Screenwriting

I think your first step will be who to network with.

Of course. But eventually you need to send a pitch and script. I'm just wondering if people think this will be easier for people since they can watch or listen in their car or while on a walk. It's actually hard to get people to read a script.

Hey Thames Ellis Great question! Your instincts about creating both a pitch deck and character bible show you understand the importance of comprehensive development materials for a character-driven drama.

For character bibles, the sweet spot is typically:

15-25 pages for most series pitches

This gives you enough space to flesh out your main characters while keeping executives engaged. Remember, they're reading dozens of these a week.

Your current breakdown:

- 18-page pitch deck - This is on the longer side but acceptable if every page serves a purpose

- 40+ page character bible - This is likely too detailed for initial pitches

Recommended structure for character bible:

- Main characters (4-6 pages): Deep dives on your core cast

- Supporting characters (2-4 pages): Brief but meaningful profiles

- Character relationships (2-3 pages): How they connect and conflict

- Character arcs (3-5 pages): Growth trajectories across seasons so we can see how they will change and evolve over the course of the story

- World/tone (2-4 pages): How characters fit into your series' universe

Strategy tip: Create a condensed 15-page version, but keep your detailed 40+ page version as a reference document. If executives want deeper character exploration after your initial pitch, you have comprehensive materials ready.

For character-driven dramas, executives especially want to see how your characters will evolve and sustain multiple seasons. Focus on emotional journeys and relationship dynamics rather than exhaustive backstory details.

You'll also want to have a one-pager handy. The whole show at a glance. Only high concept pieces here. And you'll want a 2-page written pitch as well for ease of submitting to pitch opportunities. These short, pithy versions are important to exhibit that you can synthesize your story into something easily marketable. It's like my old high school English teacher used to say, write it like a mini skirt - long enough to cover the subject, but short enough to keep things interesting...

Thames Ellis very exciting journey already - wishing you continued good luck! super advice in this thread already!

Heya. So I've just completed a pilot for an 8x60 minute episodic drama series. The treatment is 35 pages, including 2 page episode synopses for each ep, and a full character bio at the back. I've also got a shorter one-pager. They're only going to read the bible if they liked the script. They're never going to touch it if they didn't, is my thinking.

Hey, Louis Clement. Welcome to the community. Congratulations on finishing your pilot!

"They're only going to read the bible if they liked the script. They're never going to touch it if they didn't, is my thinking." I've heard the same thing, but I also pitched a TV series to a company once, and they wanted the series bible along with the pilot.

Oh nice, I just started to look fo pitch deck info... one of my scripts needs one. It's a ~105 min drama... so not exactly wild and spectacular material. But even down to earth dramas ultimately need a pitch deck right?

Hey Laura J Hickman Great question! Your attitude about retreats being a way to "learn more and get excited about writing" is exactly the right mindset - they're not magic bullets for career advancement, but they can be incredibly valuable for the right reasons.

Retreats can be worth it when they provide:

-- Focused writing time away from daily distractions

-- Structured feedback from experienced professionals

-- Networking with serious writers at your level or above

-- Renewed creative energy and motivation

-- Specific skill development you can't get elsewhere

Red flags to watch for:

-- Vague promises about industry connections or guaranteed outcomes

-- No clear curriculum or teaching credentials listed

-- Heavy focus on luxury location rather than writing development

-- Limited information about actual instructors or their credentials

Regarding Rocaberti specifically: I'd suggest researching:

-- Who are the actual instructors and what are their industry credits?

-- What's the daily schedule of workshops vs. free time?

-- Are there past participant testimonials with specific outcomes?

-- What's included vs. what costs extra?

The "fantasy band camp" concern is valid - some retreats sell the experience more than the education.

Laura J Hickman I concur with our colleagues - it's primarily an ROI of expectation vs. cost, but a personal one. My personal suggestion would be to ask yourself honestly, how much money are you willing to spend for a nice productive and fulfilling vacation that COULD turn into something more? Compare that answer to the cost of the retreat.

Rocaberti offers a scholarship, which is free to enter (though you'd have to handle airfare/travel if you don't live in Spain.) I don't know if we can link URLs in comments, so I'll refrain just in case, but it's easy to find on the web.

