Screenwriting

There's a lot of talented screenwriters on Stage 32, Éli Sokhn. I suggest posting an ad on the Job Board (www.stage32.com/find-jobs).

where is the best way to contact you , I know i can fit the bill

Hi,

I have a completed three-part screenplay that is character-driven and built around a strong emotional arc. It’s a mid-budget project with solid potential.

If you’re interested, I’d be happy to talk more about it.

Hi — this definitely caught my attention.

I’m currently developing a prestige series project where character psychology under institutional pressure is the core engine of the narrative. The work focuses on slow-burn escalation — turning emotional erosion, ethical compromise, and suppressed trauma into forward-driving tension rather than relying on external action alone.

I have a completed pilot, follow-up episodes, and a series bible available as writing samples. If you’re specifically looking for character-driven tension where desperation becomes structural momentum, I’d be happy to share material privately.

Either way, wishing you success in finding the right collaborator — it’s a great brief.

I might be able to assist and if not I should know an other writer who might be a good fit for your project.

Congratulations on the script requests and meeting requests!

Congratulations everyone! Bravo!

That's incredible congrats everyone.

I remember Maximum Overdrive, Billy Kwack. That shows vehicles, objects, etc. can be characters.

I loved Homeward Bound: The Incredible Journey growing up, Michael Dzurak. Do the animals talk in that movie? I can't remember.

I have nothing to add other than I love Flow .

I'm looking forward to seeing Flow, Marie Hatten! I don't know much about it. That's how I like watching some movies. Have you ever written a script with an animal protagonist/character?

Hey Maurice Vaughan Flow is so moving and meaningful. There's a cat in my current project sadly to demonstrate how perpetrators use pets to yield power and control over their partners.

Thanks, Travis Seppala. I've signed a shopping agreement and sold some short scripts, but I haven't gotten an option yet. This info will come in handy. Congratulations again!

It's a pleasure to hear from you, Ryan.

Ryan Wilford Congratulations on your works! I wish you the best of success with them. If I can help you in any way, feel free to send a message!

Maurice Vaughan Would you mind elaborating further either on this post or via message on what you mentioned about where you post things, such as social media or on certain sites?

Hi, Mikey Franks. The Your Stage Lounge (www.stage32.com/lounge/promotion) and my Twitter/X and Instagram pages.

Maurice Vaughan Thank you for clarifying. I'm in the process of rebranding myself, if that makes sense. I'm going to create a new X profile and Instagram once I best develop my strategy. Thanks again!

You're welcome, Mikey Franks. That makes sense, and it's a great idea! Let me know what your new X profile and IG are when you make them.

Keep going Samarie Scott dont give up, it only takes one yes . Early days for me but I find the writing hard .

Hi, Samarie Scott. I know what you mean. What works for me a lot is networking/building relationships on social media. I've gotten script requests, jobs, etc. that way.

Here are some blogs on networking: www.stage32.com/blog/tags/networking-41

Stage 32 is having its next Community Open House January 28th. It'll help you make connections. It's free to sign up. www.stage32.com/education/products/stage-32s-january-2026-community-open...

And Stage 32 has free in-person Meetups that are great for networking (www.stage32.com/meetups). You might meet producers, executives, directors, managers, actors, and more. If you don't see a Meetup in your area, keep an eye on that page for new Meetups. And you're welcome to start your own Meetup.

Apologies for being a cynic, but most people will take something for free gladly.

I'm in favour of securing film rights to a story through an ISBN before giving anyone anything.

I'd have to agree with Maurice Vaughan . Some producers just take a long time to respond due to their schedules I guess. I sent out my first script when I finally had it edited correctly and I had about 5% respond overall and the rest not at all. About 7 or 8 weeks after I sent my first script out to a handful producers, I had two come back and ask for a pitch deck. But on the same note, I sent out a query earlier this week with my script and had a producer ask to meet with me over a video call the same day. So the way I see it is there is a producer out there waiting for your story. You just have to find them.

As far as I understand, it’s very hard for a new screenwriter to sell a raw concept. You usually need to write the full script, or find a co-writer if you can’t do it alone.

I asked the Stage 32 Success Team about this.

If the producer gets back to a writer with reasons she didn't like the script, it keeps the conversation going. The writer says he can rewrite it, which maybe he can and maybe he can't. But the producer already read what the writer thought was a good script, and she didn't like it. Is the script good enough to buy and have someone else rewrite it? Do I want to put the hours into notes, only for it to never be as good as I imagined it? That's what she's thinking.

