Screenwriting

I love the logline description of what you're going for, but what are the woman's names, what does she try to achieve through what conflicts or challenges she needs to face?

Here are some of my loglines I wrote for my feature films.

Feature film logline #1

In Montréal, fall 2009, it follows Adamma, a Nigerian-Canadian teenager who navigates sibling bonding with Dayo, a mischievous but loving older brother, and Binyelum, a boisterous but bright younger sister, while juggling life with secondary education, responsibility, friendship, and her effort to enjoy her teenage years.

Feature film logline #2

In Montréal 2016, it follows Serene, a sweetheart but anxious Black Canadian photographer woman where she feels unease with Tobias, a respectful but patient Black Canadian car repairman who kindly offers her nurturing and tender care in their romantic relationship.

Feature film logline #3

Logline: The comedic film plot follows Josh, a hurried but worrying black traveler who only has four days to arrive at his sister's birthday before noon. He was joined by two black travelers, Mikey, an obnoxious but helpful one, and Brianna, a clever but daring one, who were helping him from Toronto to Vancouver after the three of them missed the travel bus.

I hope what I showed you really helps you on how you write your logline.

Sounds like a nice story. I would lead with your inciting incident and then your protagonist goals or actions and then the stakes if he or she doesn't take those actions.

Where is the conflict? What is testing the couple? What is the goal? What is the restraint? Unfortunately, this logline doesn't grab the reader or give any sense of urgency or the plot of the story. You have to tell the audience why they should care about this couple.

Try this: "A famous American hiding from his failed career within a New York coalition, meets a French woman suffering from a debilitating disease, and must find the courage to perform one last time to pay for the treatment that may save her life."

Hi Deborah! This sounds like a beautiful, character-driven concept. The phrase 'quiet collision' is very evocative and sets a clear tone for the dramatic territory.

To make it even stronger, you might consider adding a hint of the 'external' stakes or the specific obstacle that is testing their restraint. Is it a professional conflict, or something else? I'm currently co-developing a high-concept pilot where we focus a lot on the balance between external world-building and these types of intimate, unspoken connections. Best of luck with the refining!

Hi Deborah Bete, the tone is lovely and atmospheric, and the connection between the two characters comes through. What I’m missing a bit are the stakes: what makes this “quiet collision” matter, and what either of them stands to lose or change if they give in to that desire. Even a hint of what’s at risk (emotionally, personally, or situationally) could deepen the engagement and sharpen the dramatic pull. You’re very close; it just needs that extra layer of tension to land fully.

That’s a great point Maurice Vaughan! You're right, it's currently a 40-page Proof of Concept. My goal is to use this first act to showcase the tone, the visual direction, and the narrative stakes I'm aiming for. I'm definitely considering expanding it into a full-length feature as the project evolves! Thanks for the tip on the page count, it really helps to keep the industry standards in mind.

You're welcome, Joskar Hernandez Birriel. Okay, gotcha. Great. And I'm a Stage 32 Lounge Moderator. If you ever have any questions about Stage 32, let me or another Lounge Moderator know. We have badges on our pictures. Or you could email support@stage32.com.

It's an honor to meet a Moderator! Thank you so much for the guidance and for keeping this community so inspiring. I’ll definitely keep those tips in mind as I continue to develop the story.

In the meantime, I’d love to invite you to check out my profile! I’ve posted the Logline and the script for 'The Caped Crusader' there. I'd be honored if you took a look at the vision I'm building.

Have a great night, and thanks again for the support!

You're welcome, Joskar Hernandez Birriel. I have a lot on my plate, but I'll check out your logline and synopsis as soon as I can. Thanks. Have a great night too!

This is a fantastic approach, Joskar! I love the idea of Bruce Wayne preparing for a 'war against a myth.'

I’m currently co-developing a high-concept sci-fi pilot where we deal with a similar contrast—bringing an ancient, powerful being into a very grounded, gritty modern setting. Focusing on that 'myth vs. reality' dynamic is exactly what makes these stories feel prestigious. Your storyboard looks like a great first step in visualizing that world. Keep up the great work!

@Maurice haha, that's part of everybody's book I think.

I'm ready to be done with SHIFT. I'm so close! 40 minutes left! Give or take. So I'm feeling you on the 'just finish it!'