My favorite comment in this thread is from Stephanie O'Leary because when David Foster said "95% of you won't make it", he wasn't talking to Stephanie. The fact that Stephanie tuned in more intently with an eagerness to learn rather than be overwhelmed by rejection tells me all I need to know. Good stuff.

I'm still a novice but if you can afford it (or win a scholarship/contest to get it), I would guess nearly any exposure to real industry execs is a good thing.

Rejection is par for the course in this business it seems, but "persistence rewards talent", and sometimes it only takes one who falls in love with your project to champion it to greater heights.

They can work, or they can be a complete waste of money. It's about what you put into it. If you just want to hang out with a bunch of writers talking about various forms of writers' block, no need to spend time and money at a retreat. Depends upon you and the specific components of a given retreat. What are you looking for?

Curt Samlaska, I know what you mean about the dialogue and music. However, it is possible to drop the words more into the background so they do not interfere with the dialogue. That is something I learned recently.

Wyman Brent What a fantastic question! Music is such an underexplored aspect of the screenwriting process, yet it's absolutely crucial to how we envision our stories.

Writing with music in mind:

Many writers I know create temp soundtracks while writing - not for the final product, but to help them find the emotional rhythm of scenes. Some even write specific songs into their scripts as temp placeholders, knowing they'll need to find alternatives later.

The music description challenge:

In screenwriting, we're limited to brief descriptions like "haunting piano melody" or "driving rock anthem," but finding ways to convey the emotional texture rather than specific songs often works better. Instead of "plays like Radiohead," try "melancholy electronic pulses that mirror his isolation."

Practical approaches I've seen work:

Music libraries (like Epidemic Sound, Artlist) for affordable, pre-cleared options

Local music schools - students often need portfolio projects

Creative Commons and royalty-free resources for proof-of-concepts

Networking with indie musicians who want film exposure

The "nailed it" moment:

Most filmmakers describe it as when the music disappears - when it feels so integral to the scene that audiences don't consciously notice it, but would feel its absence.

For writers specifically: Consider how your script's rhythm on the page might reflect your intended musical approach. Short, punchy action lines for high-energy scenes, longer flowing descriptions for contemplative moments.

My third feature screenplay prominently features an old WWII song as part of the story. It's not so critical that it can't be replaced if the rights to use it in a production would be prohibitive, but it's also probably an old enough (and forgotten enough) song at this point to be affordable.

Pat Alexander, thank you. Music is a big part of my life. I was twice a DJ at college radio stations. A DJ at a nightclub, and helped set up concerts at a music venue. Plus, I had around 7,000 records in my personal collection.

You bring up some interesting points about music as related to film. One thin you mention is something that I have seen others on here mention. So many look to music libraries. What about looking to songwriters such as myself who clearly own all the rights to their own music? I do like the idea of reaching out to local music schools to give them exposure. In fact, I plan to reach out in such a way because I want to give students in poorer neighborhoods the chance to shine. Plus, I am in contact with an organization that helps former prisoners find their way forward. We will likely be working together to take some of my songs and turn them into hopefully viral videos with all profits split equally.

Patrick "PK" Koepke, I imagine the song would be quite afforable by this point. If I ever needed a song reflective of that period, I would just write it myself. One of the advantages of being on the extreme spectrum of creative synesthesia.

Michael David Oh no! That's frustrating. Would you be able to try and find them here like I am or has it been completely lost to the aether?

Lost to the aether, I'm afraid! It's okay, I'm still grateful for any feedback I can get!

If you can't get ahold of him. The Monday Coverage Report could be a new solution for you if you are a writer room member. You get a whole group of readers for your script at one time with valuable insights. It's worth checking out.

Jill Godley oh, amazing! Thank you so much for this suggestion. Support is currently seeing what they can do to help get ahold of the reader but I'll definitely be looking into the Monday Coverage Report

Criss Gidas glad to help!!

A Canadian TV star asked me to revise his pilot script that was tied up at 20th Century Fox's story department. I weaved my magic, and suddenly the script had U.S. TV stars attached. Suddenly, my "friend" was taking credit for the writing. My name was nowhere to be seen. I threatened to sue. The project then died. When I became a casting director for a horror feature film, he wanted me to get him work on the film so he could get a U.S. work visa. I made sure the part went to another, worthier actor. My "friend" continued to chill out in Vancouver. But we mended fences, until we hand another falling out. No more writing without a contract, collaboration agreement.

