“What if keeping the secret is the only thing keeping us alive?”
Adam J. Spencer. Writer, concept artist, worldbuilder. Some of you met me around the Library of the Lost Scrolls pilot last time. This weekend, I want to show you the other lane.
KERES THRESHOLD — 84 pages. Elevated sci-fi thriller. New Mexico, 1983.
A retired intelligence officer writes a four-line letter to his daughter — I’m sorry. I love you. Don’t go looking. Burn the study. — and puts a .38 to his head. She doesn’t burn the study. What she finds inside is a forty-year silence at the center of a classified program built to kill anyone who learns what has been watching us since before history.
Arrival meets All the President’s Men meets Annihilation. Budget range $8–15M. People in rooms confronting impossible knowledge — horror conveyed through geometry and sound, not VFX. With federal UAP disclosure expected this summer, the market for smart, character-driven NHI-contact features is wide open, and this one begins after the usual questions have already been answered.
Behind it, two more live-action features in very different lanes:
NO THRONE ROOM — contained thriller. Single POV, camouflage as engine, the kind of tension that comes from what people are willing to not see. Currently with a producer.
THE SAME HAND — prestige magical realism. Quieter register, longer reach. The one I point to when someone asks whether I can write outside genre.
And yes, PRAYPREY is still the long horizon behind all of it. Different conversation for a different day.
What I’m looking for this weekend: producers, managers, and executives who want to read KERES THRESHOLD. DM me. I’ll send the package.
Good to be back in the Lounge.
— Adam
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What an interesting concept- I'd totally watch this :)
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My friend, it has been a joy getting to know you Adam Spencer. You've got wonderful things in store for your work and I'm honored to know you.
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Another excellent piece it sounds like Adam Spencer !!
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Good to have you back! What inspired you to write this?
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Leonardo Ramirez, I feel the same—it’s been a real joy getting to know you. I hope a breakout comes soon, but not just for the reasons people usually mean. Yes, making a meaningful living matters, but what matters more to me is the work itself and the people you get to do it with. The real value isn’t just in what we make, it’s in the connections we forge and how they shape the moment we’re living in. Thank you for being part of that with me.
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Welcome Adam. I can appreciate good cover art, illustrations, and concept art. This is a good one.
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Libby Wright—thanks. It’d be a doozy!
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Absolutely well said and agree. Here with you and for you brother. Happy IY weekend Adam Spencer !
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Amanda Toney — good to be back. Honestly, it’s a lifelong obsession with mythology, including modern myth, inspired by my own unique brushes against the unusual.
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Sound very cool! bravo
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Good to have you back Adam Spencer — and a direct ask with a project ready to go is exactly the right energy. The Lounge is a great place to start, and the Writers' Room is where a lot of those producers, managers, and executives are actively looking for new material every week. Grab a free month and get KERES THRESHOLD in front of the right people: https://www.stage32.com/writers-room/plans-vip
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Good
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Great to see you, Adam Spencer! Happy Introduce Yourself Weekend!
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Hear ye, hear ye! Your Lord of Community, Master of the Blog, hath arrived--Ashley Renée Smith!.
Great to see you too, Ashley—always a pleasure.
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LOL! An absolute honor, Adam Spencer.
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Hey Adam Spencer Adam. That logline hits. And the Arrival meets All the President's Men meets Annihilation combo is really smart. Love that you're leaning into horror through geometry and sound instead of VFX. That's way more unsettling. What's the one image from Keres Threshold that still creeps you out when you think about it?
Sam Rivera — The roadside crash sequence, for sure, because it transforms an abstract concept into a brutal, real-time experience. The car doesn’t spin or lose traction; the road disorients reality, as if geometry has slipped. The moment becomes horrifyingly quiet and inevitable—no chaos, no screaming, just a controlled unraveling where cause and effect no longer match. The death feels less like an accident and more like a force correcting the fabric of the world.
Or this one, from the very first scene, but for very different reasons.