Screenwriting

Hi, Sofia Servizio. The main purpose of the Pitch Sessions is to get feedback to improve your pitch, but sometimes the executives, managers, etc. request scripts, sign writers, etc. (www.stage32.com/scriptservices/success-stories).

Sofia Servizio What Maurice said. The best way to think about Pitch sessions is that this is a way to learn the ropes of pitching while still in the safety of a learning environment. Each time you pitch, you're pitching a real exec, usually a manager, agent, or producer/dev. director, and like he said, the primary goal is feedback. But they can still request your script and even sign you or open up a more formal relationship. I've pitched 9 times so far across 5 of the projects on my slate, and have 4 requests (where they want to read the script you just pitched them) and 5 passes (which means they aren't interested). However, all nine pitches provided outstanding feedback that helped me uplevel my pitch, my screenplay, and sometimes even my concept. So it's well worth it. Also I've been impressed with how well Stage 32 curates the execs we can pitch to.

Patrick Koepke Sold!

If you’re in contact with them you can send them a polite note saying what areas you’ve been working on to improve the script and ask if they’d be interested in taking another look. If they really liked the idea and you’ve worked on elements they said needed attention they may want to take another look. But since they already passed don’t push for an answer.

I appreciate the guidance, Ewan Dunbar.

You're welcome, César Baumann. Something I do to pitch my scripts is post pages in Stage 32's Your Stage Lounge (www.stage32.com/lounge/promotion), on Twitter/X, and on Instagram, like First Page Friday, Third Page Thursday, and Sneak Peek Sunday. I've gotten interest and script requests this way. I post loglines and script posters with the pages. And sometimes I post short pitches (like two-word pitches and three-word pitches) on social media.

Hi Cesar, and congratulations on completing the pilot and bible. Maurice has great advice; there are competitions for pilots only, and if anything, some kind of a win is something you can add to the bible for 3rd party verification - as well as getting coverage from a good coverage service. If you got the script covered here on stage 32, or some other company, and got a recommend or double recommend, that is also something to add to the bible or deck.

I've found that a recommend or double recommend may not always impress producers -- but again, it's a third party verification that may make them take a look. There are also companies that do query blasts -- you can reach several hundred producers, managers, agents that way through a service. I got my first and second managers that way. I also sold a feature via Inktip and two on Script Revolution, which hosts your script free of charge. Wishing you the best of luck!

Great to have you here! Congrats on finishing your script! I think you’d find this webinar really helpful: https://www.stage32.com/education/products/how-to-find-and-choose-the-right-screenwriting-manager-for-your-career

You've dotted all your I's and crossed all your T's. You've built the finest structure to house your work. Now it's time to pay attention to the heart of the issue, your screenplay itself. You should do all those things you suggested. I am working with 4 AI bots to find the right people to query. You did all the periphery work. Now it's time to do step 2 of the real work--contact producers, agents, managers, studios and networks (and streamers). Most will ignore you. Most have a rule of not accepting anything unsolicited. They like to protect their small, little club. Our job is to break through the barriers. To get noticed, to get heard. Your work is your voice and we live in a democracy even though people exercise the freedom to think and act undemocratically. They keep doing what they do so you keep doing what you do. Send your work to everyone until they clearly say no. Let them know you're here and ready to give them something to make them money. they all want something new, something different. But they're like the man who gets the unexpected kiss. Their instinctive reaction is to back off even though that's what they wanted all along. It's a filtering system they have because there are so many of us and so few of them. Don't be shy. There are no rules. There are just guts--yours--tempered with common sense. If you believe in the quality of your work, sell it. Make your voice heard among the crowd. That's the only way you'll get noticed By coming to Stage 32, you've come into a network of people who can help you stay on your course and get your movie or show produced and seen by the audience you are targeting.

If you're only just starting out, competitions are a good place to start, you might get a little free feedback, and then you can get a sense of if you're at least in the ballpark. By that I mean, if you enter 4 competitions and you're quickly rejected, then don't waste your time looking to make it. But if you get to the second round in a couple, then maybe look into shopping it around. I mean, if you win the competition, then awesome, if its a big enough competition then you might end up in touch with someone in the business. But even if you don't win, getting to the second round or semifinals, you've maybe got something viable, even if not perfectly matching the taste of those particular judges.

