Anything Goes

I write stuff for the cinema, the question is if a producer was interested in one of your projects and they only did streaming would you submit your script to them. Can new writers be successful if there work is only on streaming sites?

"White Saviour Meets the Final Girl" (a hilarious ironic comedy written entirely by AI - you guys need to see this - It's a long read but it is actually quite funny and ingenious and all the more layered since AI wrote it and it has some AWESOME quotable lines of dialogue. -- LOGLINE: Samira, the Final Girl, Chad, the White Savoir and Scribble, the Sentient Film Script discover a black market for stolen narrative devices, run by Director Dullard, who aims to auction the town's story integrity. The town's token characters, tired of their stereotypical roles, seek change.

FADE IN:

INT. CAFE - MORNING

A cozy, vintage café, walls adorned with movie posters, buzzes with the chatter of townsfolk. Chad Everwhite, 20s, clean-cut with an air of innocence, sits at the counter, scrolling through his phone. A bell JINGLES as the door opens.

SAMIRA (O.S.)

Excuse me, have you seen a lost script around here? It's very... alive.

Samira, a sharp and beautiful young woman of color, enters the café. She's dressed in a t-shirt that reads "I'm not your token character" with a pair of glasses perched on her nose.

CHAD

(looks up, surprised)

A what? A script? That's, uh, oddly specific.

SAMIRA

It is what it is. Have you seen it?

Chad shakes his head.

CHAD

Nope, sorry. First time here, actually.

Samira's eyes widen with curiosity.

SAMIRA

Really? Welcome to Clichéville. I'm Samira.

CHAD

Chad Everwhite. I'm just passing through.

SAMIRA

(skeptical)

You don't say.

INT. SAMIRA'S APARTMENT - LATER

Chad is now at Samira's apartment, surrounded by movie props and film paraphernalia. They sit on a couch with a knocked-over lamp between them.

SAMIRA

So, what brings you to our peculiar little town?

CHAD

I'm looking for a story. You know, something that'll change the world.

SAMIRA

(smirks)

Good luck with that. Most people who come here end up being part of the problem.

Chad looks around, confused.

CHAD

What do you mean?

SAMIRA

You're the classic "White Savior," aren't you? Here to fix our quirky little lives.

INT. CLIFF'S OFFICE - CONT'D

SUMMARY^1: Chad Everwhite, the protagonist, enters Clichéville and meets Samira, the town's Final Girl. He's surprised to find the place inhabited by living film tropes. Samira, running an anti-trope merchandise startup, questions his "White Savior" role and hints at the town's peculiarities.

Cliff, the town's mayor, sits at his desk, surrounded by more movie-themed knick-knacks.

CLIFF

Samira, you've got a knack for this. You can handle it.

SAMIRA

But why me? Why not Chad?

Cliff rolls his eyes.

CLIFF

Because he's the hero. You're the... well, you know.

Samira looks at Chad, who nods obliviously.

INT. CAFE - LATER

Chad watches Samira juggle her startup work with helping townsfolk, who treat her like a superhero.

CHAD

You do so much for everyone. How do you do it?

Samira looks at him, amused.

SAMIRA

It's called being a responsible adult.

INT. SAMIRA'S STARTUP - EVENING

Chad walks into Samira's bustling startup, where she sells anti-trope merchandise.

SAMIRA

Welcome to "Beyond the Script," where we help people break free from their clichés.

Chad looks around, impressed.

CHAD

This is amazing. How did you start this?

SAMIRA

I got tired of being the "Final Girl" everyone expects to save. So, I made a business out of it.

INT. STREET - NIGHT

Chad sees a woman being mugged by a shadowy figure. He charges in, cape flapping behind him.

CHAD

(heroically)

Leave her alone!

The woman turns out to be a black-belt karate instructor, who quickly disarms the mugger.

KARATE WOMAN

(British accent)

Thank you, kind sir. But as you can see, I've got a firm grasp on the situation.

Chad is left stunned as she delivers a Shakespearean insult to the mugger.

INT. CAFE - NIGHT

Chad and Samira sit in the quiet café.

SAMIRA

Look, Chad. You can't just swoop in and save the day every time. It's not that simple.

SUMMARY^1: Samira is revealed as the town's Final Girl, running an anti-trope startup. Chad, still trying to be a hero, stumbles into a situation where he's unnecessary, leading to a conversation about the complexity of real-life situations.

CHAD

But that's what heroes do, right?

SAMIRA

(sighs)

You're not getting it. Sometimes, the best thing you can do is realize when someone doesn't need saving.