Or is there a script in my yet-to-read stack that doesn't need rewrites, other than set it in Georgia, New Mexico, or Louisiana (I guess now Kentucky).

I usually say something like, "I dont think I'm the right producer for this, but I sincerely wish you all the best with your project." Most of the time I get a "Thank you." Although sometimes I get, "What's wrong with you? How can you not see the brilliance in my masterpiece?" And then I explain,"Will Smith passed on The Matrix because he just didn't get it. If this turns into a hit as big as The Matrix, I'll definitely be kicking myself, but I'll be happy for you."

If I got too many negative replies, I might stop responding altogether too.

That closed circle is a real problem, but it’s not the only reason why someone might not be betting in touch with you. My recommendation is to keep improving your craft, keep making yourself more and more necessary to the show people around you, and maybe that one lead will go somewhere in the meantime. if not, your work will slowly be making yourself success into a statistical certainty regardless.

Langley Coleman Yes, that makes sense. No industry has been immune to the 'do more with less' ethic over the last 30 years for sure and time is the most precious commodity any of us have so I suppose anything that seemingly reduces time demands is progress. I do not always share that sentiment but it is the world I am living in and always adjusting day by day as needed.

Thank you for sharing this Langley! These are the exact struggles I had when writing one and now I know how to make it clearer for the producers. Much appreciated!

Sandy Lane Glad it was helpful! good luck!~

You make a good point Langley Coleman about many producers having the type of movie in mind they want to make. While true, I would not say that's not a universal rule or always the case though. It's important to consider that many producers are very open minded people. Pretty much every single one I've met has been and I've met hundreds at least. They're not so one-track all the time. Yes, they have mandates and operate with those in mind, but most producers in this industry are also 100% open to being surprised and welcome the thought of seeing something unexpected or that they didn't see coming. A sharp, standout logline in the right genre will get you read, but a log line with a totally fresh, new, original idea will spark that undeniable intrigue as well. Point being: there's exceptions to the rule is all. Most of the time it is good to at least aim for the target they've set out and give them loglines they want to see that at least show some alignment.

I'll say the biggest issue I see with loglines these days is how many writers are clearly using AI to write their loglines for them.... and they are terrible! Sure the general, basic logline format is formulaic and kinda tired/old hack, but lemme tell you, AI is not reinventing the wheel with it! There's such an odd cadence to AI generated/assisted loglines, like the rhythm is totally off and the language used is needlessly descriptive or salesy. It just gives major ick! Would advise all writers to stop looking for shortcuts with AI and writing! You (hopefully) wrote your script, so you're the expert on it! Be the expert and write your own loglines people! Ok, I'll get off my soap box now

Pat Alexander So interesting you bring up the Ai loglines, because those characteristics are exactly the issues that I'm seeing in most real life screenwriters' loglines too. Given how Ai works, I guess that explains where the Ai gets its technique!

As I was saying above, my main point is that loglines are an industry tool for efficiency in development, coverage, and sales, and only secondarily a marketing tool

Congratulations, Kevin Jackson! You could do a script swap with another writer.

Kevin Jackson I’m just getting started personally. I’ve posted my work on Blacklist and I’m currently waiting on my evaluation to come back. I’ve also submitted to AFF and Page as well. I’ve considered online services to review my script I’m currently working on, but haven’t made the move yet. If you ever want to swap scripts, or just want another set of eyes on yours, I’d be happy to read.

Cheers,

Mikey

I haven't, but this is a great topic, Gabrielle Mahrez!

This is one of the most honest questions I've seen asked in this community, and it deserves a thoughtful response.

Yes, great stories require emotional risk. The moments where you hesitate, where the work feels "unsafe" are often exactly where the most powerful writing lives. Audiences recognize authenticity because it resonates with their own unspoken truths. That discomfort you feel is your signal that you've moved beyond craft into art.

But here's the nuance: There's a difference between using your truth to create universal resonance versus exposing yourself in ways that feel exhibitionist or therapeutically unprocessed. Great writers mine their wounds for emotional authenticity while maintaining artistic distance through character, metaphor, and structure.

My personal philosophy: Write the unsafe version first. Get everything on the page without self-censorship. Then decide in revision what serves the story versus what's purely personal catharsis. Sometimes you keep the raw moments. Sometimes you transmute them into something that carries the emotional truth without literal exposure.

The real question isn't whether to take emotional risks. It's whether you're writing to understand yourself or to communicate with an audience. Both are valid, but they require different approaches.