Screenwriting

With all best wishes by a producer he states: "The piece feels positioned as a prestige film, and while that carries artistic value, it would require a significant budget . . .That said, your track record and your skill as a writer are evident. You clearly have strong command of structure, character, and tone, and that level of craft comes through on the page. Keep up the good work!"

My question is, how does one find a prestige producer willing to take on my feature "It Takes a Village" which, while special effects are at a minimum, has a large cast and multiple locations? Or is it more likely it would attract a producer if it were a television series? I have the story in both forms. Feature and Tele Series.

As you start thinking about 2026, what’s the first creative goal or intention you want to set for yourself as a creative? Not the ten-step master plan, just the initial move that gets the momentum going.

Is it finishing a draft, committing to a consistent creative routine, outlining a new idea, revisiting an old project with fresh eyes, learning a new skill, making your first industry connection, building a pitch deck, submitting to festivals and contests, landing a rep, financier, or distributor, or finally putting your work out there for feedback?

For me, my 2026 creative goals include:

• Completing the full first draft of my manuscript

• Returning to Cannes and helping Stage 32 have an even stronger year and presence there

• Making Austin Film Festival 2026 our best yet

• Going on a creatively inspiring adventure

• Getting back to making more consistent cooking content on social media

Drop your answer in the comments, and feel free to cheer on someone else’s goal. Sometimes saying it out loud is the first real step toward making it happen.

Here is my first go at doing a movie script format.

Chapter 6 Page 1

The Castle in the Sky

(Scene 1 - Wide shot EXT)

A wide, panoramic shot shows Garna, the giant, walking along a massive stone path leading toward the enchanted castle in the sky. The sky is tinged with deep blues and purples, giving the setting an otherworldly, dreamlike quality. The castle is still in the distance, towering over the landscape like a forgotten relic of ancient power. Garerit, hidden within the tree's branches, peers out carefully, his expression a mix of curiosity and apprehension. The tree sways slightly with Garna's movements, but the tailor holds on tight, making sure he isn't spotted.

As the castle loomed ahead, the tailor saw the world of giants stretch before him- massive, ancient, and perilous.

(Scene 2 - Wide shot EXT)

A glimpse into the inside of the enchanted castle's land reveals towering, massive stone structures that seem barely suitable for anyone smaller than a giant. Inside the gates, giants patrol the area—some standing guard, others relaxing near enormous stone tables, feasting and sharpening weapons. Their booming voices rise in laughter and conversation, giving the castle an alive yet threatening atmosphere. Several giants are loudly conversing as they guard and oversee their captives. The castle's magical aura intensifies here, and the stark contrast between the giants' immense size and the small figure of the tailor underscores the monumental challenge Garerit faces.

Within the castle, giants roam freely, their presence an ever-looming threat to those trapped here. Some are more dangerous than others.

(Scene 3 - Medium shot EXT)

The giants are scattered along the path, some sitting on large stone ledges, while others sharpen their weapons or haul massive supplies toward the castle. Their voices boom like rolling thunder, and their presence makes the tailor more cautious.

Garna - "Ah-ha! Borik! Still eating more than you fight, I see! Hah!"

Borik - "And you, Garna, still carrying twigs instead of real weight!"

(Scene 4 - Medium shot EXT)

A medium panel shows Garerit peeking from behind a tree branch, trying to stay unnoticed as the giants go about their business. His expression is focused, and there's a determined look in his eyes. The giants are mostly unaware of his presence, busy with their affairs. The tailor's observation of these giants introduces the danger they represent, but also hints at the potential strategy Garerit may employ to outwit them.

Garerit - Thought VO "More giants... I must avoid getting caught. Time to use my wits."

(Scene 5 - Close-Up shot EXT)

A close-up shot of Garerit shows him watching through the branches, his face partially hidden by pine needles. His eyes dart between the giants, trying to remain unseen. His grip tightens on the tree, and a single bead of sweat forms on his forehead as he realizes just how many giants are here.

Garerit - Thought VO "There are too many of them... I can't let them find me."