Congratulations on getting so close to finishing, Elle Bolan! I love the feeling of finishing a project. I'm rooting for you to finish SHIFT!

Thanks! And I know you got this on your unfinished projects too, @Maurice.

You're welcome, Elle Bolan. Thanks. Some of my projects just need some rewrites.

Hi Elle! I love that title: 'Adventures in Building Blocks.' It captures the process so well.

If I had to title my next chapter for 2026, I’d call it: 'Resonating the Truth.'

I’m currently co-developing a high-concept pilot that deals with hidden physics and the 'unreliable world.' After a long phase of architectural planning, this year is all about making the story vibrate with emotional honesty. It’s a bit scary, but definitely an adventure! Thanks for the prompt.

Hi, Juliana Philippi! I've never thought of it that way, but you're right. Writing is a dance. My title chapter this year is Finish Unfinished Projects.

Maurice Vaughan The unfinished will always seek us if it needs finishing : ) Get it Maurice!!!

Thanks, Juliana Philippi. You're right. I once combined three unfinished feature scripts into one script.

Congratulations on The Hollow Shore being named a quarterfinalist, Patrick Koepke! Hope you find producers who make slow-burn Psychological Thrillers and sell your script! I'll keep the community posted on how my year goes. Keep us posted too.

I want to get my animated series off the ground in 2026!!!

Hi, G.R. Barnett. Rooting for you to get your animated series off the ground this year! Looking forward to hearing more about it!

“I have a clear goal for 2026: I will finish a screenplay that motivates and empowers mothers and women. In addition, I will write two more films, and my goal is to successfully sell my screenplays. I also have a mantra for 2026: I am successful, and I have strong, healthy relationships.”

That's an incredible goal, Hermina Orcsik! I hope you reach it and all your goals! I like your mantra!

Hi, Sacha Douglas. Happy 2026! I’m a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Acting Lounge to the Screenwriting Lounge since it's about pitching. Let me know if you have any questions.

Congratulations on the producers liking your pitch! I suggest keep looking for comps. Did you check IMDb?

I mention the comps near the start of a written pitch after the opening hook, logline, type (feature or series), genres, and budget.

Thanks very much Maurice. Yes both did, and one has the script too. Thanks. Happy 2026! Who would have thought a writer and filmmaker would struggle finding any comps.

You're welcome, Sacha Douglas. I've struggled to find comps for my projects. I kept looking and eventually found them. Hope you find some!

Thanks, That seems to be the consensus of what I am hearing.

You're welcome, Robert Landau. Hope the producer loves your script and buys it!

Most established industry producers don't sign NDAs for script submissions - it's actually considered somewhat unusual for a writer to request them. Producers read hundreds of scripts a year, and NDAs would create an administrative burden that's impractical for their workflow. The industry operates largely on professional reputation and relationships rather than legal agreements for script reviews.

As an editor, it would make more sense that you would sign an NDA on high profile projects because they've already been filmed and the material is in the can, so a release of information at that stage could damage the marketing strategy and cause the film to lose potential money.

But as a writer, they are a barrier that will work against you in the early stages of script development.

Pat's 100% right. If anything, the producer will make you sign a release form to protect themselves.

Thank you all. I will pass this on to my associate who is a DP who has worked with the Producer I referred to.

CJ Walley This is what I needed to hear...I feel and know my own approach and path as a screenwriter, are really becoming more authentic, and lots of other's perspectives have stopped resonating...and that's more than okay : ) Happy 2026

Great blog CJ Walley! This line stood out to me: "Know that you effectively have two key things you’re promoting as a screenwriter: yourself as a creative who can work on assignments and your portfolio of spec scripts ready to be made."

It's truly not only about the material, it's about YOU in a world where everyone has a public persona (thanks to social media). You don't have to play the influencer rat race but how you present yourself online and your competencies is crucial. The FIRST thing all readers /execs /dev people /producers/managers/agents do when they get your script is Google you and see what's out there about you online, whether you like it or not! As a reader for years, I'd do it if I really liked a script and wanted to know who this legend was; or I'd do it if I really hated a script because I wanted to know who this demon was! Either way, you were getting searched!

