Screenwriting

Hi, Surena Hajizadeh. Welcome to the community. I’m a Stage 32 Lounge Moderator. I wanted to let you know that I moved your post from the TV Series Pitch Document Writing Lounge to the Screenwriting Lounge. The TV Series Pitch Document Writing Lounge isn't active anymore. Let me know if you have any questions.

It's going to be impossible to pitch a sequel of Game of Thrones since you don't own the rights. You could turn the idea into your own original series.

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The short answer: the rights belong to HBO and George R.R. Martin. Anything you write will either stay in your drawer or end up on a fan forum. Selling such a script is impossible — legally, you'd be infringing on someone else's intellectual property.

But there is another path. It's longer and harder, but it's the only working way:

Step 1. Write a strong original script.

Step 2.Sell it. Get it produced and make it successful.

Step 3.Create an original series. Ideally, straight for HBO.

Step 4.If that series becomes a hit, they might invite you into the writers' room. And there, if you're lucky, you might get to write an episode or even a spin-off.

But just pitching your idea from the outside? That door is closed.

I dream of writing a Game of Thrones spin-off myself. And I can't. Because those are the rules of the game. You either accept it — or build your own universe so compelling that one day HBO comes knocking on your door.

Thank you for your perspective. I completely understand the complexities regarding rights and the legal landscape of established IPs. However, my strategy isn't to pitch this as an independent outsider, but to connect with industry professionals who specialize in exactly this type of transition.

For instance, looking at the profile of executives like Elan Fingles—who has a proven track record at companies like Jesse James Films specializing in 'IP to TV/Film' development—it’s clear that there is a professional pathway for packaging high-concept visions for major platforms like Netflix, Disney, and HBO.

My goal is to engage with executives of this caliber who have the expertise to 'package' such a strategic expansion and present it to the rights holders. I believe a Direct Sequel to Game of Thrones addresses a massive global market demand that prequels currently don't cover. I’m looking for that professional bridge to turn this vision into a reality for the franchise.

I appreciate the links and will definitely be attending the Open House to further discuss these high-level industry strategies.

You're welcome, Surena Hajizadeh. That might be really difficult too, but I hope you reach your goal!

I have to agree with Oleg Mullayanov here. While it can be inspiring and a good launching point into screenwriting to imagine further stories in someone else's IP, the amount of creative energy and effort you would invest will never be realized due to the IP restrictions.

I'm not an expert but it's a very safe bet that production companies that have the rights to produce and distribute content based on a specific IP already have a franchise development team and/or showrunner that guides the creative direction of the projects within that property.

However, if you take the same ideas and directions you'd like to see that property go and apply it to your own characters, world, and setting, you might find the end result is much better (in your eyes) than the very property you were trying to emulate.

I was inspired by the film Them (1954) which is about giant ants that try to take over the earth. Knowing I couldn't write a sequel even if I wanted to (since the IP is owned by someone else), I wrote my own original story, and I'm glad I did. Because I wasn't bound by the lore and canon of the original story, I was free to take it in any direction I wanted, and was pleased with the result and the only similarity between my story and Them is "giant ants", and ideas aren't able to be copyrighted.

THanks CJ Walley , as always. I think my primary interest is to date I have essentially conceived beginning to end story arcs and before I start writing I know where I am going and then I just let the characters take me there on their own. But a recent project is more complicated I suppose. Many time shifts, origin stories and intersecting story lines in ways I have not conceived of with previous pieces. I was reviewing my pilot the other day and noticed I had a big hole that when I was writing just did not pop out to me while writing and even in my initial reread. It was after a few days and it just popped in my head 'you messed that up'. I had to go fix several issues and man it was so frustrating to me. SO I am hoping an outline approach (I am the stereotypical pantser seems) can help make sure I don't create more of those issue for myself, especially with this series.