The bell jingles again as the door opens, and in walks Scribble, the sentient film script. He's a floating scroll with a charming British accent and a pen for a nose.

SCRIBBLE

Ah, perfect timing! You're just the chap I was looking for.

CHAD

You're... a script?

SCRIBBLE

The one and only! But I'm tired of being written off, quite literally.

SAMIRA

Scribble, what do you want with Chad?

SCRIBBLE

Why, to help him understand his role, of course. And perhaps find one of my own.

Chad and Samira exchange a look of confusion.

INT. SAMIRA'S APARTMENT - NIGHT

The trio sits around a table laden with snacks and drinks. Scribble is unfurled, revealing a storyline that's been scribbled out.

SCRIBBLE

You see, I was meant to be the heart of a blockbuster, but ended up on the cutting room floor. I want to live out my destiny.

SAMIRA

And what makes you think Chad can help you with that?

SCRIBBLE

Because he's the hero, my dear. And every hero needs a quest.

INT. CLIFF'S OFFICE - THE NEXT MORNING

Cliff, the mayor, is pacing nervously.

CLIFF

(to Chad and Samira)

Look, something's happening. The plot armor in this town, it's weakening.

SAMIRA

Plot armor? What's that?

CHAD

You know, the thing that makes heroes invincible. It's like a force field for protagonists.

Cliff nods.

CLIFF

And it's failing Chad. We need to figure out why.

INT. CAFE - MORNING

SUMMARY^1: Scribble, a sentient film script, enters the story seeking help from Chad to live out his destiny. Chad's plot armor begins to fail, prompting Samira to investigate the issue and question the nature of their roles in the town.

The café is abuzz with rumors of stolen plot armor.

SAMIRA

(whispers to Chad)

This is crazy. How can we even begin to solve this?

CHAD

We need to find the person behind it. Maybe it's some kind of... plot twist?

INT. SAMIRA'S APARTMENT - DAY

The group, now including the karate instructor, gathers around a map of Clichéville.

KARATE WOMAN

I've heard whispers of a black market for stolen tropes.

SAMIRA

That's ridiculous. Who would do something like that?

INT. BLACK MARKET - LATER

The trio, now in disguises, sneaks into a dimly lit underground lair.

SCRIBBLE

(whispers)

This is it. The heart of cliché corruption.

They overhear a shady deal between a villainous director and a group of henchmen.

DIRECTOR DULLARD

The "White Savior" and "Final Girl" are becoming too self-aware. We need to keep them in their places.

The director's plan is to auction off the town's narrative integrity to the highest bidder.

INT. CLIFF'S OFFICE - DAY

Cliff looks overwhelmed.

CLIFF

Director Dullard? But he's just a legend, a cautionary tale for screenwriters.

SAMIRA

Well, it seems like he's all too real. We need to stop him.

INT. TOKEN TAVERN - EVENING

The town's token characters have gathered, sharing their grievances.

TOKEN CHARACTER 1

We're tired of being stereotypes.

TOKEN CHARACTER 2

Yeah, we want depth! We want arcs!

SAMIRA

(to Chad)

This is our chance to help them. To change the story.

INT. STREETS OF CLIHÉVILLE - NIGHT

The town is in an uproar. Chad and Samira, along with their newfound allies, face the chaos.

SUMMARY^1: The trio discovers a black market for stolen narrative devices, run by Director Dullard, who aims to auction the town's story integrity. The town's token characters, tired of their stereotypical roles, seek change.

CHAD

(determined)

We can do this. For Clichéville!

SAMIRA

And for the love of good storytelling!

They join hands, ready to face the challenges ahead.

INT. CLICHÉVILLE STREETS - NIGHT

The streets of Clichéville are a whirlwind of chaos as the token characters protest, holding up signs like "Diversity is not a side dish!" and "I am not your prop!" The townsfolk watch in shock.

SAMIRA

(to Chad)

We need to get to the auction before it's too late.

CHAD

But how do we even find it?

Scribble, the sentient film script, floats in excitement.

SCRIBBLE

Fear not, my dear friends! I have a map of the town's hidden storylines.

The map unfurls, revealing a secret passage behind the "Token Tavern."

INT. SECRET PASSAGE - CONT'D

The trio, now dressed as ninja librarians, tiptoe through the narrow, book-lined passage.

SAMIRA

(whispers)

How did you get this map, Scribble?

SCRIBBLE

(whispers)

A little birdie named Exposition. He's quite the chatterbox.

INT. AUCTION HOUSE - CONT'D

The grand auction room is filled with shadowy figures, all bidding for the town's stolen narrative elements.

