought-provoking revenge tale, From Vilna With Love, its title somewhat of a play on the James Bond film/novel From Russia With Love. Though the tone of each story couldn’t be any more different. This is a revenge tale.

Before I get into the actual review, let’s go over the three items the writer was assigned to include in this tale; a DIE-CAST TOY CAR, a PAINTER and a PLACE OF WORSHIP. All of which are so naturally weaved into the story, I almost forgot that there were three items that needed to be included. Though one of the items has great symbolic importance to the story’s theme.

We’re taken back in time to 1963, post-World War II Germany, where brother and sister, Tomasz and Lena drive through snow-covered landscapes in the middle of the night, eventually arriving at an isolated cottage deep into the forest. Why they’re here, we don’t know yet.

That’s when we flashback to 1939 – Tomasz and Lena, small children, play while their parents, Piotr and Nadia (both painters) sell their work at a local market in Vilna, Poland. A loving family, Tomasz in particular seems to be obsessed with his favorite toy, a miniature, red toy car. So much so that he even plays with it during dinner, to his father’s chagrin.

But, during what seems like a peaceful dinner with family, the impact of bombs in the distance throttle the small home.

In a later flashback, we’re taken to a church where the family, along with several other frightened Vilna residents, hide from Russian soldiers, who eventually make their way in. It’s there where Tomasz and Lena witness the execution of their father at the hands of soldier, Viktor Ivanov, a memory forever etched into the siblings’ memories, especially Tomasz, who tries to come to his father’s aid, dropping something on the ground.

Back to present time at the isolated cottage, we find out that this is Viktor’s home. And it’s made abundantly clear why Tomasz and Lena are there when Tomasz knocks on the front door with a gun.

You’ll have to read for yourself to find out how this tale of revenge ends. But I will say that the ending might surprise you. I personally pictured this being filmed in black and white with the toy car being the only color we see in the story. Much like Steven Spielberg’s masterpiece, Schindler’s List, the red car’s purpose in this story (more specifically the color red) is so vital to the theme. But, in this story in particular, it’s especially vital to the theme of nature vs nurture – a child’s innocence taken away from them at the hands of a cruel, war-torn environment.

One of the more engaging shorts I’ve read in quite a while, this is a story meant to be seen on screen.

BUDGET: Medium. Historical/time period pieces have the reputation of carrying bigger budgets, but with clever planning and fairly simple locations, this can be filmed on a sensible budget. Regardless, the story is worth every penny.

ABOUT THE WRITER: Warren Duncan writes screenplays and comics in his spare time and has been lucky enough to have several shorts produced and the first issue of his comic book series published. Warren can be reached at: warren_duncan (a) hotmail.com

FROM VILNA WITH LOVE (5-page short historical screenplay)

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

LET ‘ER RIP (5-page short drama screenplay) by John Staats writing as “Weak Won”

An outlaw’s last words are more befitting than he intended.

The SimplyScripts 2020 Writer’s Tournament is officially underway! The annual writer’s tournament kicked things off in its first week with the theme, Money Is the Root of All Evil. If you’re a casual or new visitor of the site, this year’s tournament paired writers off in teams, with each writer given criteria to meet in a two to six-page short screenplay – they’re given a genre along with other random items to include in their individual stories. Now, this may seem like a difficult task, especially considering that each writer was given only a week to complete their scripts. But, hey, that’s why it’s called a challenge. And after reading through the Week One entries, it was clear that the talented writers here at Simply Scripts were more than up to the task.

My favorite of the bunch for Week One and, coincidentally, the highest scoring entry, was Let ‘Er Rip, written by the immensely talented John Staats.

His genre? Historical. Which isn’t exactly my favorite. But my expectations were COMPLETELY subverted by the time I finished this delightfully morbid tale, of which the criteria included; a gavel, a reporter and a park. Which he seamlessly weaved into a very entertaining little gem… while being historically accurate.

The subject of this sharply-written historical piece was infamous cowboy turned outlaw/train robber, Tom “Black Jack” Ketchum of the notorious Hole in the Wall Gang that operated in America’s west in the 1880s.

The story opens with the judge banging a GAVEL (that’s one criteria item) before sentencing Ketchum to death by hanging. For what exactly? Felonious assault of a train – yes, you read that correctly. I know this may sound like a spoiler, but I’m sure you knew what happened to the Titanic before watching Titanic. This is merely historical fact – Ketchum was the first person to suffer capital punishment for the offense of “felonious assault upon a railway train” in New Mexico Territory (which did not become a state until 1912).

