Screenwriting

Which logline do you think is better and makes you want to read the script more?

1) A meek father on the outs with his family, takes them on a desert camping trip to reconnect. But when they witness a professional hit, the father must save his family as the skilled hitmen hunt them throughout the merciless desert.

2) While on a tense desert family trip to repair broken bonds, a mild-mannered father and his estranged family witness a brutal murder by a professional killer and must survive a relentless pursuit across a hostile wilderness, forcing them to confront their worst fears—and each other—to stay alive.

Thanks for your help!

We all want to create characters that are interesting. One way is to have a character seem to be two contradictory things at once. I love this video below where Gene Wilder talks about getting the director to allow him to change his character's entrance so that from then on we don't know if we (and the other characters) can trust the character even when we love him. Such a fascinating insight. As a writer, these kinds of insights are golden. It also highlights the importance of letting the actor have a say on interpreting the character.

https://youtu.be/HnfEQjCf_70?si=TC3bPK15xDSQU39l

When I started writing Yohana's World, I didn’t care who Yohana was going to face. Basically, who the killer was.

I cared what had to break inside her before she saw it.

In most thrillers, the villain hides behind masks, certain clues and misdirection.

In Yohana’s World, the villain hides in her past.

The central question wasn’t, “Who did it?”

It was, “Why didn’t she notice sooner?”

That led me to a harder truth: the killer mattered less than the mechanism that kept her from remembering him.

"We don’t forget things randomly. We bury them.

Layer by layer, story by story, until what left is a version of reality we can tolerate."

Yohana is far from a passive victim of her mind.

She is an active co-author of the deception too.

She imagines justice into existence, because the truth, as it actually happened, is unbearable for her.

That is what makes a psychological thriller work.

Not the chase. Not the crime.

But the slow realization that catching the killer doesn’t solve anything.

Unless the Protagonist also uncovers why he or she protected the Antagonist in the first place.

Have you ever written a story where the real antagonist was inside your protagonist all along?

P.S - Interested to know who the real Antagonist is?

Do check out:

https://yohanasworld.com/ (now available for a direct sale)

Hey Fellow Screenwriters,

If you’re like me, this past week was a sprint to wrap things up so we could actually enjoy the long weekend. We celebrated yesterday, and now… it’s that perfect sweet spot in the weekend — a little downtime to do something for ourselves as filmmakers.

This is the perfect time to check out Stage32’s July Filmmakers Club and dive into the Week One Challenge.

Here’s the blog:

https://www.stage32.com/blog/july-filmmakers-club-week-1-setting-your-in...

It’s not a huge commitment — just a nudge to move your project forward in a real way this month. Doesn’t matter if you’re polishing a script or starting a new idea — all that matters is picking a goal and getting some traction.

To get your brain going, here are 5 simple screenwriting goals you could choose from:

- Finish (or polish) a full feature outline

- Write 10 pages per week — or even just 3 solid ones

- Watch 2 great films and break down the structure for practice

- Connect with 3 writers here on Stage32 and exchange loglines or feedback

- Pick one script and submit it to just one competition or pitch session

If these goals seem too specific that's because SPECIFICITY is the key to taking action. SO feel free to adjust them so they're specific to YOU (i.e., write ONE page per week... Watch 20,000 great films lol)

When you’re ready to post your goal — do it in the Filmmakers Lounge! That’s where we’re tracking progress and cheering each other on.

If you’re jumping in, drop a comment below and let me know you’re headed to the Filmmakers Lounge — I’ll see you over there

Let’s make this month matter!

Hi everyone,

I am currently developing two socially-minded feature film projects and would love to hear your honest feedback on the synopsis below. Both films are deeply personal and aim to highlight untold stories from Southeast Asia, focusing on language inequality and human trafficking.