(Scene 6 - Wide shot EXT)

As Garna moves, the castle in the sky comes fully into view as it breaks through the clouds. The structure is colossal, with spiraling towers, ornate bridges of shimmering stone, and glowing runes carved into its walls. A mysterious blue-green light pulses from its windows, and spectral chains drape across sections of the castle, hinting at ancient magic and imprisoned souls. The clouds swirl around its base, adding to its eerie majesty. Garerit's eyes widen in awe and trepidation as he sees it up close for the first time. He grips the tree bark tighter, feeling the weight of his situation.

The enchanted castle stood before him, an eerie fortress of power and mystery. Whatever lay inside, it was not meant for the likes of men.

Ch6 Pg 2

(Scene 1 - Wide Shot EXT)

The castle doors loom before them, massive and adorned with arcane symbols. The air is thick with magic, swirling with glowing embers that drift like fireflies. Standing on the front steps is EliDoras, a tall, regal figure in flowing dark robes, his long silver hair cascading past his shoulders. His eyes glow unnaturally, and he holds a gilded staff, crackling with latent magic. Several other creatures, a fox with human-like eyes, a haggard old cow, and a massive hound with strange intelligence-stand nearby, watching. The fox, cow, and dog stand together, their features now more refined and humanoid. Their faces retain their animal characteristics, muzzles, ears, and fur-but their bodies are structured like those of humans, with proper limbs, posture, and clothing fitting their roles in the castle. The Fox: A slender figure with keen, intelligent eyes, dressed in a fine tunic and cloak, giving the impression of a cunning court official or a scholar. The Cow: A broad-shouldered individual with strong arms, wearing a simple yet practical outfit suited for physical labor, resembling a farmer or stable master. The Dog: Standing with a firm yet attentive posture, clad in a guard's uniform, exuding loyalty and duty, as if once a knight or castle guard before the curse.

(Scene 2 - Medium Shot EXT)

EliDoras smirks, looking down at Garerit, clearly amused by the tailor's small stature compared to Garna. Garna laughs heartily, unaware of the tension.

EliDoras (Cold and Calculating): "A tailor? In my domain? You must be more than you seem... or exceptionally foolish."

Garerit (Keeping His Cool, Responds Wryly): "They say the best tailors weave more than thread, my lord."

(Scene 3 - Close-Up EXT)

The fox, cow, and hound exchange glances, their eyes filled with silent desperation. Garerit notices their strange behavior, sensing something is wrong.

(Scene 4 - Medium Shot EXT)

EliDoras gestures toward the animals, a smirk playing on his lips. Garerit's expression hardens, gripping the strap of his satchel tightly. The fox takes a hesitant step forward, as if pleading.

EliDoras (Casual, Almost Bored): "They were once men and women, like yourself. A simple precaution. If my guests cannot run, they cannot leave."

Most creators don’t get stuck because they lack ideas.

They get stuck because they can’t tell the difference between signal and noise in their own process.

Upstream, every project produces both:

1. Noise (Activity That Feels Like Progress)

Noise looks productive, but it isn’t.

It includes:

- over‑researching

- rewriting the same paragraph

- reorganizing notes

- chasing new ideas

- polishing before defining

Noise keeps you busy.

Noise feels safe.

Noise gives the illusion of movement.

But noise never moves the project forward.

2. Signal (Information That Actually Moves the Work)

Signal is the part creators overlook because it’s quieter and less dramatic.

Signal includes:

- the core decision you’ve been avoiding

- the structural choice that clarifies everything

- the constraint that simplifies the project

- the question that reveals the next step

- the boundary that eliminates confusion

Signal is upstream.

Signal is structural.

Signal is the thing that makes the rest of the work easier.

Here’s the upstream truth most creators miss:

Your project doesn’t need more effort — it needs a cleaner filter.

When you separate signal from noise, the entire creative process stabilizes.

Momentum returns.

Decisions simplify.

The work becomes lighter.

Not because you’re doing more —

but because you finally know what actually matters.

:

Most creators think their project stalls because they’re missing a step, a resource, or a piece of feedback. But the real breakdown happens much earlier — in the upstream layer where the project’s nature and the creator’s approach quietly fall out of alignment.