Hi, Michele Sandretto. Congratulations to readers responding positively to the scripts and overall arc! I suggest making a series bible too. It could help you pitch your series.

Bible for sure.

You can start to get some industry feedback on here! Talking to an executive working in the industry will give you feedback from the perspective of someone on the other side of the pitching process.

Hi, Dilara Güçlü. Welcome to the community. Congratulations on graduating and winning the awards!

I suggest reaching out to the Success Team at success@stage32.com. Geoff and his team can help you connect with producers, executives, and more.

Stage 32 has a blog that'll help you navigate the platform and connect with producers, managers, executives, directors, and more all over the world. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

This month’s Community Open House is the 25th. It'll also help you navigate the platform and make connections. You can ask questions live. www.stage32.com/education/products/stage-32s-february-2026-community-ope...

Stage 32 also has a Job Board that's updated regularly (www.stage32.com/find-jobs).

Hi Dilara Güçlü , welcome to the group!

Really inspiring to read your journey congratulations on winning 7 awards, that’s amazing!

I’m Abhijeet from India, a filmmaker/screenwriter currently working on a feature screenplay.

This community is honestly very supportive and you’ll find great people here.

Wishing you the best for new projects and opportunities — looking forward to seeing more of your work here!

This is a really strong and visually striking concept. The tension between early healing practices and sacrificial belief systems gives the story real thematic depth, and setting it in ancient Egypt immediately makes it feel fresh compared to most outbreak horror stories. The idea of medicine as a rebellious act is especially compelling.

The logline is clear overall, but you might consider softening the phrase about creating the first real medicine in human history so it does not invite historical debate. It could also be even stronger if we understood what the protagonist personally stands to lose beyond simply defying the high priest.

One thing I would think about early is how to distinguish the infected from traditional zombie or cannibal tropes. If the disease has specific neurological symptoms or cultural implications unique to that time period, it could really elevate the originality of the horror.

Overall, this feels like a concept with strong worldbuilding potential and a clear thematic backbone. With a bit more specificity around the plague and the tone, it could become something very distinctive.

Elle Bolan: Yeah, I feel like a darker backstory could really deepen her. I’m imagining she comes from a quiet pact of healer women who travel the land protecting villages from supernatural threats and disease, almost like monastic witch doctors, trained in medicine and ritual, who set out individually at a certain age or are summoned across regions to confront possessions and outbreaks.

Wendy Toliver, you've been genuinely helpful in shaping and clarifying the concept! Thanks for all the detailed breakdowns, compliments, and interest in the project. I appreciate you taking the time to dig into it with me.

Oh wow, that’s such a cool combo Elias Marquez! I hadn’t even thought of it that way. Thank you for that and for the awesome compliment. I love that you can already see the vision.

Thanks Joshua Williams, This is fantastic feedback! You zeroed in on exactly the areas I’ve been refining. I am leaning a bit into the atmosphere of The Old Ways(2021) in terms of spiritual healing practices, ritual tension, and mental breakdown before feral. At the same time, I am thinking about structuring parts of it almost like The Wailing(2016), where the High Priest begins investigating the outbreak in a methodical way, examining victims in a feral possessed-like state when things fully spiral.

What do you think of that breakdown and comparable dynamic?

Desiree Middleton Great questions! Yes, the murder happens when Devi is an adult (around 20 years old). The story spans from her childhood (the rescue) to the present day. As for her job—yes, she is a skilled cobbler herself. She works alongside Moody in the shop. I love the idea that the same hands that carefully repair delicate leather shoes are also trained for combat. It makes her 'day life' a perfect, quiet contrast to her journey for vengeance.

Hi Tetiana ,

First of all, congratulations on getting to the point where you’re ready to share this. That alone takes courage.