Project 1: “Bringing the Black Knight to Vietnam”

In a country where learning English is a luxury only the wealthy can afford, 20-year-old Minh has taken a radical approach: hiring fluent African English speakers as motorbike taxi drivers, turning everyday commutes in Vietnam into live language classes. But as his vision challenges deep-rooted prejudices, complex visa laws, and red tape, tragedy strikes—his partner’s house is burned down by angry locals, killing his family and threatening to destroy the entire movement. Will Minh have the strength to continue, or will his dream go up in smoke?

Project 2: “Hell Across the Border”

After failing his college entrance exams and fearing to disappoint his parents, Minh runs away from home. But during a drunken reunion with old friends, he wakes up to find himself in Cambodia. Across the border, they force him to make scam calls to his own people, forcing him to meet a quota of 20 victims per month. If he fails, he will be brutally beaten and mentally tortured. When his limit is reached, Minh has only one choice: risk his life to escape that hell and flee to Vietnam – his homeland.

I'd love to hear your thoughts.

Which journal entry stood out to you?

Thanks so much in advance!

(Please note that this is done as it would be a script for a comic, I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages, if you can take the time to read and leave a review in the comments. replace panels with shot.)

Chapter 4 Page 6 - (Garerit finds Blonderbore's Cave and meets Rebeck) Four Panels

(Ch4 Pg6 Panel Four)

EXT. MOUNTAINOUS REGION - LATE AFTERNOON

Garerit climbs over rocky terrain, eyes scanning ahead. A dark cave entrance looms before him, jagged like the maw of a beast. Bones, broken weapons, and remnants of past victims litter the ground. Garerit finds the cave, massive footprints lead into it. Once inside, he sees piles of food, barrels, and other items. Carrles made of trees hold livestock.

SB (Garerit - Thinking): "Blonderbore's lair.. If the giants hoard treasures, this is where I'll find them."

(Ch4 Pg6 Panel Four)

INT. BLONDERBORE'S CAVE - DIMLY LIT

Garerit steps inside cautiously, the air thick with the scent of damp stone and something foul. A flickering torch reveals crude carvings on the walls, depicting battles and feasts.

SFX: Drip... drip... crackle.

(Ch4 Pg6 Panel Four)

A voice echoes from the darkness.

SB (Off-screen voice): "Another fool comes to steal from the giants?"

(Ch4 Pg6 Panel Four)

A shadow moves, and Rebeck, a cunning-looking figure with sharp eyes and a smirk, steps into the light. He's dressed in ragged but once-fine clothing, a silver pendant around his neck.

SB (Rebeck - Smirking): "You don't look like the usual sort. Who are you?"

(Please note that this is done as it would be a script for a comic, I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages, if you can take the time to read and leave a review in the comments. replace panels with shot.)

Chapter 4 Page 5 - Sir Gael Tells Garerit About the Giants' Cave

(Ch4 Pg5 Panel Four - Medium Shot - Sir Gael and Garerit Sitting by the Fire)

The night sky stretches above them, stars barely visible through the wisps of smoke rising from the crackling fire. Sir Gael sits on a log, sharpening his sword, while Garerit leans forward, listening intently.

SIR GAEL: (gruffly, as he sharpens his blade) The cave of the giants... A cursed place, hidden deep within the mountains where the land itself twists to their will.

(Ch4 Pg5 Panel Four)

(Wide Shot - A Dark, Jagged Cave Entrance with Giant Shadows Looming Inside - (Flashback)

The panel shifts into a flashback, showing a massive cave entrance carved into the side of a stormy mountain. Dark, jagged rocks line its mouth, and enormous shadows flicker inside from unseen torches.

SIR GAEL (NARRATION): It is no ordinary cave. The walls pulse like living stone, and the air is thick with the scent of blood and smoke. The giants keep their spoils there, gold, livestock... and prisoners.

(Ch4 Pg5 Panel Four)

(Close-Up - Sir Gael's Face, Eyes Dark with Memory and Warning)

Back at the castle, Sir Gael's expression darkens, his eyes shadowed by flickering firelight.

SIR GAEL: I rode with men who thought they could steal from the giants. Only I returned.