Every creative project has two modes:

1. Static (Fixed Identity)

This is the part of the project that should never change.

It includes:

- the core premise

- the central promise

- the non‑negotiable boundaries

- the identity of the work

- the reason it exists

Static elements create stability.

They anchor the project so it doesn’t drift.

2. Adaptive (Evolving Execution)

This is the part that must change.

It includes:

- the structure

- the pacing

- the format

- the delivery

- the path forward

Adaptive elements create movement.

They allow the project to grow without losing itself.

Here’s the upstream misalignment most creators never see:

They treat static elements as flexible and adaptive elements as fixed.

That’s why the work feels chaotic.

That’s why progress feels fragile.

That’s why momentum collapses.

When creators separate what must remain still from what must evolve, the entire project stabilizes. The work becomes clearer, lighter, and far easier to move forward.

Clarity isn’t about knowing everything.

It’s about knowing what should never change — and what absolutely must.

Last actual week of 2025 starts tomorrow 12/29. We often spend the last few days of the year 'looking back' at the year just passed and taking inventory of the status of goals and dreams. And then we make some grand plans for next year, in which we inevitably want to put all the goals we didn't get to in the current year.

Such is our use of the markers of time - the day, the week, the month, the year... the minutes. Great tools to track with - but we should not forget also that we actually exist in a continuum. That our time-tracking and measuring systems are mostly for operational purposes so that we all know when to meet and by when to get somewhere, etc. This system is, in a bizarre irony, disconnected from actual time and space. Connecting to time as IT exists is less about the intellect-based clock and the calendar and more about the intuitive and sensory interplay between us and our surroundings, moment to moment. As my acting teacher often reminded us: you cannot skip moments in life you don't feel like living through. So, in that sense, we move through time not by marking the clock and the calendar but by connecting to the wavelength and frequency and soul of the moment and then the next, and the next.

Both modes play their role. As Covey might say, the former is about efficiency, the latter about effectiveness. And for creatives (using the definition that refers to artists), learning how to live in both modes and how to navigate the gear-shifting is the way it is - I've lived in the business world, the science world, the dance world, the producing world, the acting world, the directing world, the national security world, the teaching world, the ... communist world, and the free world ;)

NO CAREER in today's world offers the intellectual, psychological, emotional, and spiritual demands all at the same time as does the creative career. "Normal' people don't do research and a spreadsheet of target producers in the morning or rework the budget when they lose a location or a talent before noon, test their persuasive skills pitching a studio manager at lunch, AND ball their eyes out in the evening as they find the perfect line of dialogue for that divorce scene that may live too close to home or truthfully place themselves in the terrible moment of getting kidnapped as they are taping themselves for an audition. Nobody does that for a living, and very few understand what that is like... except for the wonderful people on Stage32. Here, because WE know, we come in the spirit of support, of generosity, of unabashed need of help or advice, and, if I may say, in the spirit of respect and love. Because WE know.

Anyway - let's max out this coming week and ride the wave that will shift us into 2026!

1) Ashley's LAST 2025 FREE Community Open House webcast tomorrow (12/29) at 12pm PT / 3PM EST

( https://www.stage32.com/education/products/stage-32-s-december-community... )

2) And, if in the Writers' Room, Geoff's Insider INTEL Webcast on Wednesday 12/32 at 1pm PT/ 4pm EST (link in Writers' Room)

Cheers

Hello Stage 32 Community,

I am an aspiring screenwriter from India. I have written an original screenplay and I am currently looking for guidance, collaboration, or opportunities to take it forward professionally.

Genre: Drama / Thriller / suspense / horror

Format: Feature Film / Web Series

I would love to connect with writers, producers, or filmmakers who are open to discussing scripts or collaborations.

Thank you for your time and support.

In August I posted that an Australian production company asked for more details after I tried to sell my script to them. They are back, asking for still more details.

Those of you who like myself want to sell by sending a query letter, I hope you understand that you will have to answer similar questions.

The production company want me to improve upon my logline and synopsis.

Old logline :

A female CIA operative with a doppelganger in another galaxy tries to flee there because of her abusive boss, but finds a way to confront him and can stay.