Your advice "Run your name through Google to see where and how you appear, and try to keep it all in sync." is aces. It's not all about having a million followers or a popular "brand" (although that probably helps a lot), it's just about presenting a consistent, united front creatively, so people can "get" you. People want to know who you are and where you're coming from because when you work with someone on a movie, it's a loooooonnnngggg process and you'll have to spend a lot of time communicating with each other.

Juliana Philippi, absolutely that's more than okay. Authenticity is key and so many go in the opposite direction. Good for you and all the best.

Pat Alexander, yeah, it works both ways. I'm sure most readers Google any producers looking at their work. Personality is a big deal, not only because it suggests what type of person we are like to work with but also where our artistic voice stems from. Ideally, the producers we work with should also be the kind of people we want to drink with. That's where collaboration gets powerful and people aren't pushing against one another.

Faced with a minnive arohtelp of time, I'll check out your site but I just can't go through all these comments. Sorry. Yrros.

I L.O.V.E. all of these so much! Thanks for playing along with me!!!

You're welcome, Libby Wright.

Just did a sister exercise in the Composer's Lounge if anyone wants to take a swing at that. **It was harder- maybe because I haven't had coffee yet? Lol!

I'll share my not so awesome lyrics... feel free to play along with this one too: Roy Possa loved Laiken with alll of his heart

She never knew he existed, right at the start

He'd gaze at her longingly through windows at night

Wondering if ever she'd put up a fight

For love

For the sake of their hearts

Could they risk

For love

Laiken was moving to Richmond the next afternoon

Roy was broken his love going way too soon

Cause he'd never told her the depth of his heart

And soon she'd just leave him alone in the dark

Libby, I'd like to take a swing at it!

Here goes:

Kenrick Wiley (21), a native of Detroit, came out of high school as one of prep football's best 100 wide receivers. He ended up enrolling at the University of Texas-Austin...and helped the Longhorns make the College Football Playoff.

He's tired of the Lone Star State's political antics (he's that much of an activist)...and now, he wants to enter the transfer portal and go to the U of Michigan.

On the other hand...he's considering skipping his senior year and declaring himself eligible for the next NFL draft.

Choices, choices...

I usually start a story with the concept, Gabrielle Mahrez. I figure out the theme, characters, location(s), structure, story world, etc. from it.

Gabrielle, I usually start my stories with concept...but sometimes, I'll build a story around an image.

That was hilarious Rutger Oosterhoff 2! I hadn't seen that clip!

This thread really resonates with me. I'm currently finishing a historical drama, and stepping outside my usual comfort zone has been both terrifying and creatively freeing.Sometimes the unfamiliar territory brings the most honest work

So glad it did Nani Gogua. And I couldn't agree more in that what sometimes makes us uncomfortable brings out the most raw honesty. I wish you all the best with your historical drama.

Leonardo Ramirez 2 "Butterfly Effect" yes, slow, intense...I just watched a new one with Lilly James and Riz Ahmed, on Netflix, "Relay"...super well done, and interesting. It's about this man who helps whistleblowers be "safe" from big money companies after they either blow the whistle, or decide to sort of blackmail them, return the evidence, and disappear, but he gets, well...won't spoil. It definitely inspired me to continue just creating, and writing screenplays from that place that makes so much sense for me, and then, that's when the story takes off...make sense? LOL!

I just watched the trailer Juliana Philippi and it looks pretty good. Saved it to my watch list. The names sounded familiar and I recognized Riz Ahmed from "Rogue One". He was awesome in that. I'll give it a watch!

Hi, Jay Clark. It can take 3 weeks, but I usually get feedback in 1-2 weeks.

Mine took a couple weeks to get. They are informative and help with setting up a proper pitch for a movie studio or producer

If I'm not mistaken, I believe the S32 website says feedback takes 3 weeks. For a paid service, I would have a strict expectation to receive the feedback within the timeframe advertised.

3 weeks max. Some execs move fast. Others move slow. The time frame is based on feedback we've received from execs to make sure they can give writers the best feedback and clearest evaluations possible, and we do follow-up after the pitch sessions to keep the process moving as quickly as possible. With working execs, stuff sometimes comes up though that can cause delays. The way the holidays fell this year was kind of wonky for workflow, but for most of the December pitches, we're seeing the execs who were technically "behind" on that 3 week mark, starting to get feedback in this week

I've waited months for any feedback on my requested scripts. I don't expect any feedback at this point. I've moved on.