Screenwriting

Göran Johansson Pneumatic tubes is correct. My bank used to used them for the drive-up teller/ You put your cash deposit or checks into carrier and then insert it into the tube. It sucked the carrier to the human teller who processed the transaction. The receipt was sent back in the same carrier.

Many thanks, I should write pneumatic tubes. OK, just sounds worse than the expression we use in my native language, but it should work. And nice that you, like myself, has seen such a system working in the real world.

Godwin is right. And a very good writer, as well.

This is an important point. AI can be a helpful tool for sparking ideas or organizing thoughts, but relying on it too heavily definitely risks weakening your creative Brain. Writing is more than just words on a page, it’s a process of thinking, feeling, and refining. If we skip that, we’re not really growing as writers.

Use it as a guide, not a crutch.

Robert Franklin Godwin III Also, just to respond to your “what if your laptop crashes” point—are we really arguing that a writer’s legitimacy depends on whether they can create without technology in the rare event of a blackout or nuclear blast?

That logic would disqualify almost every modern creative professional. We all rely on tech: laptops, cloud backups, digital tools, and collaborative platforms. If my laptop crashes, I log in on another device, because I saved my work responsibly. That’s not weakness. That’s how we work in 2025.

And when it comes to building pitch decks, generating concept art, and designing original monsters for film, AI gives me the ability to visualize my ideas without relying on stock photos or hiring a team for early drafts. Are you saying I also need to learn photorealistic drawing just to be a “real” storyteller? Should I also set type by hand and shoot on 8mm?

Because if not, then let’s acknowledge we all rely on tools. And unless you're writing these comments on a manual typewriter, you’re relying on the very tech you're criticizing. Including AI. It's in spell check, predictive text, content moderation, even how your comment appears.

Tools don’t kill creativity—denying them to others might.

Dwayne Williams Regarding your question "Are you saying I also need to..." No, not saying that at all. Nowhere am I slamming the tech I use or witholding it from anyone else. Use all the tech you need and don't abandon your creativity by relying on it too much. I can write a book or a screenplay with either pen or laptop. Indeed, I use both (see pic). I suggest avoiding straw man arguments.

Hey Preston Poulter This is a fascinating and important discussion! That research highlighting the disconnect between AI-generated content and the "writer's" ability to engage with their own work is genuinely concerning for anyone serious about craft development.

The cognitive engagement issue you've raised is crucial. When we write, we're not just putting words on a page - we're making thousands of micro-decisions about character, tone, pacing, and meaning. That decision-making process is literally how we develop as writers. If AI handles those choices, we never build those creative muscles.

What I'm seeing in the industry:

1) Professionals can usually spot AI-generated material - it often lacks the authentic voice and specific choices that come from human experience

2) Executives are becoming increasingly skeptical of overly polished work from new writers

3) The writers who stand out are those with distinctive, authentic voices that clearly couldn't be replicated by AI

For emerging screenwriters specifically: Your unique perspective, life experience, and creative voice are literally your main competitive advantages. AI can't replicate your specific way of seeing the world or your personal connection to your stories.

The real concern: Writers using AI as a crutch may never develop the critical thinking skills needed to receive notes, collaborate with directors, or adapt their work - all essential professional abilities.

I agree that AI can very easily be used in the wrong way, if it is screenwriting one wants to learn. But ask the right questions, and it can help.

I have myself tried AI for help with writing scenes, with horrible result. Dialogue cliché. Characters cliché. Everything cliché.

But I can imagine using AI to help me find a coauthor. Or help me find a screenplay which contains scenes which would help me with those scenes which are problematical in my own script. Or help me find something else which makes it easier for me to write.

Hi, Ilay Yılmaz. Welcome to the community. I’m a Stage 32 Lounge Moderator. Stage 32 is an English platform. Do you mind translating your comment to English?

Maurice Vaughan Hi Maurice, this is what Google Translate came up with:

"Writing emotional stories based on real life is both challenging and healing. Each genre is special in its own right, but the most real is that which comes from the living heart."

Okay Soo.... Please can anyone confirm that they have used Transcribing before on Ms Word or Google Docs and that the scripts have been accepted in the past?

I would say definitely not unless your original words are being rewritten in some way by the process. And probably there's no large language model type AI involved in that transcription process anyway but I'm not a Google Docs engineer.

Thank you Colin for your comment. That's what I think should be clear on....I believe have original work or having the raw audio file on before transcription by a dictation feature really gives authenticity to the work produce. But that's just me

...anyone else?

