You're not screwed.

Nothing wrong with moving on. You can always return to that other script later with fresher eyes.

If you are passionate by a new idea, use that energy and write it.

Your first few scripts are learning experiences. So, you're learning.

Find a writers' group. Get mentored by people with a few notches under their belt. Pay for notes by an established writer or reader if needed.

I second what Michael said - write the next script, then come back to this one. You know how you can't remember some bit of trivia no matter how hard you try, but later when you are doing something else, that trivia pops up... as if whatever you were doing accidentally dislodged that bit of triva? Same with scripts. The character thing you are having trouble with on Script #1 may end up solved by accident when you work on Script #2.

Why is shelving your thriller until you feel inspired about it a failure? Serious writers are always juggling the projects that they're working on, and have to work on a schedule of redrafting and creating new scripts.

I say don't slow down. Work on the comedy. Your thriller will be there when you're ready to tackle it.

I'm also stuck on a long complicated project that, coincidently, is set near Yosemite.

I often think I should put it on hold and instead write one of the many shorter/simpler story ideas for which I have piles of notes.

But it always feels like I would be giving up on the first, important-to-me story.

Put it down and pick it up later. You'll come back to it with fresh eyes, fresh perspective and fresh attitude.

If it's really become like pulling teeth, taking some time away could be good for a couple of reasons - certainly to recharge your enthusiasm batteries and to get space from this particular script, but every script is a learning experience, too. There could be a massive problem with the script - either structurally or even at the concept level - that you are too close to see right now, which could be why you are having so much trouble getting through this one. (I had a script I just couldn't make work, and, one year and a lot of learning later, realized the problem was in the idea itself and that I'd never gotten really clear about what I wanted to say with the story. It took some distance to see what was really deeply holding the story back vs. what was just a surface probleml.)

If he didn't want shelf it right now.. and is open for sharing plot and story stuff. He could use it to kick off the "Collaboration Section". Granted working plot holes and brainstorming pretty much shares your ideas with everyone. And leaves it open for the taking. But at the same time you get plenty of new perspectives from talking it out with others.

Absolutely move on. There are always more ideas and more scripts, but you've only got so many years to write them. Like you said, if you're not inspired, what's the point?

We all have a script we had to put down or put away for a month/year/or even years, for the sake of continuing to move forward with our writing career. Go back to it later and continue writing something new. I have a friend who considers himself a screenwriter, but yet only has one script under his belt. This idea has been re-written well over a hundred times. I keep urging him to move on with something else, but he wants to make this idea work. Know when to let go and trust that it will either work itself out or it won't. Don't be obsessive, be professionally committed.

Write what you're motivated to write.

Simply put, there's little reason you can't work on more than one thing at a time. Yes, it may take longer to complete one or another, but if you've got them lined out, work with what you have in your head at that time. Go back to the other later.

Simply put, there's little reason you can't work on more than one thing at a time. Yes, it may take longer to complete one or another, but if you've got them lined out, work with what you have in your head at that time. Go back to the other later.

Wow. I like the advice I'm seeing here.

I also would move to the energy-generating project now, and return to the thriller later.

If I may add one more thought, it would be to do the heavy-lifting work of prep writing for the energy-generating project while you're all charged up. That way, when energy flags (as it could later on) you'll have your energy-bunny step outline and character-development materials right there for you, showing the way. If you've devised cool, integral ways to solve your story gaps and questions, and you have strong characters and relationships already worked out, the only way to go is "through".

Best of fortune with both projects!