Ketchum was accused of attempting to rob a train – the conductor recognized “Black Jack” and shot him in the arm, which was later amputated. But as a REPORTER (criteria item No. 2) interviews him in jail, Ketchum denies the accusation.

That’s exactly how the U.S. government felt about the law – they later found it to be unconstitutional. Unfortunately for old “Black Jack”, the law wasn’t changed until after his hanging. Just his luck, huh? Well, karma might’ve been in effect in this instance – after all, there were numerous other robberies and murders. So, one couldn’t feel TOO sorry for the outlaw.

During his interview with the reporter, despite being sentenced to hang, Ketchum expresses a more positive view on his time in prison while rubbing on his plump belly.

Perhaps he’s been living a little TOO well – it’s been said the man packed on about thirty extra pounds while behind bars. Now, what relevance does his immense weight gain have in this story? That’s one aspect I won’t spoil for you. However, the ending stays true to historical fact while somehow being funny yet incredibly morbid without being gratuitous. You’ll have to see for yourself. But, interesting fact – the story is so historically accurate that a good portion of the reporter’s voice-over dialogue at the end was the actual reporter’s verbatim written account of the hanging – taken from an article written in the Denver Times back in 1901.

Its title taken from Ketchum’s last words, Let ‘Er Rip is an incredibly entertaining historical short that would be awesome to see on screen.

BUDGET: Low to mid budget. It’s a historical period piece, but there’s ways to keep the budget sensible in regards to props and costume. Historical reenactment groups can be a source to rent out stuff on the cheap. Also, vintage props in general can be pretty cheap to rent and even purchase. Though it may take someone good with their hands with carpenter skills to put together the gallows – perhaps one can be fashioned from an old, wooden swing set. It will be a great opportunity for the filmmakers and set designers to get creative!

About the writer: As a fly-fishing fanatic and skier living in the Arizona desert, John Staats has plenty of time for writing. After focusing on features and shorts for the screen, John has now ventured into writing for the illustrated page with hopes of eventually writing a full-feature graphic novel. His feature Impasse has also been published as an e-book on Amazon. John can be contacted at jestaats(a)hotmail.

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

ALL GOOD (21-page short drama screenplay) by Ben Clifford

When his father is released from a mental institution, a confused teenage boy begins questioning his mother about his father’s return to the family home.

As difficult as adulthood can be, life is arguably at its most confusing during our teen years. Especially when transitioning from adolescence. Our bodies are changing, our voices are cracking and our hormones begin to take over. It’s also a time when we’re slowly being introduced to some of the cruel and harsh realities of life. It’s when we’re at our most insecure and angst-y, struggling to find our identities… all while trying just to fit in. But sometimes discovering who you are makes fitting in difficult. Especially for 13-year old Thom, the shy, lonely protagonist in Ben Clifford’s heartfelt coming-of-age drama, “All Good”.

Before we even FADE IN, we already get a sense of where Thom’s head is at through his opening dialogue:

This is just another Wednesday at the guidance counselor’s office. Every Wednesday, Thom pays Mrs. Larkin a visit and lets off some steam. When your guidance counselor is the closest thing to a friend you have, you know you’re pretty lonely. The closest thing to friendly interaction he has with someone his own age is when he’s being bullied while sitting alone at lunch.

We find out that Wednesday is also Thom’s visitation day with his father, Graham, who currently resides within the confines of a mental health facility – after getting arrested for running around naked in public and screaming incoherently at tourists. But Graham seems to be doing pretty well these days. So well, in fact, that he’s been cleared to go back home the next day – though he’s not quite allowed to move back in with his wife, Kathy, and son, Thom just yet.

Eager to make things right with his wife, Graham practically begs Thom to put in a good word for him. But Kathy seems to have other plans, changing the subject every time Thom asks, “When is Dad moving back in?” Until she later gives him her answer:

Not the least bit interested in rekindling her marriage, Kathy seems to be spending A LOT of time with another kinda-single mother named Tina, whose son, Fraser, is right around Thom’s age. Well aware of her son’s loner status, Kathy introduces the two young teens, who have something in common – complicated relationships with their fathers. Through this bond, Thom and Fraser become friends. But Thom has been hiding a secret – he’s gay. And after an awkward moment during a sleepover, Thom decides to run away from home in embarrassment.