(Ch4 Pg5 Panel Four)

(Medium Shot - Garerit, Wide-Eyed but Determined)

Garerit grips the hilt of his dagger, his expression a mix of fear and resolve.

GARERIT: Then I'll be the one to leave that cursed place with more than just my life.

(Ch4 Pg5 Panel Four)

(Wide Shot - The Fire Burning Low, Both Men Sitting in Silence)

The fire crackles as silence falls between them. Sir Gael watches Garerit, seeing the determination in his eyes, then exhales heavily.

SIR GAEL: (softly, almost to himself) Brave words, lad... I only hope they do not become your last.

(https://www.patreon.com/posts/how-to-talk-your-132276435)

I had the most illuminating lunch yesterday with a literary manager who represents some of the biggest names in Hollywood. Between bites of overpriced salad, they dropped some serious knowledge bombs that completely shifted how I think about the current film landscape. I couldn't wait to share these insights with you.

The New Budget Reality: Go Big or Go Home

Here's the wake-up call I wasn't expecting: the middle ground has disappeared. According to my lunch companion, scripts are either selling in the $2 million range or jumping straight to $15 million and above. Those comfortable $5 million budgets that used to be the sweet spot for indie films? They're becoming extinct.

Even companies that built their reputation on mid-budget filmmaking are now hunting for theater-worthy spectacles. The rep dropped this bombshell: "Even Blumhouse doesn't chase the $3 million movies anymore. They're looking for $15-20 million horror films with real spectacle."

This shift is reshaping the entire industry. Studios want projects that can command premium ticket prices and generate significant cultural buzz. The era of "good enough for streaming" is over. Everything needs to feel event-worthy.

The Rise of Poppy Horror

Speaking of horror, there's a fascinating new subgenre emerging that the manager called "poppy" or "splashy" horror. Think less grimy psychological terror, more visually stunning, Instagram-worthy scares. These films blend horror elements with high production values, vibrant cinematography, and scenarios that practically beg to be shared on social media.

The A-Lister Strategy: Write for Categories, Not Names

Here's where the conversation got really interesting. The manager suggested something that would have been considered taboo just a few years ago: write your scripts with A-list talent in mind.

"More and more films getting greenlit are completely cast-dependent," they explained. "But don't write for specific names: write for specific categories of actors."

Instead of thinking "This role is perfect for Ryan Gosling," think "This needs a charismatic leading man in his 30s-40s who can handle both drama and action." This approach gives you the star power appeal without limiting your options or dating your script.

The shift makes perfect sense when you consider how risk-averse the industry has become. Attaching the right caliber of talent isn't just helpful, it's often essential for getting financing.

Know Your Numbers

The final piece of advice was perhaps the most practical: understand your project's budget range and pitch accordingly. Too many writers, the manager noted, waste time pitching intimate character studies to producers who only finance tent-pole blockbusters, or vice versa.

"If you don't know whether your script is a $2 million indie or a $20 million studio film, you're going to waste everyone's time, including your own."

This means doing your homework. Research comparable films, understand production costs, and most importantly, target the right producers and financiers for your budget range.

The Bottom Line

The film industry is experiencing a dramatic polarization. Projects are either scrappy, ultra-low-budget affairs or major studio investments designed for maximum cultural impact.

But here's the silver lining: this clarity creates opportunity. Instead of trying to be everything to everyone, writers can focus on crafting projects that fit squarely into one of these categories and pursue them with laser focus.

Questions for Fellow Writers

As I left that lunch, my mind was racing with possibilities and questions:

Do you know where your current project fits budget-wise? Is it a scrappy $2 million indie or a spectacular $15+ million studio film?

Have you considered what category of A-list talent would be perfect for your lead roles?

Are you targeting the right producers and financiers for your project's scale?

The landscape is changing rapidly, but for writers who adapt to these new realities, the opportunities have never been more exciting. Sometimes the best career advice comes disguised as casual conversation over lunch.

What's your take on these industry shifts? Have you noticed similar trends in your own pitching experiences? Let me know in the comments below.