Hi, Mat Dalby. Congratulations on getting encouraging responses from the Pitch Sessions and getting follow-up meetings! The snapshot didn't show up. You could attach it to a comment.

Good stuff Mat! I'm Brisbane based, very similar situation to yourself. Would be great to connect :-)

Helle promo image

hi Mat! welcome! I’m in Sydney too and we have an Australian networking group. if you’d like to catch up at some point, Dm me

No. 2 is at least 16 words too long. Too many clauses in a single runon sentence. Cut, cut, cut...

I also like number two because it gives me more to go on. I get a clearer picture of what the protagonist is up against (intrinsically and extrinsically). I also get an idea of what thrust him on his journey. I have been told the bare bones of a solid logline give us a character, with a goal, up against opposition. Giving a tidbit more detail on the main character helps to better visualize the stakes (which I believe is more effectively done in the second option). For example, the first you just list hitmen as his opposition. In the second I see him witness a murder for me that instantly ups the impact I get a more visceral image in my mind. However, as some others have mentioned, if you could shorten it just a bit, I think that would be the more powerful choice.

I love number 1, it definitely sparks my curiosity!!

I like the 2nd one. It ramps up the tension fast.

Somany votes for the 2nd one.. but my heart says..why not first one wid a small change..

"A meek father with a hidden past (Psy disorder) takes his estranged family on a desert camping trip to reconnect.... But when they witness a professional hit.. he’s forced to reveal the dangerous side of himself... he’s kept buried for years to protect the family n for a peaceful life ...n the familyy never truly knew himm...

Well since we're posting loglines lol, here's RT7's

After a sudden promotion into a covert animatronic rescue unit, a teenage team is thrust into dangerous missions to recover soul-harvested robots—only to uncover a dark conspiracy where cults, corporations, and government forces traffic human souls for power and control.

Overall, I'm looking for agents, producers, anyone who'd be interested in further helping me develop the project. Feel free to reach out if you think this project is a good idea!

Hi All, I submitted a couple of pilots. One is a bold new take on the on screen musical, set in a Stephen King Style world where a 20 year old Kim returns home to find herself visited by a ghost who calls her to act, bringing about a reckoning for the towns past. The songs are EDM and retro synth/ pop. It's called STOP ZILLA.

The second Pilot is a fresh take on the rise and fall of Julius Cesar, from teenager to fallen anti hero, set in a 1970s punk rock LA, it´s called The Populares.

Good luck to everyone!

Hello, all I submitted “CROWN” a soapy, drama, gory tv series. An high class prep school in the battle for power to decide everyone’s future. Their lives become more complex when a demon transfers.

Best of luck to everyone.

Hi, folks! My submission is "Made in Louisiana", the pilot episode for my hour long southern gothic soapy drama series concept, Bayou Noir.

LOGLINE: The saga of a wealthy and powerful Louisiana French family, as they struggle with familial dysfunction and conflicting agendas, and against enemies human and supernatural — any of which could end them and their 'bayou empire'.

SYNOPSIS: The Delacroix family: they’re rich, powerful, influential, and nothing happens — legal or illegal — in the Cajun Country town of Bayou Noir without the “say-so” of the family’s current patriarch, Jean-Baptiste (aka “JB”). But when you’re all those things, you’re bound to have acquired a lot of both karma and enemies. And when you live in one of the most supernaturally charged areas not only of Louisiana, but the entire United States, some of those enemies might not be entirely human — or even human at all!

I'm hoping to find a producer, production company, agent, or manager (or heck, anyone involved in the entertainment industry, particularly if they're Louisiana-based) who finds it interesting, and sees in it the same potential as an entertainment property that I do.

I submitted the pilot for ‘VALKYRIE’, a 1 hour family/business drama set in the glitzy world of Las Vegas’ premier MMA promotion.

Logline: ‘After her father's untimely death forces her return to Las Vegas, Saga Hall, the estranged middle child of an MMA empire, inherits control of the highly successful Valhalla Fighting Championship. She must navigate a bitter war for dominance with her brothers — the heirs apparent — and battle ruthless investors pushing for a company sale, to shield her family’s legacy and prove she's more than just an outsider..’

I would suggest including this detail in the synopsis, so we understand why he didn’t get accepted. I believe it’s an important point that the university changed its admission requirements. That sudden increase in the cutoff score adds emotional weight to his disappointment and helps explain his reaction more clearly.

Exellent basic setup, Thanh. I would deepen the synopsis a bit more, and give us more story, until to the very end. I would also shorten my logline. To 35 words or under. Definitely keep an eye on this one. So much potential!