DIRECTOR DULLARD

(on stage)

Ladies and gentlemen, welcome to the Cliché Clearance Sale! Tonight, we're offering the ultimate prize: Clichéville's very soul!

The crowd gasps. Chad, Samira, and Scribble sneak in, hiding behind a large prop rock.

CHAD

(whispers)

What do we do now?

SAMIRA

We disrupt the auction, obviously.

Scribble nods, his pen-nose twitching with excitement.

INT. AUCTION HOUSE - CONT'D

SUMMARY^1: Chad, Samira, and Scribble form an alliance with the town's token characters to stop Director Dullard's narrative auction. They infiltrate the auction house dressed as ninja librarians, with a map provided by the mysterious Exposition.

SUMMARY^2: Chad, the White Savior, meets Samira, the Final Girl with an anti-trope business. Scribble, a sentient script, joins them, and they discover a black market for stolen narrative devices. Samira uncovers the weakening of Chad's plot armor and the trio joins with token characters to stop the auction led by Director Dullard. They prepare to infiltrate the auction house using a map from Exposition.

Chad, Samira, and Scribble make their move. They throw smoke bombs filled with shredded plot devices into the crowd.

CHAD

(yells)

This auction is over!

SAMIRA

And the real story begins!

The room fills with smoke, and the crowd panics.

INT. AUCTION HOUSE - CONT'D

The trio emerges from the chaos, each holding a stolen narrative element.

SAMIRA

We've got the "Damsel in Distress" device!

CHAD

And I've got the "Mysterious Old Mentor" trope!

SCRIBBLE

And I shall claim the "Plot Twist" for myself!

They run towards Director Dullard, who is trying to escape with the "Screenplay of Originality."

INT. AUCTION HOUSE - STAGE

The chase leads to a dramatic showdown on the stage.

DIRECTOR DULLARD

You fools! You'll never understand the beauty of the formulaic story!

SAMIRA

We're not here to steal your stories, just to give them back their originality.

The crowd of shadowy figures parts to reveal the town's diverse characters.

INT. AUCTION HOUSE - STAGE - CONT'D

The townspeople hold up their own signs of protest against Director Dullard.

TOKEN CHARACTERS (in unison)

We are not your props! We are not your clichés!

DIRECTOR DULLARD

(sneers)

You'll never change the narrative!

CHAD

(determined)

We already have.

Scribble uses the "Plot Twist" to create a whirlwind of words that surrounds Director Dullard, trapping him.

INT. CLICHÉVILLE STREETS - THE NEXT DAY

The town is cleaning up from the chaos. The token characters are celebrating their newfound depth.

TOKEN CHARACTERS (cheering)

Thank you, Chad! Thank you, Samira!

SUMMARY^1: The trio interrupts the auction dressed as ninja librarians and recovers stolen narrative elements. They confront Director Dullard on stage, and Scribble uses the "Plot Twist" to entrap him. The townspeople rebel against Dullard and embrace their newfound depth.

Samira looks at Chad, who is being showered with praise.

SAMIRA

(smiling)

Looks like you're finally getting the hang of this.

CHAD

(sheepish)

INT. CLICHÉVILLE STREETS - THE NEXT DAY - CONT'D

The townspeople gather around the heroes, eager to thank them for saving their narratives. Chad blushes under the attention.

SAMIRA

(whispers to Chad)

Remember, it's about the story, not just the hero.

CHAD

(nods)

You're right.

He steps aside, allowing the townspeople to celebrate their newfound freedom from their clichés.

INT. TOKEN TAVERN - DAY

The tavern has been transformed into a bustling hub of creativity. Chad and Samira sit at a table with their allies.

SCRIBBLE

(sighs)

Ah, the sweet smell of subverted expectations.

KARATE WOMAN

And the sweet taste of victory.

They all laugh and clink their glasses together.

INT. CLICHÉVILLE LIBRARY - LATER

The group gathers around a table with the "Screenplay of Originality."

CHAD

What do we do with this?

SAMIRA

We write a new story. Together.

INT. CLICHÉVILLE LIBRARY - CONT'D

The group, now including the town's diverse characters, brainstorm ideas for the new screenplay.

SCRIBBLE

(excitedly)

We could have a protagonist who's an octopus astronaut!

TOKEN CHARACTER 2

Or a romance between a librarian and a dragon!

The room buzzes with creativity and laughter.

INT. CLICHÉVILLE TOWN SQUARE - THE NEXT MORNING

The townsfolk gather for the reading of the new screenplay. Chad, Samira, and their friends stand on a makeshift stage.

