I’m Husin Alkhatib, a Syrian screenwriter based in Saudi Arabia.
I write film and television stories in Arabic and English, shaped by memory, war, moral choice, and the space between cultures.
I’m drawn to characters revealed by pressure, not protected from it.
@HwoodScrptReadr Success is rarely one thing .it’s survival, timing, talent, pain, choices, and work. The real test isn’t why the first door opened; it’s whether you can keep earning your place after walking through it.
Grateful to @NetworkISA for advancing THE SURGEON to the next round of the ISA Diversity Initiative.
Special thanks to Ilana Grollman for her professionalism, quick response, and care in making sure the material was successfully received.
#screenwriting#TheSurgeon
@Stage32Scripts الترجمة المقترحة:
Well, if you mean the marketing logline, then it’s definitely after. But if you mean the concept logline, then it’s before.
@MorganDrasan@Stage32 Hollywood doesn’t buy scripts—they buy writers. Millions of great scripts never see the light. Market yourself first, your work second. Media is permanent, mistakes aren’t forgiven. Be a writer worth investing in before selling your story.
@Stage32Scripts So yes, for non-standard scenes I rely more on instinct than the page itself, trimming the page count according to what feels right. In the end, the rule isn’t strict—it’s a balanced mix of technical pacing and creative intuition.
@Stage32Scripts To keep the pacing consistent, I trim from the overall count and never let the script exceed 115 pages. Even with sequences that condense multiple beats, I balance it out—always sticking to the one-page-per-minute rule as a guiding principle.
@Stage32Scripts On the page, a chase might take only a few words to describe, yet on screen it can easily run over a full minute depending on the stunt work. That’s why I don’t treat page count mechanically. Action and montage sequences always stretch beyond what the paper suggests.
@HwoodScrptReadr It’s fine to know that the hero will make a clear choice and reach a clear end. But the path must be beautiful and full of challenges. In the end, the road home should be more beautiful than home itself.
@Stage32Scripts I think it comes down to the nature of the plot; an analytical story usually starts out big and then gets narrowed down, while a synthetic one starts small and then expands