Sorry that happened, Matthew Gross. The TV star taking credit for the writing and the second falling out. I'm glad to hear you only write with a contract or collaboration agreement in place. Verbal agreements can work, but I won't do them anymore. Thanks for sharing.

Hey @Nikki April Lee Vertical dramas are definitely an emerging and fascinating format for many reasons! They're essentially full-length narrative content specifically designed for mobile viewing - shot vertically (9:16 aspect ratio) rather than traditional horizontal formats.

Key Characteristics:

- Mobile-first storytelling optimized for phones/tablets

- Intimate, character-driven narratives that work well in close-up vertical framing

- Episodic structure often released on platforms like Snapchat, Instagram, TikTok, or specialized apps

- Shorter episode lengths (typically 3-10 minutes per episode)

- Visual storytelling that embraces the constraints of vertical space

Popular Examples:

- Snapchat Originals like "The Dead Girls Detective Agency"

- Instagram's IGTV series

- Various TikTok serialized content

- Specialized apps like Hooked or Episode

Screenwriting Considerations:

- Framing limitations - everything happens in a narrow vertical space

- Close-ups and single characters work better than wide ensemble scenes

- Text/messaging integration often becomes part of the visual storytelling

- Quick cuts and dynamic editing to maintain mobile attention spans

This format is particularly popular in Asia and somewhat among younger Gen Z audiences. It requires rethinking traditional cinematography and storytelling approaches.

For writers: The format demands extremely tight, visual storytelling - every scene needs to work within that vertical constraint while maintaining dramatic tension.

I have a couple friends who've been working on numerous of these vertical dramas for a Chinese company all year (the checks clear), so we've talked a lot about the creative process on them. While the story quality is incredibly, incredibly low and extremely clickbait-y (like think of the most obnoxious concept you can - i.e. My Wife Led my Brother's Girlfriend's Sister Into A Cult!), some people watch them I guess? Right now they are also really sloppily filmed and edited together with messy cinematography and cheap, quick cuts, which is nauseating for more sophisticated palates or people who don't want to spend all day on their phones. But I suppose it would be interested to see what a very stylish, sophisticated director could do in this unique format.

Nikki April Lee not a fan as of yet BUT could be great way to practice the craft, since every moment needs to count - kinda like a scene analysis lab. AND I understand it is indeed lucrative for some.

Thank you, Christopher Wells , that actually makes a lot of sense! It’s true that movies don’t always reflect reality, and it’s interesting how every little detail can end up meaning something to the audience. I hadn’t thought about that before, but now I see how important it is when writing scenes. I really appreciate you taking the time to explain it!

You're welcome, Mariane Diagne. Ok, gotcha. I asked if you were planning on pitching your script or directing it yourself because of the camera directions, but Christopher Wells pointed them out. I'm looking forward to watching Dhar Jaam!

Also, once your pilot is ready, you could post it on your profile. Producers search profiles on here for projects. 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 pilot on your profile this way: www.stage32.com/loglines (near the top where it says “Add a Logline”)

You're welcome. It takes a little getting used to but I think you'll be able to knock it out of the park.

Thank you so much for this feedback, Mark Phillips ! You’re right, it definitely reads smoother that way. I’ll work on applying this in future scenes. Really appreciate you taking the time to share your thoughts!

Wow, I’m learning so much today! Thank you, Maurice Vaughan . I’ll definitely do that once my pilot is ready. I really appreciate you taking the time to explain this, and it means a lot to have your encouragement. Looking forward to sharing more of Dhar Jaam soon!

Hi, Ansh J. I outline all my scripts. I make really detailed outlines for my features, and I do short outlines for my short scripts. I leave room for things to change in the stories while I write the scripts though.

Happy Monday! Love that, Maurice! Sounds like the perfect mix for a holiday weekend — a little networking, movies, and rest. Glad the sale extension is helpful — if you need any recommendations, just say the word. Hope your week is off to a great start!

Ok, thanks, Sydney S. My week's off to a great start. Hope yours is too!

Glad to hear it Maurice, Me too!

Thank u!

You're welcome, Sydney S.