SUMMARY^1: Samira teaches Chad the importance of the collective story. They celebrate with the townspeople at the Token Tavern. Later, they and their diverse allies collaborate on a new screenplay at the library, which is met with excitement. The following morning, the town gathers for a reading of the new narrative.

CHAD

(clears throat)

Ladies and gentlemen, welcome to the premiere of "Beyond the Cliché."

SAMIRA

A story written by all of us, for all of us.

The crowd applauds as Chad opens the "Screenplay of Originality."

INT. CLICHÉVILLE TOWN SQUARE - CONT'D

The screenplay unfolds, and the townsfolk watch as the words come to life. The story is full of unexpected twists, diverse characters, and a plot that defies conventions.

INT. CLICHÉVILLE THEATER - LATER

The townsfolk have gathered in the newly renovated theater to watch the story unfold.

INT. CLICHÉVILLE THEATER - CONT'D

As the movie plays, the townsfolk laugh, gasp, and cheer for their friends on screen. Chad and Samira watch from the back, smiling.

INT. SAMIRA'S APARTMENT - THE NEXT MORNING

Chad packs his bag, ready to leave.

SAMIRA

(sadly)

I can't believe you're going already.

CHAD

(smiling)

I've learned so much from you and this town. But it's time for me to write my own story now.

SAMIRA

(nods)

Just remember, a good story is one that's honest and true to its characters.

They hug, and Chad leaves, waving goodbye.

INT. CLICHÉVILLE THEATER - THE FINAL SCENE

The movie ends to a standing ovation. The townsfolk hug each other, tears in their eyes.

SAMIRA

(to the crowd)

Thank you all for being a part of this.

INT. CLICHÉVILLE THEATER - CONT'D

The screen fades to white, revealing the words "The End... of the Beginning." The townsfolk look at each other, knowing that their story is just getting started.

FADE OUT.

The End of Episode 7: "The Token Takedown"

SUMMARY^1: The town gathers for the reading of the new screenplay, which is met with enthusiasm. They later watch the story play out in the renovated theater, experiencing a range of emotions. Chad, having learned valuable lessons, decides to leave Clichéville, promising to write his own original story. The screen fades with the words "The End... of the Beginning," hinting at more adventures ahead.

To Be Continued in Episode 8: "The New Narrative"

INT. CLICHÉVILLE THEATER - THE FINAL SCENE (CONT'D)

The townsfolk slowly disperse, talking in hushed tones about the incredible tale they just witnessed. Samira stands on the stage, looking out at the empty seats.

SAMIRA

(to the empty theater)

I guess this is what a new beginning feels like.

Suddenly, the lights dim, and the screen flickers back to life. A shadowy figure appears, casting an eerie glow over the room.

SHADOWY FIGURE

You think you've won? The story is never truly over.

Samira squints, trying to make out who it is.

SAMIRA

Director Dullard?

The figure cackles, throwing back a hood to reveal it's not Dullard, but a new, more mysterious antagonist.

INT. CLICHÉVILLE STREETS - THE NEXT DAY

The townsfolk go about their business, unaware of the looming threat. Samira, now the town's de facto leader, gathers her allies.

SAMIRA

We have to be ready for whatever comes next.

KARATE WOMAN

I've been waiting for a sequel.

Scribble, now with a permanent spot in the town, scribbles away on a new screenplay.

SCRIBBLE

(excitedly)

We shall craft a tale so original, it will shatter the very fabric of cliché!

Hi all,

I am an author out of industry but who has a deep passion to writing as a main job in my life. I am an architect and a semi professional author from Istanbul/Turkey. I have one published book in Turkey and I translate it unofficially in English as well. My book contains 10 short stories in mystery/horror genre, all the stories passing in different spots of Istanbul Since I released my book I keep thinking about to adapt that in mini series for the platforms. But neither I have time(I am a full time employee in my industry) and education to convert the stories to script, nor I have any contacts from the industry to offer my book as a potential show for platforms such as already operating ones like Netflix, Disney+ and the ones potentially will be in Turkish market like Paramount+, HBO.

At this point I wanted to type down an entry here for asking help of the professionals of the industry. Which steps I have to follow on the way to adapt my book to a show and get connections from the industry? Actually I really want to be a full time writer because I have a lot of ideas to write in my mind but as a huge fact front of me, I have to make money for my life and the best way is to do my profession, at least for now.

Thanks in advance to everyone who will give ideas, support or even good wishes to me on my writing adventure!

