Screenwriting

Michael Dzurak I really like the way you describe it as a “pool” of story material — that feels very accurate.

For me, lived experience is only one layer. What resonates just as strongly are things we absorb: stories we hear, moments we observe, emotions we recognize even if we haven’t lived them directly.

Sometimes those second-hand experiences feel strangely more cinematic, because they’re already filtered through imagination and empathy.

Do you find that those borrowed experiences ever reveal something personal about you anyway, even when they didn’t originate from your own life?

Koby Nguyen This resonates deeply with me — especially the idea that a story feels most alive when it’s revealed rather than written.

I recognize that blur you describe, where the boundary between the self and the story dissolves. When I can clearly tell “this is me” and “this is the character,” the work often feels safer… and flatter.

I’m very drawn to what you said about tension:

control giving the story shape, surrender giving it life.

That balance feels essential, especially in psychological or gothic work, where the most truthful moments often arrive uninvited.

I also appreciate your question — honest or indulgent. That distinction feels like an ethical compass for writing, not just an artistic one.

Thank you for articulating this so precisely. It’s rare to see it put into words so clearly.

Jack Vincent

I really like this way of putting it.

There’s something reassuring in the idea that once the intentions are set, the characters take over.

I relate to that feeling — when the characters are clear enough, the story stops feeling constructed and starts unfolding on its own.

At that point, it doesn’t feel fictional anymore either — it feels observed.

David Taylor

I really appreciate this perspective, especially the distinction between discomfort that serves the story and discomfort for its own sake.

That question — do you want to make the audience uncomfortable, and do you truly mean it — is something I think writers don’t ask themselves enough.

Your example of Schindler’s List is very telling. The film is devastating, but never manipulative. The discomfort comes from truth, not intention to provoke.

I also find your point about being mistaken for your characters important. When something feels real, people often assume it must be autobiographical — which can be both a compliment and a misunderstanding.

For me, the challenge is letting characters be honest without turning the story into a confession, and letting the audience feel deeply without forcing them into discomfort.

Thank you for this reminder — it’s grounding.

David Taylor, I can relate to your comments. I adapted my unpublished novel HELL AT 30 BELOW into a screenplay. A compelling, romantic (60s-70s era) drama based on a true events in my past, in the town of Duluth, Minnesota. A town notorious for its cold winters. It was emotionally hard to expose the truth, but as they say, "The Truth Will Set You Free..."

In the winter of 1972, before there were shelters or support for women in crisis, an emotionally broken, injured, young woman, ROSE, entangled in a turbulent love triangle with two brothers, commits herself to a state mental hospital, to escape her abusive husband, DYLAN. In her bizarre surroundings, she must find the courage to leave her abusive husband and, eventually, find her way back to the man she never stopped loving; Dylan’s older brother, TROY, who holds the key to Rose’s passion, her heart, and the future.

The story centers on an abused woman, but covers a lot of ground, about her life. A story about one woman’s loss of innocence, love and heartbreak, troubled teen years, drug addiction, passion, betrayal, redemption, and the strength to overcome what seems impossible odds, as she bravely faces the ultimate battle for her life and her dangerous escape to freedom.

More information (not the script) on my web page for HELL AT 30 BELOW www.angelfire.com/film2/kinsman

I like the pages, Gregory Barone. It's like a mix of Jack and the Beanstalk and Rapunzel.

The last paragraph on Page 11 and the first paragraph on Page 12 are similar.

Sometimes you could do is give the beans another ability for later on. Grow into beanstalks and something else. Just something to think about.

Ok, edit the one on pg12? I'm way ahead of you on the beans.

Yeah, I think you should, Gregory Barone. Alright cool.

Elaine - I heard a tale about some idiot who sold his mother’s cow for some beans.

I think that approach could work, Matthew Gross. I suggest being open to writers who don't have managers/agents too though. There are talented writers who choose not to have reps.

Maybe have the writers submit short writing samples (a short script, pages from a feature, etc.).

Maurice Vaughan I'm quickly finding that some aspiring writers won't follow simple instructions and they are more interested in pushing their projects than addressing the assignment in front of them. I've gotten a few messages from my earlier post that says I need a possible third party to keep writers on task. The only other alternative for me is to contact literary managers or agents and see what non-union writers they have on their rosters.

I meant experienced talented writers without reps, Matthew Gross.

Okay so to be clear, you would not require the written to have representation up front, it rather, you would provide representation for that contract through your company. I feel that this is a really revolutionary model that could work and could give a chance to under-repped writers. Right now I personally have no representation so I would love something like this. Other people's mileage may vary however.

What you are doing is sub-letting any possible hassle with the actor/writer to an agent, at the actor/writers cost. Great for a business model. Most people just want the gig.