I’m really drawn to the emotional contrast in your concept — the quiet intimacy of a cobbler’s workshop against the cold violence of a Chicago winter. The idea of “Merci” being her first word feels powerful and symbolic. I’m curious though: do you see Devi’s transformation as inevitable from the beginning, or is there a version of her life where she could have chosen something softer?

I’ve written and published character-driven crime stories before, and I’ve found that the most haunting ones are those where vengeance and gratitude exist in the same breath — which is exactly what you’re exploring here.

I’d genuinely love to see how you expand this world. There’s something strong at its core.

Hamzaat Consults Thank you so much for this profound question! I believe Moody did everything to give Devi a choice for a 'softer' life. He wanted her to find peace in the craft of cobbling. But as an ex-soldier, he knew that the world doesn't always let you stay soft. He trained her hoping she’d never need it, but the Chicago streets decided otherwise. The murder of Job is the moment where her two worlds—gratitude for Moody and vengeance for her friend—finally collide. I’m so glad you felt that 'same breath' of vengeance and gratitude, as that is exactly the heart of 'MERCI'."

Good work. It’s structurally viable with compelling elements. To break through in the genre, it needs: a sharper thematic thesis; a morally complicated father–daughter dynamic; an original inciting incident; a final act that costs her something real.

It feels very familiar, in the vein of "Léon: The Professional," "Man on Fire," "Logan," and "The Equalizer." This isn’t bad. It means the bar is high.

E Langley Thank you for the feedback! I really appreciate the insight. Would you be open to reading a few scenes? I feel the characters and their dynamics are explored in much greater depth within the script itself.

https://docs.google.com/document/d/1FlcPBSaoJHAxPoRVyQL2k1CDtkWFunTu1PoTip5atvE/edit?usp=drivesdk

Hate for the AI video of Tom Cruise and Brad Pitt fighting, Bill Brock. Not the WDW Pro video.

Maurice Vaughan I’m hoping for a positive outcome as well, Maurice. I mirror your exact sympathies. I raise the point because I follow the economy religiously each day, completely shocked by the number of corporate, federal, and private business layoffs that continue to shed jobs by the THOUSANDS each day, all due to the advent of A I. There is NO WAY possible that the film industry is immuned from this continued massive downsizing. A l is gobbling up the American workforce and spitting it out. Sad Reality. Can’t put the genie back in the bottle. Television commercials are now created by A I. The logical next step is film and television. Tragically, A I is on course to become THE WORLD’S Movie Studio.

Maurice Vaughan

That's one of the reasons I'm against using AI, Bill Brock.

For me it is wait and see. Swedish Public Service Television (SVT) has used AI to create 4 TV mini series for children. Quite a few persons have told that they dislike the result.

Recently I watched a Youtube video. The tsunami which hit Alexandria in the 4th century. Looked OK, until I noticed one detail. The person who was writing on a scroll used a pencil. The pencil was not invented until 200 years ago. That single error completely ruined the magic. So I am not so sure that AI will take over everything.

I start with a commercial hook and layer depth into it, P. Oken.

I do the opposite. I learned screenwriting by doing no-budget filming for public access television stations. So I write what can be filmed for an extremely small cost. Which means that the producer can take a risk. So I write something which is politically correct and follows the normal 3 act structure with a happy end. It should still feel normal even though I try include something the audience finds new. And with no budget for big spectacle, I include more depth instead.

The first thing you send should be a standard screenplay query, which is very short and right to the point. Title, logline, comps. A quick and nice greeting and wrap up. A query takes about less than 30 seconds to read.

Hi, Ilanna Mandel. I’m a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Introduce Yourself Lounge to the Screenwriting Lounge. Let me know if you have any questions.

#1. Only if the company says they accept pitches through their contact form.

#2. Either one is fine. I'd mention the connection in the email though.

#3. I second what Michael said. Don't attach anything to your email unless they ask you to/say it's okay. For legal reasons, they might delete your email without reading it.

I like the POC idea.

