Screenwriting

Great topic, Radoslav Isakov. Sometimes I figure out if a screenplay has potential to be other things (a sequel, TV series, spin-off, video game, etc.) when I outline the screenplay, and I put a note or page in my pitch material later on, but I focus on writing an incredible screenplay and not think too much about sequels, prequels, etc.

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.

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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.

Mine is 'To All the Boys I’ve Loved Before' (2018) – Sweet teen romance with heart.

I think I've heard of that movie, P. Oken. I'll check it out. Have you ever written a Rom-Com?

Maurice Vaughan Not really. I'm mostly focused on action thrillers and psychological drama.

You could write an Action Rom-Com, P. Oken. Writing a Thriller Rom-Com or Psychological Drama Rom-Com might be a challenge. They would be interesting though!

Congratulations on getting interest in your script, John Metzner! If you think the adopted son would be a better protagonist and it fits the story better, I say do it. I like the idea of the dad and son both having a character arc!

Thanks Maurice, the problem is that all the characters have arcs and Matthew had a good one in the last once which it got a double recommend. This version got a recommend for writer and a consider for script. But my brain is thinking instead of thr main protagonist being the 65 year old man have his adoptive son who had hard hard life and has a lot of demons.

Which do you think producers would like to see what version. Would a younger protagonist attract more attention?

You're welcome, John Metzner. A younger protagonist might attract more attention, but so could an older protagonist. You already got interest in the script that has an older protagonist, and you got a double recommend on it.

What’s the theme and how does it end? The person that changes at the end in alignment with the theme, that’s your main character.

If you just change out the character at this stage, that might mean a different theme and different ending.

Are the producers paying you for changes? What do they want? Shouldn’t their needs factor into this? Like, they might want one character over the other based on what market they’re appealing to.

Ashley, this is SUCH a powerful distinction.

The shift from “do I like this?” to “who is this for and does it deliver?” resonates with me specifically.

Loving the idea of training your reading brain to see marketability and scalability, for me I love strategy and strategizing so this hits home, especially.

This is gold for anyone serious about development or wanting their writing to actually move in the marketplace.

Maurice Vaughan I love that pick. And honestly, it’s a great reminder that “unique” and “commercial” aren’t opposites. Sometimes the most unusual angle is the very thing that makes it interesting.

Yes, Laquan Copeland!! The writers who learn to read this way often become stronger writers themselves because they start building with intention. They’re not just telling a story they love. They’re crafting something that knows exactly who it’s for and how it travels.

You're right, Ashley Renee Smith. I'm outlining a feature script that's unique and commercial, and the idea came from one word.

Thank you very much for such an important article.

I share this concern as well. I tend to develop my ideas in the way I believe is best, but I know that producers may not like everything exactly as I envision it. I’m trying to train myself to be more open to that reality, because it’s okay to adjust certain elements to make the project more workable.

Producers often have broader experience and a larger production perspective that I may not fully see yet. I need to be willing to accept their point of view, discuss it thoughtfully, and learn from it.

It’s a little hard, because I would love to see every single idea in my stories come to life on the big screen. But flexibility truly matters.

Happy Wednesday, Ryan Wilford!

1. Logline

2. Outline (theme, characters, world, etc. -- the order changes)

3. First draft (I rewrite as I go)

4. Rewrite (I break it up into categories)

5. Feedback (sometimes I do this after #6 though)

6. Turn the outline into a treatment and make other pitch material

Thanks for sharing your process @Maurice I love seeing not only the differences, but the similarities in many of our processes.

You're welcome, Ryan Wilford. I do too. How do you develop your characters?

After I get to step #2, I immediately leap to step #7. Everything in-between strikes me as being a waste of time. Character development? You've got to have that mostly figured out before you write word one ,

Congrats! Don't stop! )

Two scripts making the Quarterfinals, That's incredible, Kasi Brown! Congratulations to you and your writing partner!

Thanks Maurice! I see you're in North Carolina. That's where my writing partner lives!

Kasi, congratulations on making the quarterfinals!

You're welcome, Kasi Brown. Cool. I live in Greenville. Sandra Bullock went to the university here.

Congrats to all the fellow Quarterfinalists!! I submitted my 1/2 hour pilot, Bad Idea. Logline: "Desperate to save his wrestling charity from the brink of collapse, a washed up temperamental bad guy wrestler decides to fake a real life heel turn in order to help turn his organization’s fortunes around, dragging the mayor of Honolulu into the fight for her political life in the process."

Congratulations, everypeople.

Congratulations to everyone. Best of luck in the next step.

Thanks Pat Alexander and Stage32 and congrats to all entrants! I submitted Forget It Man, It's Afghanistan. Logline for the pilot episode: "When 9/11 upends a rebellious slacker's plans to enlist in the National Guard for free college, he must learn to come to terms with his decision before his imminent deployment."

Congrats All!