Chase Carmichael Right now, I'm only looking for insight into professional writing collaborations. If you have any insights based on the questions above, please share them here.

Matthew Gross. Sadly, I don't. But sorry to bug you that I want to join. I'm not even a professional writer yet. But with studying and training on how it works, I would be able to write an episode on act one or act three. Right now, I'm just feeling stuck. Wish your work the absolute best.

Chase Carmichael Stage32 is a great place to build experience through connections and the offered classes. I also highly recommend submitting your work to literary contests (e.g. FilmFreeway).

Hi Matthew, thanks for asking this so openly. That mindset already says a lot.

From a writer’s perspective, what often matters most (especially on short-form projects) isn’t only compensation, but clarity and respect:

-a clear creative vision and tone.

-transparent expectations around revisions and scope

knowing how much creative voice the writer is allowed to have.

-and feeling that their contribution is genuinely valued, not treated as disposable labor.

Even on short episodes, being included in the larger intent of the series, thematically and emotionally, makes the work feel meaningful.

I’m developing a few animated and experimental projects myself, and I’ve found that when producers communicate why something exists, not just what needs to be written, the collaboration becomes much stronger.

If you’re interested, feel free to check out my work here on Stage 32, always happy to connect and exchange perspectives.

Wishing you the best with the series.

I once wrote a five minute piece for a business, it was a historic drama, without ANY historic shooting bits in it except a character’s clothes,, off screen dialogue and some sound effects. It was set ONLY in a modern day American family home, lounge and my twelve year old’s bedroom - the main character. The other character seen was her mom. I could have made it for 50k or a lot less. When I sent it, I got an abusive email back, calling me an idiot and the woman ‘Producer’ said - and I quote - “ I told you it was low budget, I don’t have two million dollars to make a historic film like this”. This is a great example of female premature ejaculation.

I'm thinking I would pay good money for some Wizkid to come up with an AI trailer for my book.

versus a cut I did of another screenplay that I used Filmsupply.com stock footage for which I think is a fundamentally better teaser without AI:

DARK SPOT - https://www.stage32.com/media/3804243998684488861

AI tools give everything a weird plactic-y veneer that just screams inauthentic. I think- and when you have non-filmmakers or people that didn't go to school for camera op or have any idea about aesthetic and ask them to design their own stuff with AI it's just a god damn mess.

Thank you for sharing your experience, Lori! I've been waiting far too long. I will reach out to the Stage 32 today. I've only submitted once so I don't have any other experiences to share. To answer your question, I am okay with waiting a few weeks so the reader can spend time with my work providing solid coverage.

I think the way forward for anyone without a direct tie to a producer or director or money is to associate a an actor with your script with a LETTER OF INTENT then secure a distribution deal and negotiate with a larger production company with that leverage. In so doing I have come up with an experiment where instead of funding a whole movie I want to fund a single actors time with the production in return for a letter of intent. I've put up a kickstarter which goes live on monday and I will test it. I'm trying it on the most popular of my scripts which also happens to be the cheapest and most accessible. Let me know what you think!

Dark Spot

https://www.kickstarter.com/projects/rooksproductions/dark-spot

Salisu, that’s exactly it — once the internal engine is defined, the script stops being a sequence of events and becomes a system the protagonist has to navigate. You’re operating at the right altitude.

Thank you, Baron! That means a lot. Defining that 'upstream' system has completely changed our development process—it keeps the stakes grounded even when the concepts get high. I’m looking forward to Part 3 of your series. This kind of clarity is exactly what the community needs!

@Baron Thanks for the share. Great point, (others argue with me on.) Main characters must “Drive” the plot & not be a passenger in a sequence of outside events. Anything can happen, to anyone, at anytime but the choices made when they are forced into a crucible, govern the outcome of the story.

Exactly, Debbie — when the protagonist is authored at the level of choice architecture, the plot stops being a chain of events and becomes the consequence of who they are under pressure. That’s the difference between movement and story.

Salisu, I appreciate that. When a team starts designing from the upstream system instead of the downstream execution, everything stabilizes — the stakes, the character pressure, even the high‑concept elements. Part 3 will close the loop by naming the pressure the story is actually built to interrogate. Glad the framework is landing on your side.

Hey all looking forward to the lab starting tomorrow!

We have 1 spot left in the lab, if you would like to learn more about the lab or have any questions... email edu@stage32.com anytime!

Just got off the phone with Anna, she is very excited to begin!

I am so excited to start this lab tomorrow! Psst don't tell anyone but it's my favorite one to do, because this is my favorite genre and one in which I work a lot as a producer as well. So I have a lot of real-world experience to share. If you're interested in this genre, I hope you will join me!

I'm really excited to start this. HIstorical fiction has become my favorite genre too!