Hi, Thanh Trung Nguyen. I’m a Stage 32 Lounge Moderator. I wanted to let you know that I moved your post from the Authoring & Playwriting Lounge to the Screenwriting Lounge since you're asking for feedback on a script logline and synopsis. Let me know if you have any questions.

I suggest tightening up your logline. One or two sentences. And try to keep your logline to 35 words or less, or maybe around 35 words. Also, I suggest taking Minh's name out of the logline. Names in loglines are usually for biopics, well-known stories, and franchises (like Mission: Impossible).

Here’s a logline template that might help: After/when ______ (the inciting incident/event that sets the plot in motion), a _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s title/job/career) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes).

The inciting incident can also be at the end of the logline: A _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s title/job/career) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes) after/when ______ (the inciting incident/event that sets the plot in motion).

Example 1: “After crashing on a flooded, abandoned road miles from help, a dysfunctional couple works together to survive against hungry bears.”

Example 2: “A dysfunctional couple works together to survive against hungry bears after crashing their vehicle on a flooded, abandoned road miles from help.”

Overall, nice job on the synopsis. I suggest telling us a little more about Minh and Long's personalities in the synopsis.

I suggest changing the synopsis to present tense.

The fourth paragraph says, "Next to Minh was Long, another victim who had become accustomed to the rules of this “hell”. Long tried to stop Minh from giving up, but Long himself had not found a way out." I'm not sure what "but Long himself had not found a way out" means.

I'm guessing Minh and Long's friendship will be important to the story. If so, I suggest telling us more about their friendship in the synopsis.

I think your synopsis needs more information. Tell us what Minh decides to do. And if he decides to escape, include the obstacles and challenges he faces.

I suggest telling the end instead of asking a question.

As already stated, the logline is too long and detailed, but that detail would be well placed in the synopsis.

My take on the logline:

A student is taken by human traffickers and must navigate an increasingly dangerous world to make it back home alive.

I can see the story you are trying to tell and it’s good!!! Your logline and synopsis aren’t there yet, but that’s okay. Keep revising them!! As you revise, decide what your focus will be for your main character. You could do the human element with guilt, remorse, overcoming challenges. Or…you could do the action movie route. Like if we had seen the movie Taken from the daughter’s viewpoint.

Can you assists in communicating with a filmmaker, I have a big project on the line I need full help on achieving it

Chris I would to share my goals as a screenwriter and would love to chat with you about future projects.

Thanks for the comment ☺️☺️

Michael David the POC was a major factor but so were my short films so at least they knew I could complete a project and I had more than one at the time.. People want to see what will the film look like so we shot the first scene which ends with a big cliff hanger. If you watch the film the opening scene is what we shot and when the title comes up, that's where we ended the POC. When raising money there are of course other factors, but having a POC is in my opinion the best way to move a project forward.

Christopher Wells Really cool and good to know. I'd love to watch it. Let me know how I can.

Hey Matthew Olson Welcome to the screenwriting community! Your drive to connect with industry-level producers shows great ambition, and networking is absolutely crucial for building a screenwriting career.

Before reaching out to producers, here are some strategic considerations:

Foundation First:

Complete, polished scripts - Producers want to see finished work, not concepts

Professional formatting and error-free writing

Strong loglines that immediately communicate your story's appeal

Query letters that are concise, professional, and compelling

Strategic Networking Approaches:

Stage 32's pitch sessions - Structured opportunities to present directly to producers

Industry events and festivals - Both virtual and in-person networking

Screenwriting competitions - Winners often get producer attention

Writing groups and organizations - Building relationships with fellow writers who may have connections

What Producers Look For:

Market-ready material with clear commercial appeal

Writers who understand the business side of filmmaking

Professional presentation and communication

Unique voices with compelling stories to tell

Stage 32 Resources for You:

Browse our Script Services to connect with producers seeking new material

Join relevant Lounges to network with other writers and industry professionals

Attend webinars on networking and industry best practices

Quality connections take time to build. Focus on creating exceptional work first, then strategic networking becomes much more effective.

Hi, Ansh J. I tried to outline and write scripts without themes, and the stories never worked. I need to know the theme before I outline and write.

Ansh Interesting take. I may have more than one theme & if character challenges status quo they unlock a reveal in themselves or an outer mystery/dilemma.

When genre is turned on it’s head I use plot points to execute the switch rather than a character decides. Get what you mean though & will check out your story.