To further describe how the rest of this plays out wouldn’t be doing the story justice. Beautifully written, author Ben Clifford tackles themes such as mental health, self-discovery and sexuality with great sensitivity and care. The characters feel like real people and the way the story is told feels like it comes from a very genuine place – as if the author lived it, himself.

Sure to give you the feels, “All Good” is a fantastic slice-of-life drama that would do very well on the film festival circuit – highly recommended to any filmmakers looking to tackle a strong character piece with difficult themes.

BUDGET: Low to shoe-string. There are multiple roles, but the story is dialogue driven and the locations are very simple.

ABOUT THE WRITER: Ben Clifford is an Australian screenwriter interested in writing drama and comedy. He’s greatly inspired by the works of Peter Weir, Harmony Korine, the Marx Brothers, Todd Solondz, Andrea Arnold, and Cate Shortland. Ben can be reached at: cliffordben502(a)gmail.

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About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

I’LL BE SEEING YOU
(five page short drama)

A man vows to bring his wife home from a nursing home in the midst of a deadly pandemic.

After reading Gary Howell’s script, I’ll Be Seeing You I was instantly reminded of this unforgettable line from a very well known and loved film…

I am nothing special… There are no monuments dedicated to me and my name will soon be forgotten. But in one respect I have succeeded as gloriously as anyone who’s ever lived. I’ve loved another with all my heart and soul; and to me this has always been enough. — Duke/Noah Calhoun – The Notebook (2004)

The same beautiful sentiment shines through Gary Howell’s I’ll Be Seeing You, an unforgettable tale of love in the time of lock-down.

We open on a grizzled Henry, recently separated from his one true love, Annie.

At first glance we don’t know the reason for the couple’s separation but then we quickly discover Annie is gravely ill and in a nursing home.

One thing’s for sure though. Henry’s devotion to Annie is dogged. He’s certainly not going to let something like a virus come between him and the woman he loves.

His shoulders droop and he shuffles back to the car. He contemplates driving away, but then gets out and opens the trunk.

So, what’s Henry going to do?

First lock-down and now locked out from the love of his life?

What I will tell you is that this is a beautiful timeless love story. With its clever narrative running parallel to Henry serenading Annie with: I’ll Be Seeing You (a song made famous by Frank Sinatra, Billie Holliday, and the indomitable Jimmie Durante) writer Gary Howell knows exactly how to pull at an audience’s heartstrings, combining the perfect blend of sentimentality with realism in a tear-jerker that will stay with you long after reading.

Following in the tradition of such classics as: The Notebook, An Affair To Remember, Up, and The Fault In Our Stars, and for anyone who has ever fallen deeply in love, I’ll Be Seeing You tells a tale of the indefatigable power of enduring love.

Filmmakers: You’re going to swoon over this one. Just don’t let it be the one that got away.

I’ll Be Seeing You tied for First Place, Writer’s Choice, Simply Scripts May, 2020 challenge – The Journal Of the Plague Year – stories real and imagined/inspired by the current pandemic.

ABOUT THE WRITER: Gary Howell is an attorney by trade, but a writer at heart. He has written several shorts, three of which have been produced, Country Road 12 that stars Dee Wallace (“E.T.”, “Poltergeist”), “Skip,” and “Study Date,” and was executive producer on another short film, “Clean Slate.” He has also co-written with Rick Hansberry a dramedy, “According to Plan”, that was optioned with Josh Monkarsh of Traffic City Productions, and is in development. He has had a manager reach out regarding representation after a drama pilot, “Bounty,” has performed well in several competitions.

Gary enjoys writing both comedy and drama, and leans towards indie-themed pieces that are character driven. He enjoys reviewing scripts and providing advice and constructive criticism to other writers, and would welcome the opportunity to work collaboratively with any producers/directors looking to work with him on any type of project. Gary can be reached at: GaryMHowell (a) gmail.

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ABOUT THE REVIEWER: L.Chambers has been writing all her life – especially in her head, and on scraps of paper. It’s only in the last few years she began to get serious about screen-writing. Prior to this she worked in the Features Department for ABC TV as a Program Assistant, and trained as a FAD. She currently works as a freelance web-content editor and lives with her husband (also a screenwriter) in Sydney, Australia.