Screenwriting

Where can I find a list of these executives that I can pitch to? I have a few scripts :)

You can find more information here https://www.stage32.com/scriptservices/pitch-sessions at our Pitch Sessions page | Please email us at success@stage32.com for recommendations and with any specific questions that you may have. Thanks!

Radoslav Isakov this is exactly the kind of thinking I’ve been wrestling with. Especially your point about emotional anchoring. In my double‑premiere, Episode 1 is almost entirely about establishing the emotional contract, while Episode 2 tightens the ritualistic pressure.

I love what you said about timelines arguing with each other. That’s very much how I’m approaching mine. Not as mirrors, but as emotional counterpoints that expose what the characters can’t articulate yet.

For you, when you’re defining that emotional anchor in Episode 1, do you start with a single POV character, or do you let the ensemble share that weight?

Richard! If you'd like to chat with me I can tell you everything we did. We wrote an entire season of a fantasy tv show. and yes, the balance is challenging

Richard Canupp ,

I tend to start with a dominant emotional lens — not necessarily the protagonist in plot terms, but the character whose inner fracture most clearly expresses the thematic core.

Even in an ensemble, I think the audience needs one stable interpretive anchor at first. Not to limit scope — but to metabolize ambiguity.

Once that emotional contract is established, the weight can distribute. The ensemble then expands perspective rather than diluting it.

If the anchor is unclear, dual timelines and ensemble threads start competing instead of resonating.

Curious — in your case, is the emotional counterpoint character already visible in Episode 1, or does that tension fully emerge in Episode 2?

I think the biggest struggle I have had with feedback is it is often contradictory (which I understand, everyone is different but when getting evaluations designed to help 'improve' your project, the conflicting feedback starts to be a bit of a headtrip) but also asks for more of the storyline to be obvious in the first 10 pages. That feedback has been the toughest to process because it feels like from a pacing perspective the packing of all the storylines into 10 pages feels frantic and overworked, and almost as if it is designed to be so the rest of the script doesn't need to be read.

I'm wrestling with my own version of this. I love slow burn, but there's a real dance in a pilot - you have to sell where you're going without giving it all away. And the spectrum of audience preferences is wide. I happen to love high-concept science fiction, but a lot of people want action and those immediate dopamine hits.

What I'm learning (and I'm brand new to this) is that there are multiple levels where you can give the viewer what they need. If I need to slow burn the science, I have to create intrigue and keep the plot moving in other ways. Character tension, mystery, stakes - those can carry the audience while the bigger ideas unfold. Quite an art.

Appreciate the support as always, Sebastian Tudores, and the contribution. Happy to hear you're spending more time on the TM Lounge. It needs the bump. I think many misunderstand what it's all about. Hopefully this blog and contributions from creatives who understand the opportunity at hand such as yourself will get it hopping.

Richard "RB" Botto ecosystems/transmedia are a big part of 'the future' absolutely. thanks :)

I'm always fascinated by how war stories shape characters differently. Curious to hear how other writers approach building heroes in these worlds.

Think 'Dances with Wolves'; 'Little Big Man' or even the recurring character R. Daneel Olivaw in the Isaac Asimov Foundation BOOKS. The former two heroes have a changing mixture of motives, and the latter has one of the best hero developments ever written which takes place over many centuries. Another example, for struggle, motive and survival can be found in the character William Wallace in 'Braveheart'.

David Taylor Interesting examples. I agree that the most compelling heroes often carry multiple motivations that evolve over time. That inner conflict is what makes war stories feel real.

Thank y'all for entering our Stage 32 + Drama Box Screenwriting Competition!

Hi everyone!

I submitted HACKING THE BILLIONAIRE, a vertical drama thriller that blends romance, psychological power dynamics, and high-stakes corporate intrigue.

I enjoy exploring storytelling across different genres and formats — from character-driven suspense to visually focused binge narratives — and this project allowed me to lean into the unique pacing and emotional rhythm of vertical storytelling. I especially love the challenge of sustaining the high cliffhanger frequency vertical dramas demand, while still building character depth and emotional stakes.

Really looking forward to seeing the incredible range of projects everyone has entered. Wishing all entrants the best of luck!

— Hannah

I submitted my third screenplay, THE GIFT OF LOVE. Here is the logline:

Love, mystery, and resilience intertwine in The Gift of Love, a captivating tale set against the vibrant backdrop of a Caribbean island, where Crystal Rice is torn between fulfilling her dying father’s wish for her to marry Peter Paton, the son of his wealthy friend, and her undying love for her boyfriend, Barry Holmes.

The story compares with O. Henry’s The Gift of the Magi, and Nicholas Sparks’ The Notebook. Like these beloved stories, it explores how love, when expressed through sacrifice, faith, and selfless giving, transcends material boundaries and touches the soul.

I thank Stage 32 for allowing me to participate in these contests.

My second screenplay, Zeeka and the Zombies, was a finalist in the 13Hooror.com Film & Screenplay Contest 2025 and I am willing to sell it.

Dear All,

I submitted 'CAPABLE MAID'; a comedy/drama, sets in the 1980s in Glasgow Scotland. Capable Maid is about an egocentric scientist who hires an unconventional maid to help him reconnect with his estranged daughter. However, the maid turns out to be better at mopping up messy lives than floors, and she's clears up his ego too, and she enchants his daughter.

Story depicts flashbacks into the characters past; makes a viewer ponder about their future bought on by comical confusion of their present.

I employ suspense in the story and I respect the viewers intelligence to work out what's goes on behind the scenes...

I also converted 'Capable Maid' into a stage play and I do hope some sympathetic minds will find my works interesting.

Previously I completed two full lengths Shrek style animations screen plays and another futures film named Night of Persuasion.

Years ago I wrote a novel 'Rainbow Chase', INSB 1 872080014.

Hi Everyone!

I submitted my short animation script “Spinzone”, the story of an 11-year-old boy who accepts a challenge from the avatar of his deceased best friend: to reunite in the real world through dance.

“Spinzone” is about what our body can teach us and its power to connect us with our emotions. It’s a heartwarming story that has been selected in several international screenplay competitions so far: the Manchester Film Festival (BAFTA/BIFA qualifying) 2026 Screenplay Competition, the BAFF Screenplay Competition (Fall 2025), the Los Angeles 2026 International Screenplay Competition and the 2025 Break on Time International Screenplay Competition (Isii Group) in Spain.

I submitted “Spinzone” to the Stage 32 + DramaBox Screenwriting Competition because I believe in what Animation can bring to vertical drama in creating a cinematic experience for the viewers.

Thank you for the opportunity to share our work and good luck to all entrants!

Have you reached out to our success team? If you email them at Success@stage32.com with the details of your project, they can give you curated suggestions on who to pitch to.

Read, read, read...it's how we learn to write better.

Not much chance for a read of anyone's boring script when none are posted here.

Langley C., you're doggone right I love to read scripts!

As long as I take in screenplays/TV scripts here and/or on Script Revolution every day, I'm satisfied.

And as long as I can learn from reading scripts, I'm happy.

Of course it depends on the screenplay. When you start reading, and realize that you had picked up the wrong one, and it was not even the genre you had intended to read, but can't put it down, and when finished reading it had such a good experience reading the screenplay that you don't even need to watch the movie, then yes... that is a great screenplay!

Pat Alexander Thats so awesome! those are some great recommendations. I definitely second checking out a kaufman script and a jordan peele script if you're learning the ropes.

Jim Boston what a great attitude for rapid improvement!