Hi Stage 32 Folks, I am hoping to attend Sundance in January for the first time in many many years and am looking for lodging for another lady filmmaker and I. Does anyone have any leeds on people looking to fill rooms in places they've rented or any other discount lodging tips? You can email me directly at glorydsimon@me.com.

An obvious observation when it comes to getting a script produced is - one has to find someone will to accept the risks associated with production (cost, time, market potential, etc.). What if, by nature of the script and other things, 90% of those risks didn't exist?

If the Fan Card is a scam, then we should find ways to help people avoid it and connect with celebrities they want to send a greeting to or ask for help from. That sort of thing just to avoid such scams.

Growing up, like most people, I heard more than once the admonishment "Never discuss religion or politics". What a boring life that makes for! :) But all levity aside, it seems to me that our business -- the entertainment business -- may be facing some very dark times ahead, esp. if you care about genuine freedom of speech and/or creative freedom. And IMO, that necessitates a dialogue regarding those issues, esp. as there seem to be too many people out there who are choosing to deal with the possible upcoming changes to our society by burying their head in the sand (which, I've always said, only makes it easier for someone to come and lop it off).

The first thing that worries me is Project 2025, and it's overly vague (deliberate, IMO) definition of what constitutes porn. Frankly, there's a lot of stuff out there that nobody except for an ultra-prudish religious fanatic would consider porn that could fall under that definition if the coming administration decides (as they likely will) to adopt the Heritage Foundation's (the author of Project 2025) notions of what constitute it. Pretty much any sort of sexual depiction, or even expressions of romantic affection, could be considered porn. "Bad language" could even include such tame stuff as "heck" or "darn", and also receive what one might call "The Scarlet P". Violence is an open question, though there are certainly those who feel depictions of it -- at least past a certain point -- qualify as obscene. And then there's any number of things that might be considered unseemly whose depiction might fall under that overly broad definition of porn, from racketeering to meth production to a heist. What could make things even worse still if if the so-called "Christian Nationalism" movement sticks its mitts in there as well (as they very much want to do), as they hold even stricter views still. We could wind up with an industry where everything is either a knock off of the "God's Not Dead" franchise, or "patriotic" movies that would make John Wayne's films look like pinko lovefests. And frankly, as a screenwriter, I have less than no desire to write stuff like that.

The other thing that worries me is the regime (let's be honest, since that's what it's really going to be) will try to engage in a de facto nationalization of both the news and entertainment ends of our industry. Oh, they won't seize the companies outright, a la Castro (we're not Marxists, after all!), but an Executive Order could be issued (esp. if we're under a declared State of National Emergency) allowing representatives of the government to come in and dictate what is and is not to be produced, what will and will not be depicted, what subject matter is and is not appropriate to go before the cameras, etc. There are definitely those involved in the incoming regime who very much would like that. Frankly, I don't want Donald Trump, the Republican Party, the Heritage Foundation, Lance Wallnau or any of the goons involved in the Seven Mountains Dominionism/New Apostolic Reformation stuff, Trad Caths -- any of them! -- controlling what I can watch, or what I, as a screenwriter, can write.

Finally, to all those who say, "Don't worry -- the First Amendment will protect us!", all I have to say is this: laws and constitutions, much like Voodoo, only work if you believe in them. And frankly, IMO, the incoming regime only believes in them in the extent they can be used to achieve their goals. Once they start getting in the way, I believe they will be cast aside. There's actually many ways the regime can get around them: Executive Order, Enabling Act, Holding a Constitutional Convention, or even just out right ignoring them, a la Andrew Jackson ("The Chief Justice has issued his decision; now let him enforce it.").

So anyway, what do you, my fellow creatives, think about all this? Do you feel concerned as well? Or do you feel sanguine that somehow "the center will hold", to riff a bit on Yeats? Let's hear your voices!

1) I won't accept your friend request if you're a screenwriter with no picture or bio.

2) Don't ask to connect, and then send me a private message asking me to read your script.

3) Don't send me solicitations for script consulting or pay-to-play producer/agent services.

4) Don't tell me you have a brilliant idea for a screenplay and then ask me to write it.

5) Believe it or not, this has happened at S32. Don't ask me to represent you. I can barely handle my career.

Anyone know when "Trending Discussion" Lounge will be available again?

It's never fun when these announcements are made, but my department across my TV station's entire parent company is being eliminated in January, leading to layoffs for thousands of us. I'm hopeful for the future and for what might be next, but it's still scary what the unknown looks like. If anyone reading this has a layoff story, advice, words of encouragement, please feel free to comment or hop in my DMs. I'm thankful for Stage32 and this community of creatives during this time. Thank you everyone!