Think of Bang2write as your writer’s bootcamp—if the drill sergeant was a script editor with a sharp pen and zero tolerance for fluff.
💻 It’s a website.
🧠 It’s a mindset.
💥 It’s where writers come when they’re done with vague advice, soft edits, and “just believe in yourself” energy.
Bang2write is for screenwriters and novelists who want brutal truth, practical tools, and a career that doesn’t live in their Notes app.
Need to know how to pitch? Sell? Get past the dreaded “no unsolicited submissions” wall?
There’s a post (or ten) for that.
Need help with plot holes, character arcs, or making your story actually good?
Welcome to the dark side—we have structure.
🎯 And if you’re ready to take writing seriously, Get Submissions Ready is ON.
In just 3 days, I’ll help you: ✔ Build your personal submissions strategy
✔ Create a killer package agents & execs will actually want to read
✔ Stop spinning your wheels and start submitting like a pro
Bang2write isn’t about “manifesting” your writing dreams. It’s about DOING THE WORK.
💬 Drop a “READY” in the comments and I’ll DM you everything.
Let’s stop talking about your big break and start engineering it.
#Bang2write #SubmissionsReady #ScriptEditorWithTeeth #WritersWhoMeanBusiness #RealTalkForWriters #WriteSubmitRepeat #GetYourWorkOutThere
Think you can handle working with me?
Cool. Here’s how we do this:
💣 1:1 script edits that’ll make your story bulletproof (and your ego slightly bruised).
🧠 Mentorships for writers who want the real talk and real results - no fluff, no filters.
💻 Online courses so you can level up from “aspiring” to “published and terrifyingly good.”
📚 Need a ghostwriter? I’ve written bestsellers without my name on the cover - imagine what I can do with yours.
🎤 Speaking gigs, panels, workshops? If you want honesty, grit, and more sarcasm than strictly necessary - I’m in.
Bang2write isn’t a hobby. It’s a creative wake-up call.
And if you’re serious about making your story hit hard, I’m the one you want in your corner.
#LucyVHay #Bang2write #ScriptEditorWithTeeth #WriteBetterStories #writingmentor #realwriter #howtoworkwithme
I’m Lucy V. Hay. Or LV Hay. Or Lizzie Fry - depends which shelf you found me on.
🖊️ I write dark fiction that doesn’t play nice
🎬 I tear scripts apart so they come back stronger
💀 I mentor writers like their careers depend on it
💻 I also run Bang2write: part writer support group, part creative bootcamp, part “wtf did I just sign up for?” (Spoiler: it’s exactly what you needed.)
I’ve been published worldwide, hit bestseller lists, and ghostwritten more stories than I can legally talk about.
I’ve also made every writing mistake under the sun - so now you don’t have to.
I’m not here for the fluff. I’m not here to “inspire.”
I’m here to provoke, push, and get sh*t published.
You want safe? Keep scrolling.
You want real? Welcome to Bang2write. Welcome to my mind.
(And yes, bring your snacks.)
#LucyVHay #bang2write #scripteditor #DarkFictionQueen #NoFluffJustFire #screenwriting
Writers spend WAY too much time “self-editing” the wrong things.
They’ll obsess over commas, swap random words around, or rewrite one scene 47 times … yet completely ignore the actual STORY problems.
Here’s the truth:
1️⃣ Fresh eyes beat panic-editing every single time
Leave the draft alone for at least a week. Distance helps you see what’s REALLY on the page instead of what you think is there.
2️⃣ Structure is not optional
Whether you use 3 Acts, 5 Acts, Save The Cat, Hero’s Journey or your own weird little flowchart covered in coffee stains - you need to understand plotting. Otherwise your story will sag in the middle and collapse at the end.
3️⃣ Stop info-dumping
Readers and viewers don’t need your worldbuilding lecture in chapter one/page one. Dramatising information is always more powerful than explaining it.
4️⃣ Self-editing means cutting, not decorating
A tighter draft is usually a BETTER draft. Ruthless writers level up faster because they understand every scene, line and character must earn its place.
5️⃣ You are not “done” just because you finished the draft
Typing THE END is the beginning of the real work.
Too many writers rush straight into submissions or paid feedback before learning how to evaluate their own work first. But self-editing is one of the biggest career skills you can develop.
The writers who improve fastest are usually the writers who learn how to diagnose their own story problems.
If you want to work with B2W on rewriting your screenplay or novel, comment REWRITE (or DM me with it) and I’ll be in touch.
FROM is back on Sky this week and I’m here for it big time 🔥
If you write horror, mystery or thriller stories and you’re NOT studying this show, you’re missing one of the best storytelling masterclasses on television right now.
This is what LOST should have been.
Here’s what writers can learn from it:
1️⃣ The mystery box structure only works if it moves forward
FROM understands that mystery alone is not enough. Every answer creates a bigger question. Every revelation changes the stakes. The show doesn’t just withhold information forever hoping audiences stay hooked.
2️⃣ Exceptional worldbuilding creates obsession
The town feels real because it runs on rules. The monsters have patterns. The locations matter. The mythology expands logically. Horror gets stronger when audiences understand the systems - because then they understand exactly what can go wrong.
3️⃣ Dread is more powerful than gore
Those smiling monsters are terrifying because the show weaponises anticipation, silence and inevitability. FROM understands psychological horror is often scarier than spectacle.
However, FROM has its cake and eats it because it’s also gory AF!! It combines spectacle *and* dread. Wowsers.
4️⃣ Character conflict drives plot
The show never forgets that survival pressure exposes human faultlines. People clash over leadership, fear, morality and hope. The horror matters because the characters matter.
