Screenwriting

Hi, Nadine Pevec. Welcome to the community. Stage 32 has a blog that'll help you navigate the platform and connect with creatives and industry professionals all over the world. Directors, producers, execs, managers, and more. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

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Your short sounds intriguing! I write a lot of shorts and use symbolism a lot in scripts. I like symbolism throughout scripts and movies, but I prefer a clear ending.

Thank you so much Maurice! I really appreciate all the help, and I’m very thankful for the included links as well! I appreciate the compliment too! :)

You're welcome, Nadine Pevec. You could post your script on your profile when it's ready. Producers search profiles for projects. That and networking are how I sold four short scripts to a producer. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.” You can also post your script on your profile this way: www.stage32.com/loglines (near the top where it says “Add a Logline”)

And David Rodriguez-Carrillo is looking for short scripts (www.stage32.com/lounge/introduce_yourself/UK-Based-Producer-Seeking-Shor...).

About having one color for each door related to an internal state of mind. With my background in no-budget filming, I have the following comment. The screen is small, so there is only limited room for details. Due to this, people will not notice the color of the door as much as in real life.

Thank you, and I do agree. It’s very hard as it’s relating to a specific state of mind; I have updated it and tweaked it to make it a bit more broader.

CJ Walley Experience is the greatest teacher. And I'm always reading screenplays to improve my craft.

Registering with WGA seems important to Americans. I never have. It's protected under law anyway because you have the original files.

This issue with not having a registered copyright with the US Library of Congress comes down to employing a lawyer to defend it. LoC infringement is subject to statutory compensation, so if you win, that lawyer's getting a payday, which makes hiring one a lot easier to the average writer.

Only LoC gives this advantage. WGA doesn't. People seem to conflate registering a script through the WGA as becoming a member of the WGA.

Then there's chain of title. The prodcos and distributors I've worked with want to know there's an LoC paper trail when securing rights to a script.

People can take the risks they want, but I've always found it odd how many people are hoping for a seven-figure spec sale while refusing to pay $50 and spend 10 minutes registering it.

Have you chacked out The Writers´ Room here on Stage32 T.A. Uner this is the place where you can pitch to 6+ producers per week here. Cheers and CONGRATULATIONS on your completed Script!!

About receiving comments. Do as I have done. Write to those in your network here at Stage32. "I am willing to read your script if you read mine." I have received multiple useful comments in this way.

One thing that’s helped me a lot is getting outside feedback early and often -- script swaps, table reads, even just having someone summarize what they think the story is after reading.

Also rewriting with a specific focus each pass (only structure, only character, only dialogue) instead of trying to fix everything at once. It makes improvement more measurable.

Also congratulations on writting your script T.A. Uner

I have myself learned screenwriting by doing no-budget filming. Very efficient method. Others have learned by joining their local amateur theatre. Or by drawing comics. Or creating radio plays.

Ayesha Simra thank you for your response.

If I can give you a really good advice is... just share it. Find people who are interested in genres and recieve feedback, having someone else read it for you gives you a lot of clarity on what it's lacking sometimes.

Alex Olguin are there forums for folks who love Action/Adventure films? My only issue is someone plagiarizing my screenplay.

Hi, Murat Ersahin. Hope you're doing great! I gave you feedback on The Fracture a couple weeks ago. I can't wait to watch it!

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.

Thank you Maurice Vaughan I will consider your advices. I am very excited about reactions and can it get attention of producers. Fingers crossed!

You're welcome, Murat Ersahin. Hope you get the attention of producers and sell your script! I also suggest reaching out to Stage 32's Success Team (success@stage32.com). Geoff and his team can help you connect with producers, executives, and more.

When it comes to comments on your screenplay. Do as I have done. Write to those in your network here at Stage32. "I am willing to read your script if you read mine." Has given me multiple useful comments.

Great tips, Mark Films. And if a writer introduces different characters at once, make each intro memorable and easy to understand.

Surgical point, Mark. A character introduction is the structural entry point for the narrative engine, not just a physical ID card.

Most scripts leak tension in the first 10 pages because the writer is optimizing for the 'Vibe' (hair color, eye shape) instead of the 'Structural Logic' (the character's immediate agency). In high-stakes Narrative Architecture, the intro must reveal the character's core fracture or their specific 'Inverse Drive' before the scene ends. If the audience doesn't experience the weight of the character's choice-capacity in those first few lines, you aren't building a story—you're just filling space. Aesthetics attract the eye, but structural intent earns the obsession.

That, Mark, THAT! Thanks for the message!

Please, I don't want to be impolite, but with my background in filming, I see some problems. One problem is that if there is a detailed description of a character, it may be difficult to find an actor who looks exactly like that. Another problem is the limited resolution of the screen.