I submitted my TV Series,: The Village” is a razor-sharp political dramedy set in the fictional Chicago suburb of Harmon Hills, where dysfunction is business as usual and corruption wears a friendly smile. When a viral video of the village president passed out drunk threatens to upend the local government, a colorful cast of board members, activists, and everyday citizens scramble to seize power, protect secrets, and redefine what “public service” really means. Satirical, heartfelt, and unapologetically Chicago, The Village holds a mirror to small-town politics and dares you to laugh at the reflection. TEASE LINK BELOW! ( Let me know what you guys think?!)

IG: @thevillagetvseries

@directedbyericalmond

https://youtu.be/isWTfYNX-ww?si=gUHhHSOyoAACpZD-

I submitted THE HAIRDRESSER'S DAUGHTER, a dramedy about growing up in the mob. Mia knows her life is different, but she loves the attention her mother's boyfriend, Sam, gets when they are together. They get the best tables at restaurants, are shuffled to seats near the stage for concerts, and Sam’s friends can’t help but give her the biggest tips when she makes sandwiches for their poker games. Mia can make herself disappear when the grown-ups are talking, and she loves telling her best friend Pearl what she sees and hears in their late-night phone calls from the rotary phone on the wall in her kitchen. Mia’s mom, Janice, is no stranger to dating a mobster. Mia’s father is currently in prison on RICO charges. Mia was told her dad abandoned her when she was a baby, and she is devastated when she finds the letters he wrote her from prison in the final scenes of the pilot episode.

My series is called "The Orlando Sound". As the name implies, it takes place in Orlando, Florida; beginning in the summer of 1986. It follows three young women: Kim, a chronic cynic who has long given up in her search for some modicum of respect from the world; Debbie, boundlessly optimistic despite her lot in life; and Becky, with her head always in the clouds and ready to tag along whatever adventure Debbie has planned. Together, they find a solution to what ails them: to sing their way to freedom; and with the help of the Mikes, two local musical wunderkinds, they might just have a shot.

Hey everyone! I’ve submitted my one-hour comedy-drama pilot F.M.L to this year’s contest. The story follows Dave Sloane — a mixed-race, blackballed screenwriter and cancer survivor — as he navigates fatherhood, creative burnout, and a war with the PTA in a leafy small town suburb. It’s sharp, irreverent, and grounded in real emotional grit — inspired by my own cancer recovery and the absurdity of life after nearly losing it all.

F.M.L has already placed in several competitions (Page Turner, ISA, Santa Barbara) and recently received strong feedback from execs at Stage 32, with script requests now in motion. I’m grateful for the opportunity to showcase a series that mixes brutal honesty, industry satire, and heart — and I can’t wait to see what else this contest brings for all of us.

Good luck to everyone in the running

I submitted my pilot Hard Pass to the TV Comedy Screenplay Contest and wanted to share a bit about the show as a whole.

Hard Pass is a half-hour comedy set in a neighborhood bar in Houston’s Third Ward. It follows a tight-knit group of friends in their 30s who gather every week to decompress, swap stories, support (and roast) each other — all while navigating the kind of adulting no one prepares you for.

At its core, the show is about choosing not to have kids — and how that choice plays out differently for everyone. The characters are all at different stages in life, but what connects them is that they’re questioning the idea that parenthood is the only or default path. It’s a mix of chaos, vulnerability, and real conversations — told through friendships, funny situations, and a little too much drinking.

In the pilot, a simple “pros and cons” list about having kids spirals into a hilariously messy night involving fake service dogs, fake excuses, one ruined cocktail, and a heartfelt breakdown behind the bar.

The vibe is somewhere between How I Met Your Mother and Insecure — but with a little more bite and a lot more dogs.

I created this show because more and more people are openly choosing different kinds of lives — and not wanting kids isn’t something to whisper about anymore. It’s something to explore with honesty, humor, and maybe a little shade.

Would love to connect with anyone else in the contest or working on personal, character-driven stories like this. Good luck to everyone waiting for the quarterfinal announcements!

You're right, Ebrar Bilister. I think writers should keep that in mind when developing scripts/writing scripts and when they hear about similar scripts. And if a writer's script is too similar to another script, they could look at their script to see if there's a way to change some things in it.

Hi, Ebrar Bilister. I think it's really important for writers to believe in themselves when they're writing scripts, pitching networking, etc. The script, pitch, and so on will be better. When I'm writing a scene and don't believe in myself, I can tell by what's on the page.

As long as you believe in yourself, there will always be people who believe in you too. This rule never changes. Maurice Vaughan