5️⃣ Harold Perrineau is one of TV’s great antihero actors
I’ve been a fan since Harold Perrineau played Mercutio in Romeo + Juliet. Then came Michael in LOST - flawed, emotional and controversial in ways network TV rarely allowed at the time. Then Nick Armstrong in THE ROOKIE - charming and dangerous all at once.
Now as Boyd in FROM, he’s carrying the entire show on his back. Exhausted, furious, traumatised, determined - he feels like a man trying to stop civilisation collapsing with sheer force of will.
Writers - this is how you sustain tension without losing your audience!! ❤️
If you want to work with B2W on your own horror script or novel, comment HORROR or DM me with it and I’ll be in touch.
Creativity = commerce🔥
No, that’s not a bad thing. Seriously! 🤷♀️
My friend @clivefrayne made a brilliant point recently on LinkedIn about how screenwriters need to get real about the sheer amount of money filmmaking requires.
Even a low-budget feature can cost more than someone’s annual salary 🤯 Bigger productions can cost the equivalent of multiple houses.
Yet some writers still act like any discussion of budget, marketability or production reality is “selling out.”
It’s not. Understanding commerce can actually make you a BETTER writer.
It helps you understand what’s achievable for different budgets, why some concepts are easier to finance than others, why contained stories travel, why certain genres consistently get made, and why producers give the notes they do.
Commerce and creativity are linked because filmmaking is collaborative and expensive. Always has been.
Professional writers know this. They don’t just write stories in a vacuum and hope someone magically spends millions bringing them to life. They understand audience, production, distribution and feasibility - because they want their scripts MADE.
Too many emerging writers think protecting their “vision” means rejecting feedback, ignoring practicalities and refusing to learn how the industry works behind the scenes.
But development isn’t anti-art. Notes aren’t the enemy. Understanding the business side doesn’t diminish creativity - it gives it a pathway to exist in the real world.
Comment INDUSTRY for a crash course with B2W on Breaking Into Script Reading - how your scripts are judged behind the scenes, and why.
Want to learn plotting? Watch TV recaps.
Seriously! 🔥
The “Previously On…” sections on Disney+, Apple TV, Netflix, BBC, ITV etc are basically free screenwriting lessons.
Notice how they remind audiences what matters by spotlighting key EVENTS and CHARACTER BEHAVIOUR, not endless exposition or chatter.
They show the betrayal, the decision, the mistake, the reveal, the lie. They focus on actions and consequences, because that’s what story actually IS.
Too many screenplays try to explain the plot through dialogue instead of dramatising it. But if a recap can communicate your entire episode in 30 seconds through visual moments and decisive character choices, that tells you *exactly* what needs to be carrying the weight in your script.
Next time you watch a recap, study what they chose to include - and what they left out. That’s structure and narrative drive. That’s screenwriting!!
Want to understand how industry readers analyse story, structure and character on the page?
Check out Breaking Into Script Reading, B2W’s flagship course in conjunction with @londonswf this June - it’s not just for wannabe script readers, but also savvy writers who want to know how their scripts are judged behind the scenes and why.
Comment READER (or DM me with it) and I’ll send you the link to join us!
I have terrible news 🤯
Your story won’t write itself 🤷♀️
Don’t shoot the messenger - work with B2W instead!
Comment WRITER (or DM me with it) and I will be in touch. Let’s get your script or novel on the page ❤️
Hot take: the “anti-woke” crowd aren’t right about why stories fail … but sometimes they accidentally point at what’s going wrong.
And if you’re serious about your craft, you ignore that at your peril.
Here are 3 things the Dudeflakes get right (for the wrong reasons) - and what you should actually do about it:
1️⃣ Stop turning your story into a lecture
Yes, people complaining about “messaging” are often reacting to inclusion they don’t like. But here’s the uncomfortable bit: if your story feels preachy, you’ve got a craft problem.
Audiences don’t show up to be told what to think. They show up for characters, conflict and emotion.
If your theme is sitting on top like a speech instead of baked into the story, it won’t land. Harsh but true.
2️⃣ One story won’t fix the world
There’s this pressure now to make every single story “say something important.” That’s where writers tie themselves in knots.
Yes, storytelling is political. Yes, representation matters. But no single book, film or show is going to single-handedly change society overnight.
So focus on telling this story well, not making it carry the weight of the entire discourse.
3️⃣ If it’s not entertaining, it’s not working
This is the big one. You can have the most progressive, thoughtful, necessary themes in the world … and it still won’t matter if your story is boring, clunky or flat.
Concept. Character. Structure. Tension. Pace. These are not optional. If they’re not working, nothing else will save you.
Here’s the truth: “Inclusion vs entertainment” is a false argument.
The real issue? Writers skipping the fundamentals and hoping the message will do the heavy lifting.
It won’t. Great storytelling does BOTH. It engages first, *then* it makes us think.
Want to learn how to spot what’s working (and what isn’t) like a pro?
B2W’s flagship course, Breaking Into Script Reading, returns this June. It’s not only for wannabe script readers, but savvy writers who want to understand HOW their scripts are judged behind the scenes - and WHY.
Comment READER and I’ll send you the link to join us!
Writers, stay away from negative people.
And don’t BE that negative person yourself!
Hating on the industry won’t get you hired. It won’t make rejection or ghosting feel any better. It won’t help you get published, produced or make contacts. Fact.
The only thing that will work??
One foot in front of the other. And try to enjoy yourself, because there os mo short cut 🤷♀️
