The Spirit of Wagner Award

Carrying the Flame

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BACK TO THEATRE ROOM

Screenplays

This table is already mid-scene.

Welcome to Georgia Shreve’s cinematic sanctuary — where dialogue is framed, light is implied, and every story breathes in scene.

Each object here is part of the set.
Each story, already framed for the screen.

Over the course of her career, Georgia has written screenplays that are cinematic in rhythm and literary in depth.
She writes for the eye and the ear: for pacing, for silence, for the slow unfolding of character on camera. Her screenplays don’t feel like drafts. They feel like scenes in motion.

Georgia’s scripts have been named Top Ten Finalists and Quarterfinalists in top-tier competitions including Fade In Magazine, BlueCat, Creative Screenwriting AAA, Zoetrope, and Writer’s Network. But more than any placement, what matters is how they read: clean, visual, structured, and castable.

Her screenplays aren’t sketches.
They’re films on the verge.

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Original Screenplays

Homes

is a restrained, psychological family drama about Martin, a man reuniting with the mother he lost to institutionalization as a child and helping her step back into a world that no longer recognizes her. It’s tender, unflinching, and emotionally calibrated for performance.

Traitor, Patriot, General, Spy

is a limited series in the making: the stranger-than-fiction, true story of General James Wilkinson, a real-life founding-era antihero whose name should be famous. Commander of the U.S. Army, secret Spanish informant, conspirator, and would-be kingmaker for Aaron Burr, Wilkinson crosses paths with Washington, Jefferson, Madison, and Meriwether Lewis… and somehow survives. Every episode features a new recognizable name. And yes, it all really happened.

Recognized  By

Formats

Feature Film

Limited Series

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Screenplays

by Georgia

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Screenplays
Traitor Patriot General Spy
In "Traitor Patriot General Spy (Western Waters)," Shreve reimagines the early American frontier as a high-stakes arena of political maneuvering, military rivalry, and unstable allegiance. Centered on James Wilkinson, the screenplay delivers a layered historical thriller in which reputation is strategic, patriotism is contested, and the story of a nation is written in morally ambiguous choices.
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Screenplays
Homes
In "Homes," Georgia Shreve follows Martin Landis on a return trip that becomes a confrontation with childhood abandonment and the unstable meaning of “home.” Told through present-time movement and sharp flashback shards, the screenplay transforms family memory into a tense, cinematic character study of grief, identity, and emotional inheritance.
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Explore more works by Georgia

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Short Stories
The Countess of M—
In nineteenth-century France, a sheltered aristocratic daughter enters a secret romance with a fallen nobleman, discovering both the thrill of being chosen and the cost of defying the social order around her.
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Plays
The Odds
A darkly funny three-scene play about two sisters who grow up treating family dysfunction like a math problem. Ten years later, memory returns with teeth, and “the odds” becomes the name for what was hidden in plain sight.
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Short Stories
The Enigma Variations
In “The Enigma Variations,” a daughter chronicles her composer mother’s brilliance and unraveling as harassment, domestic pressure, and illness sever her from the piano that defines her life. Expansive, intimate, and devastating, the story is both elegy and indictment, revealing how a creative life can be erased long before death.
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Poetry
Mother in the Snow
In “Mother in the Snow,” Georgia Shreve turns a winter stumble into a piercing portrait of maternal endurance under watchful eyes. Dark humor and raw imagery reveal a woman improvising her way forward while trying to hold dignity, and herself, together.
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Poetry
No Pity for Pigeons
In “No Pity for Pigeons,” Georgia Shreve transforms a quiet park encounter into a piercing social portrait of class, displacement, and human vulnerability. What begins with birds and cake ends with a deeper grief: not for pigeons, but for people quietly pushed to the margins of the worlds they once called ordinary.
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Poetry
You, we, I
In “You, We, I,” Shreve turns pronouns into emotional architecture, mapping how intimacy moves between fusion and fracture. With spare, incantatory lines, the poem captures two people reaching for truth through glare, innocence, and uncertainty, before landing on a haunting final shift from “we” back to “I.”
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Poetry
New Life
In “New Life,” Shreve imagines reinvention as metalwork: each day newly minted, each love a chance to re-stamp the self. Through images of repaired bridges, open doors, and an untouched bed, the poem captures the vulnerable mechanics of beginning again without denying what came before.
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Poetry
Is There a Poem in the House?
In “Is There a Poem in the House?”, Shreve turns inspiration into a haunting presence that seeps through walls, books, and breath before vanishing again. By merging domestic imagery with artistic dread, the poem captures the fragile cycle of creative arrival and loss with wit, unease, and precision.
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