Screenwriting

Hi Stage 32 Community,

Vertical storytelling is quickly becoming one of the most exciting opportunities in the industry right now. What began as a new format is rapidly evolving into a real marketplace where writers, filmmakers, and producers can build IP, reach audiences, and create meaningful momentum for their careers.

We have been diving into this space through recent Stage 32 webinars with industry experts like Ammon Lyle and Jackie Ward, who unpack both the creative and business sides of vertical content.

In Ammon Lyle’s webinar, writers explore why vertical micro dramas are gaining traction and how to structure compelling short-form scripts that hook audiences from the very first moment. From pacing and emotional beats to building binge-worthy storytelling, the session offers practical tools for anyone curious about writing in this format.

Click here to learn more about Ammon’s vertical storytelling webinar: https://www.stage32.com/education/products/understanding-vertical-storyt...

In another session with Ammon Lyle, creators explore the broader creative framework behind vertical drama storytelling and how this format is reshaping the way stories are developed, written, and positioned in the market. This webinar offers insight into how writers can adapt their craft to meet the demands of platforms and audiences in the vertical space.

(on sale) Click here to learn more about Ammon Lyle’s vertical drama webinar: https://www.stage32.com/education/products/how-to-write-vertical-micro-d...

In Jackie Ward’s webinar, creators get an inside look at how vertical projects are packaged and protected in the marketplace. From understanding how IP is positioned to learning how deals and partnerships work, this session sheds light on the business realities behind vertical storytelling and how creators can navigate them with confidence.

Click here to learn more about Jackie’s vertical IP and packaging webinar: https://www.stage32.com/education/products/verticals-how-to-package-and-...

Together, these webinars highlight why verticals matter right now. They combine strong storytelling with real industry opportunity, offering new pathways for creators to get their work seen, build scalable IP, and connect with audiences in a mobile-driven world.

If you are curious about where the industry is heading and how to position your work within it, vertical storytelling is a space worth exploring. We are excited to continue bringing education that helps you stay ahead of the curve and turn your ideas into opportunities. Feel free to shoot me an email at edu@stage32.com to learn more or have any questions!

If you have been experimenting with vertical storytelling or are thinking about it for your next project, we would love to hear from you. Have a great day!

If you want to work in development, coverage, acquisitions, or production, or you want to be a stronger writer who understands what execs are looking for in your projects, you have to train a very specific muscle. Your reading brain.

There’s a reason so many internships and entry-level jobs in entertainment start with reading stacks and stacks of scripts and writing coverage. It’s not busywork. It’s conditioning. You’re not being trained to decide what you like. You’re being trained to decide what to consider. And those are not the same thing.

When I was fresh out of film school, this distinction completely confused me. I thought good coverage meant defending what I loved. Championing the scripts that spoke to me personally. Protecting my taste. But development isn’t about your taste. It’s about discernment.

You have to teach yourself to identify what makes a script:

- Marketable

- Investable

- Scalable

- Clear in its audience

- Viable in production

- Sellable in today’s marketplace

That means quieting the part of yourself that is purely a fan. The part that gravitates toward a specific genre, aesthetic, tone, or character type.

Instead, you start asking different questions:

- Who is this for?

- How big is that audience?

- Is that audience underserved?

- What is the budget range?

- Does the concept travel internationally?

- Is there talent that could attach?

- Is the engine sustainable through development?

You might not enjoy horror as a viewer. Maybe it makes you anxious. Maybe you never line up for it outside of the theater on premiere night.

But as a writer, producer, or development professional, you should be able to recognize a strong horror script if the characters are compelling, the setting is producible without a bloated budget, the themes resonate broadly, the hook is clear and marketable, and the audience is defined and hungry. You don’t have to love it to see its value. That’s the shift.

To stick with something through development, yes, you need belief. You need conviction. You need a reason to advocate for it during rewrites, notes, budget meetings, and packaging conversations. But belief and personal viewing preference are not always the same thing. Training your reading brain means learning to see beyond yourself. It means reading not as a consumer, but as a strategist.

And when you can do that, your feedback gets sharper. Your notes get clearer. Your pitches get stronger. Your own writing becomes more intentional because you understand the questions decision-makers are asking before you ever submit the draft. That’s a skill. And like any skill, it gets stronger with reps.

So the next time you read a script, or review your own, try this:

Instead of asking, “Did I like it?”

Ask, “Who is this for, and does it deliver for them?”

That question changes everything.

What’s a film or television series you wouldn’t have been the obvious audience for, but you wish you could have been part of making anyway? Tell me in the comments!

Hey, writers. Hope you're having a great month! What’s something about your craft, career, or the industry you're trying to figure out? Other members might be able to help with some tips, insight, and resources.

My series pilot script Elena Montoya, as an OWA was submitted to a storied TV producer. This script also received a Double Recommend from a different producer and appears in the January 2026 Lookbook. Very grateful.