David Taylor I really enjoyed writing my first screenplay. It's been years since I had this much fun writing something. Thanks for your comment.

For me, it’s ready when notes stop making the story clearer and start making it smaller. At that point, the work shifts from improving the script to soothing my own anxiety. That’s usually the signal to let it go.

Market-readiness is not a feeling; it is a structural calculation.

Most writers mistake 'polished dialogue' for readiness. In the vault, we see dialogue as the makeup on a corpse—it can't make the body walk if the bones are fractured. Having audited high-stakes narratives behind the scenes for 12 years, I’ve learned that a project is 'ready' only when its Narrative Physics can survive a stress test.

Your script is ready for the market when:

1. The structural polarity flips every 10 pages.

2. The protagonist's 'Inverse Drive' makes exit impossible.

3. The information gap is engineered to force audience obsession.

If these architectural requirements aren't met, additional editing only brings diminishing returns on a failed foundation. Stop looking for confidence. Start auditing the integrity.

Artashes Yeremyan thanks for your time and response.

T.A. Uner I'm sure there are so many different takes on this already for you to consider, so, at this point T.A, I will say: re-read all of the great advice, some leaning toward the calculation and logical side, which is needed, and some more intuitive, like a gut feeling and knowing from your gut and heart. Then, trust, that whatever you like, and clicks with you...just is : ) And, it changes from scrip to script I think, based on the intricacy of the writing, the genre, the tone, and your own connection to it. I would also look for samples of scripts that are "similar" to yours, and see if you can find the process of them going to market. But, really...every single script, every single writer is a world unto themselves...enjoy the process, and I wish you all the good fortune for your work.

Congratulations!! A consider on the writing is such a meaningful milestone — especially your first. That’s real validation. Onward

Congratulations to you. This is absolutely hopeful —refine it further, polish it carefully, and you will make it.

That's awesome Shayla Anne - congratulations!! Super hyped for you!

Good for you, Shayla!

Shayla Anne YES!!!!!!!!

Maurice Vaughan thank you! And good luck turning your short into a feature. When you start handing out premiere invitations, please put me on the list too — I’ll bring the popcorn

Artashes Yeremyan, thank you for the technical and honest perspective from the other side. It’s extremely helpful. Architecture and structure are my new best friends now. Hopefully after the rewrite my scripts will be much easier to read

Paul Rivers, now that’s a plot twist I honestly hadn’t even considered that approach. My project involves some underwater shooting, so I’ll wait for the ice to melt and maybe just start filming. .

You're welcome, Nataly Kiut. Thanks. I'll try to get you a premiere invitation!

A sound structure does more than make a script 'easier to read'—it makes the investment inevitable. Transitioning from 'writing' to 'engineering' is where professional sustainability begins.

Nataly Kiut : Don't just rearrange the dialogue. Re-verify the conflict DNA. If the foundation holds its weight, the audience won't just 'read' your story—they will be trapped by it. Good luck with the overhaul.

Ayesha Simra A Quiet place is extraordinary.

Marie Hatten I read one each weekend! I love seeing new techniques that are being used and what the pros are doing!

I find time during the week and weekend to read scripts, Marie Hatten, like early in the morning or at night.

Marie Hatten I commute into NYC for work, so I read them going in and coming home.

Eric McKeever That should give you at least 3 solid hours a day! Lol!

Hi, Paulina i Michał Wróbel! Hope the change makes the project even better! I've worked as a writing duo. Staying in touch with the writer so we were on the same page about things was new.

Maurice Vaughan thanks great!

Maurice Vaughan Thanks, Maurice! That means a lot. We’re really excited to develop this together and we’re already seeing how much stronger the project feels as a team. Great tip about staying in sync — really appreciate you sharing your experience!

You're welcome, Paulina i Michał Wróbel. Hope you two have a lot of success with the project!

I'd be interested in any info anyone has too. I have a lot of issues with my eyes after working all day on the laptop and multiple screens. Something better for the eyes would be great.

Hi Phil, I use my Remarkable, it allows me to mark up a script as well.

Thanks, Roni. So, you read scripts as pdfs and then mark them up? If so, what markup tools are on offer?

Remarkable does handwriting to text straight on the pdf or you can insert notes. I have an older model so not sure if this is still their thing with their newer models, but it made things really easy.

I truly do not know what I would do without my Remarkable. I’ve had it for years. Am totally dependent on it, especially when editing and annotating my screenplays. The newer models also have color so you can highlight based on your own system like yellow = repetitive word, red = repetitive beat, etc. I’ve used tons of tools. Their handwriting to text is the best.