Hi everyone — Davud here, a screenwriter and author. I've spent close to two decades developing an independent theory of abstraction — an attempt to answer what a human being is and how human cognition evolved to distinguish, name, and construct the world it perceives. That theory eventually became the foundation for two very different television projects: THE MISSING CONDITION, a hard science-fiction series where a grieving physicist's experiment awakens an intelligence that grants the unfinished wishes of the dead, and COMMON DENOMINATOR, a half-hour family dramedy about a teacher and four uncompromising ten-year-olds discovering that most classroom conflicts are really unfinished definitions. Both are currently in submission across various labs, competitions, and management companies. Glad to be here and looking forward to the discussions — especially anything on pitching, financing, and navigating the U.S. market as an international writer.
Hi from Davud - screenwriter and author
- Thread starter Davud
- Start date
- Joined
- Aug 13, 2026
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- 17
Welcome to FilmPlatforms, Davud. Interesting to see two such different projects coming from the same underlying body of work. You mentioned navigating the U.S. market as an international writer what has been the biggest challenge for you so far: getting the projects in front of the right people, finding representation, or getting meaningful responses after submissions?
Thank you, Zoltan. The biggest challenge has been getting meaningful responses after submissions, which is closely connected to reaching the right people without U.S. representation.
The projects and submission materials are complete, and I have been entering selected competitions and contacting managers and producers directly. However, most cold submissions either receive no response or lead to offers for paid consulting services rather than a genuine discussion of the work.
At this stage, I am not necessarily looking for immediate representation. The most valuable step would be finding a producer or manager willing to read the pilot and respond to the project itself—its dramatic potential, audience, and practical path forward. For an international writer, reaching that first serious professional conversation appears to be the real barrier.
The projects and submission materials are complete, and I have been entering selected competitions and contacting managers and producers directly. However, most cold submissions either receive no response or lead to offers for paid consulting services rather than a genuine discussion of the work.
At this stage, I am not necessarily looking for immediate representation. The most valuable step would be finding a producer or manager willing to read the pilot and respond to the project itself—its dramatic potential, audience, and practical path forward. For an international writer, reaching that first serious professional conversation appears to be the real barrier.
- Joined
- Aug 13, 2026
- Messages
- 17
That makes sense, Davud. If you’re approaching producers directly, it may be worth being very specific here about what you’re looking for and who you’d like to connect with. That way, anyone who comes across your post can immediately understand what kind of opportunity or connection you’re seeking.
It’s great to see more people visiting FilmPlatforms, including established industry companies, so being clear about what you need may increase the chances of the right person noticing your project. Of course, these connections rarely happen overnight, but making your work visible is an important first step.