Hi everyone, I hope you’re doing well.

My name is Abhijeet Aade, and I’m a screenwriter and filmmaker currently working on my feature-length screenplay.

This story has been living in my head for a long time. I’ve spent months developing it emotionally and structurally, and now I finally feel ready to share it with the Stage 32 community.

My dream is to take this story to an international audience, and I would genuinely appreciate professional feedback on the concept, characters, and emotional arc.

TITLE: PIE & COFFEE

GENRE: Romantic Drama / Slice of Life

SETTING: Beacon, New York (Small-town atmosphere)

LOGLINE:

A heartbroken man returns to his peaceful hometown and reopens his late grandfather’s café, where he meets a quiet woman carrying her own hidden pain. As their bond grows through simple moments of coffee and comfort, he must choose between his toxic past and the unexpected love that finally feels like home.

THE CORE OF THE STORY:

At its heart, PIE & COFFEE is a story about two emotionally broken people who don’t fall in love through big romantic gestures, but through silence, warmth, small conversations, and the comfort of being understood.

Ethan, the protagonist, is not a hero or a businessman he’s simply a man who has lost himself after a toxic relationship and a draining life in the city.

He returns to Beacon, New York, hoping to disappear for a while, but instead he finds purpose again by reopening his grandfather’s café, a place filled with memories, calmness, and old-town warmth.

That’s where he meets Clara a woman who has seen pain and disappointment, but still carries a soft heart beneath her quiet personality.

Their relationship builds slowly, naturally, and emotionally… like real love does.

WHAT MAKES IT SPECIAL:

• A cozy small-town atmosphere with emotional depth

• A café that becomes a symbol of healing and home

• Romance that feels realistic and earned

• A mature emotional journey where love becomes a choice, not a coincidence

• A satisfying ending built on emotion, not forced drama

WHY I’M SHARING THIS HERE:

I would love to hear your thoughts on the concept, logline, and character dynamics.

I’m especially interested in feedback on whether the emotional arc feels strong enough for festivals and industry readers.

Thank you so much for your time and support — I truly appreciate it.

Warm regards,

Abhijeet Aade

Screenwriter / Filmmaker

Hey hey. This is Spencer Robinson, and I've been a lit and talent manager for over 18 years. I've taught a lot of classes here with Stage32, and I have a new one starting next month. I'm teaching a comedy pilot writing lab starting March 21st. I'll be taking writers through the entire process of writing a comedy pilot, and I'll also include a TON of information about what producers and buyers are looking for, and how the TV industry is functioning.

Here's a link to the lab: https://www.stage32.com/education/products/stage-32-screenwriting-lab-wr...

Happy to answer any questions!

I have completed three one hour scripts and fleshed out eight episodes. I would appreciate any feedback on my title and logline:

TITLE: Echoes Across Time

LOGLINE 1: Animals guarding secret thresholds begin sending people through time, drawing strangers across eras into a shared mystery that reshapes their identities and destinies.

LOGLINE 2: Animals guarding hidden thresholds send people across time, linking strangers whose lives begin to echo in unexpected ways.

Today I found myself with an annoying migraine (haven’t had one of those in a while) so I had to sit still, in the dark, waiting for medication to take effect. I started perusing through a multitude of random thoughts, and stopped by my guilty pleasure script that I finished writing a couple of months ago. I wrote a sequel script to the animated movie Tangled. At the time, in fact, the entire time I was writing it, I wrote it with the title "Entangled" in mind. It just felt like the most obvious choice, but now, it feels a little silly (maybe it's the medication giving some contribution here XD)

I had some time (in complete silence, in the dark) to rethink it, and I decided "Tricked" would be a much better name, since the following movie I had planned was named Untangled (again, a little silly, come to think of it), now I chose yet another word starting with T and ending with ED. Now the 3 words match, and they all have seven letters too, for the scrabble fans out there.

But here comes the catch, a title like that -> "Tricked" comes with obvious hints for the plot, and the second title I chose to replace Untangled is even more spoilery than "Tricked"

So where do we draw the line? How worth it is to spoil, or give certain hints in movie/series titles? Does it ruin people’s experiences? Is it worth the gamble? I'd love to know some opinions.

Also, what is your process when choosing your titles? Mine seems to be migraine induced. XD

In my little guilty pleasure script, I'm sticking to my spoilery decision, I already changed it on my loglines.

Tricked: https://www.stage32.com/loglines/69130

Cheers!

Hi all. Not sure if this has been covered before (apologies if so!) but I am looking into investing in an e-ink reader (Kindle Scribe, Boox, Remarkable etc.) so I can look after my eyes while I do my job of providing notes on writers' screenplays and pilots.

So, would love your recommendations please. Of particular interest is to get a device that has decent pdf markup tools. Essentially, I want to be able to switch from reading and annotating screenplay PDFs on my desktop to an e-ink reader.

Looking forward to hearing your thoughts, suggestions and recommendations. Thanks!