At worst, the scores you listed make for a solid query letter You have a portfolio, some credible evidence to suggest your writing voice translates, now seems a good time for representation? Also, have you built any supporting media for your scripts? i.e posters, look and feel mood boards, treatments, etc to include in a pitch deck? I mean what if you landed a meeting tomorrow, are you ready to pitch these 3 scripts? Are you ready if someone asks "what else have you got?" Congrats and continued good luck

An alert re Greenlight: GL came up with a list of suggested actors for my screenplay.. Suggested a 4 year-old female actress for the role of a 15 year-old boy. THIS IS THE DESCRIPTION IN THE SCREENPLAY A boy (STEVIE) about fifteen years old, in jacket, jeans, alarms begin wailing.

This raises doubts about the rest of the review process. GL's response when I pointed out the problem: 'If you don't find the casting suggestions to be to your liking, I'd suggest using the Pencil tool and add additional context to the report section.' AND 'We will reimburse you for the tokens you utilize in the process.'

ChatGPT commented on this situation: ' If you followed Greenlight’s suggestion literally:

• Casting conversations would stall

• Producers would question script comprehension

• Funding assessors would lose confidence

• The note would quietly be discounted '

So I cancelled GL and received a refund.

BEWARE.

If you're a good writer, you're most likely never really satisfied in total with your work. It's probably time to take the plunge even if there's a knot in your stomach.

Alan Madden Ha! Thanks for the head's up!

The question you would want to ask yourself, is now how many of these script reviewers are using AI and converting their findings into their own words and cues.

'

Now I’m on board! That backstory and arc sound great. I think it’s time to outline and write the pilot. See if you can work in that backstory and set up his goals, as well as the philosophy behind the cases he takes while working at least one case.

Will he visit his brother in the first episode? Does he have someone new in the office to explain himself to? These are fun questions to address in the outlining stage.

great idea

Thank you so much — your ideas are incredible, and I’m learning a lot from you.

That said, I don’t want to introduce assistants or additional office characters, because Henri already has his wife, Scarlett — she is his main partner and confidante.

Yes, I will reference the backstory with his brother, but only subtly, almost in passing. I don’t plan for Henri to visit him in the pilot. If I overload the episode with the brother storyline, the series could shift from a comedy-farce into a full-on drama — and that’s not what I want.

The tone is very important to me. The brother’s story should function as emotional depth beneath the surface, not as the dominant dramatic engine.

I would also really love to hear your thoughts on another idea.

I’m considering introducing a friend of Henri’s — not as a full regular character, but more as a semi-recurring presence. He’s a crime novelist who writes detective stories. He is constantly trying to get Henri to reveal the secrets of his professional life — how his cases unfold, how he wins them, what really happens behind the scenes.

But Henri refuses to share anything because of attorney-client privilege and professional ethics. He simply cannot disclose the inner workings of his cases.

This frustrates the friend deeply. At times, it even creates tension between them and leads to complications or small problems in Henri’s life.

What do you think about a character like this?

Vijay Kumar Rick and Evelyn!! Yey!!! And …Titanic…I really believed I was going to marry Leo when I was a teenager..I was convinced. Rose is such a beautiful, strong female character, and Jack is a sweet, kind, old soul young man, they complement each other so beautifully. Thank you for reminding me of this wonderful movie..:which I may have seen when it came out in the theaters 3 times… and sobbed loudly throughout..

Michael Dzurak When Harry Met Sally is if not the best, one of the best rom coms of all time, I mean, it’s all of it. The pace, the dialogue, the couple, I could go on;) and absolutely! The love, and friendship in Good Will Hunting is just so well done. That screenplay is gold.

Juliana Philippi

Exactly. It‘s the emotional architecture of those stories that stays with us. The timing, the restraint, the missed moments… that’s what makes them timeless.

The Mummy is such a beautiful movie—I’ve seen it as well, especially when they went to Egypt.

I think stories about curses are timeless; there’s always a window to add something new.

The love story is wonderful too.

Meriem Bouziani I agree, I love Egypt, I actually almost double majored in Ancient Art at NYU, it was just so amazing, real, connected to us all. The music of this film as well, it has stayed with me from the moment I saw this movie in the theaters, a long time ago.