Their comments :

"A good Logline *sells the reader on your project and gives the reader a quick overview of the *Who, *What, and *Where of the story.

Aim to capture the attention and interest of the reader in 2-3 sentences.

We recommend that you to elaborate on the exact location that you’re referring to in the logline (“flee there”)."

So feel free to improve upon my suggestion to a new logline :

"Due to her abusive boss, a female CIA special agent tries to flee to a planet where she has a doppelganger. But the boss is a liar, so she realizes that she can't leave our planet. Instead she must find the strength to confront her boss."

And then the synopsis. Old synopsis :

Pauline, a CIA operative, is haunted by the loss of her baby and manipulated by her uncle and boss, Gunpowder, who demands she assassinate a powerful figure to prove her loyalty. Reluctant to comply, Pauline's grief leaves her feeling indifferent about her own well-being.

Pauline becomes an unwitting witness when scientist Albert accidentally teleports his financier Marlene to the Andromeda Galaxy. Marlene returns after encountering her doppelganger. Bertha, a professor and part-time CIA spy, seeks the teleportation device to exact revenge on Albert, who accuses her of cheating. To appease her boss, Pauline assists Bertha.

Pauline learns that in the Andromeda Galaxy, her alternate self was imprisoned for murder. Trapped by Gunpowder’s lies and emotional abuse, Pauline, desperate to avoid the kill order, teams up with Bertha. They try to coerce Albert and Marlene to help them flee to the Andromeda Galaxy, only to find Marlene prepared to fight back. In the aftermath Pauline finds the strength to confront and expose Gunpowder. With the fall of Gunpowder and Bertha, Pauline begins to heal from the loss of her baby.

Their comments :

"

Your synopsis should set up the *Who, *What, *Where, and *How, touching on every beat of the story (without necessarily giving everything away).

Think of the *Synopsis as an extended version of the *Logline.

Your synopsis is informative, but could require more explanation on how the occurrences coincide.

Expand upon the characters of the story. All stories are about people, and we therefore need to know *WHO this story is about.

How do the characters that you mentioned impact the narrative? What are their roles?

What is Pauline’s motive for fleeing to the Andromeda Galaxy?

"

And here is my suggestion for a new synopsis, which you should feel free to improve upon

"

The story illustrates that we have relations both with those we meet and those we can't meet.

Our main character Pauline, a CIA operative, is haunted by the loss of her baby and manipulated by her uncle and boss, Gunpowder. He demands her to assassinate a powerful figure to prove her loyalty. Reluctant to comply, Pauline's grief leaves her feeling indifferent about her own well-being.

Pauline becomes an unwitting witness when scientist Albert feeds a mathematical formula into a scientific instrument, which accidentally teleports his financier Marlene to the Andromeda Galaxy. Marlene returns after encountering her doppelganger. Bertha, a professor and part-time CIA spy, seeks the scientific instrument to exact revenge on Albert, who accuses her of cheating. To appease her boss, Pauline assists Bertha.

Gunpowder fools Pauline to believe that her dead baby has a doppelganger at an orphanage in the Andromeda Galaxy. While Bertha falls in love with a man in the Andromeda Galaxy, by using Albert's scientific instrument. Trapped by Gunpowder’s lies and emotional abuse, Pauline, desperate to avoid the kill order, teams up with Bertha. They try to coerce Albert and Marlene to teleport them to the Andromeda Galaxy, only to find Marlene prepared to fight back. In the aftermath Pauline finds the strength to confront and expose Gunpowder. With the fall of Gunpowder and Bertha, Pauline shows that she can heal from the loss of her baby.

"

Having been double recommended a second time, my screenwriting year ended on a little high note.

It was an exhausting one, but I'm in the mood to wish everyone a happy new year and the strength to keep writing until you win that uphill battle.

I was double recommended for an animated fantasy adventure and a live-action sports and family drama.

And I do wonder if anyone, whose script has been included in the lookbook, has had any feedback, contacts or success from it. If you find the time, let me know.

Happy to have you in my network and wish you all the best

T.