I hold beat sheets with an open hand Laura Notarianni. The general direction of the character arc may be in there but when I sit down to write, sometimes nuance or subtext brings out something to say that can't be ignored. This just happened this week with a project I finished up where the ending took a different turn than the beat sheet. I simply went back and adjusted the beat sheet for the benefit of others who want to see it. So in order of importance, it's character arc first and plot second. Then, when it's all done...pie. ;o)

I truly struggle with the "beat sheet" and I would love any help anyone is willing to give me.

I use the, “Save the Cat,” beat sheet workbook to start, but sometimes my characters go off in another direction when writing which can add to the depth of the character arc. It’s what makes them more real and relatable. The beat sheet planning is a good starter, but may not be the whole story. Stay flexible, but focused.

I'm a beginner and beats are confusing to me but I'm getting it little by little.

Great tips, Hamzaat Consults. I used to write SO much on-the-nose dialogue. Something I do now to write subtext is write the dialogue on the nose on purpose, then keep rewriting it until it has subtext. It's easier for me to do it that way than coming up with subtext right away.

I think both can create strong long-term attachment, Radoslav Isakov. It depends on the reader/audience. Some might get attached to familiarity more, and some might get attached to discovery more. And writers can use both in stories.

Hi Shayla, my writing has been good so far. I've camp up 8 short films.

Hello Shayla Anne! I've just finished writing Act 2.

Bittersweet. I just got a "Writer: Consider / Project: Pass"

I feel that Michael Dzurak. You’ll get it next time!

I had that last week, but I tried again and got a 1 recommended out of 2. You can do this, keep trying!! :)

You're welcome, T.A. Uner. A lot of short scenes makes a script feel fast, and a lot of long scenes makes it feel slow.

Nope, T.A. Uner. You could use "can you loan me a quarter? I promise not to pay you back." as dialogue in a script.

nope

not at all… just write a great scene.

Tommy Gallego thanks!

Hi, Sydney S. I took Ammon’s webinar "Understanding Vertical Storytelling "Verticals" 101." It's a must-watch! I plan on taking his "How to Write Vertical Micro Drama Scripts" webinar too.

Sydney, this is such a timely conversation.

Vertical storytelling feels less like a “trend” and more like a structural shift in how audiences are consuming narrative. The idea of building IP natively for mobile-first viewing — instead of retrofitting traditional formats is really exciting and something I, myself am even looking into! Thank you so much again for sharing this pro-tip!

Thank you, Maurice Vaughan, I will take a look at. You are the best :))

That's cool Maurice Vaughan, I'm way more attached to my characters and stories lol, so much so that I'm okay with nothing of mine ever getting made. I write for myself first and foremost, after all lol

Nonetheless, I do feel like I can learn a thing or two about being more extroverted.

You're welcome, Sandra Isabel Correia. Hope the videos help!

And that's great, Banafsheh Esmailzadeh! Being so attached to characters and stories can help writers write. Besides picking up how to think like an extrovert from movies, shows, etc., being more extroverted comes with practice in my experience.

Sandra Isabel Correia I'm not sure my experience offers anything productive haha but I scour dailies online and websites to compile names that align with my goals, enter them into a spreadsheet and use IMDBPro and Rocket Reach to gather contact info.

Thanks for asking, Maurice Vaughan. Best said in the logline: Elena Montoya, a sexy, fearless Texas born Mexican-American army vet, investigates social justice cases for a liberal lawyer in her conservative Texas town.

Thanks, Amanda Toney, liking my post.

Wow I like the idea - when did we ever have a Mexican-American woman as the protagonist of a TV show? However I would take the word 'sexy' out as it isn't necessary.

You're welcome, Elise Marenson. Elena Montoya sounds interesting! I'm looking forward to watching it!

Congratulations, Elise! That is really exciting news.

Still in shock, but congrats to my fellow semifinalists!

Let's hear it for all the Color Farm Diversity Contest semifinalists!

Congratulations, everyone! Such lovely news!

It took me far too long to learn I was even a quarterfinalist, then I learned I was a semi-finalist the next day. First time in a Stage32 competition. I guess I’m starting to grasp this script thing. Congrats fellow Semi-Finalists! (And also, I fixed the inbox issue.

Congrats to everyone. Keep up the good work.