Greetings; cheers; hello community! I am here at STAGE 32 by way of two (2) copyright protected (with additional upcoming) adaptation scripts; including a (future-tense) twenty-minute (20 min.) documentary; approved for creation by a Hollywood book to film executive at Book to Film Company.
The executive is Ellen R. Green (IMDb). (Note) I have worked with iconic Paramount Pictures (of the Hollywood studio system) for five (5) months in ‘22 with a Book to Film Company 'Blueprint Screenplay Adaptation' (Treatment for a Screenplay. Each script is known as the entire movies' ‘Story’)!
These 'Blueprint Screenplay Adaptations' (each ‘Story’) are Hollywood book-to-film, thematic, filmic, and cinematic versions of my book(s). They have been composed on my behalf (known as phantom written in today’s publishing industry, and previously known as ghost written) by Writers Guild of America (w.g.a.) union screenwriters (of paid open writing assignments by genre) with decades of Hollywood experience. Through my publisher’s (connected) Book-To-Film Company.
They write in classic Hollywood three (3) act structure! (Act 1 a.b. • Act 2 a.b. • Act 3 a.b.) Their creations are ‘off the books’. As in not participating in my copyrights, credits, deals, paychecks, nor profits!
This pool of screenwriters are assigned by the founder and director of the company (my ‘buddie’), Ellen R. Green (IMDb). She has worked on dozens of motion pictures going back to ‘The Seventh Sign’ in the '80’s; and her w.g.a. back to the ‘Gremlins’ franchise in the '80’s as well. She has dozens of credits, and serves as my publisher’s Hollywood insider (working for over thirty years in it)!
My book is (proclaimed as… declared as… reviewed as…critiqued as) what-Hollywood is looking for. As it is on the lists of best motivational and inspirational books (1,100+ list); best spiritual books (1,400+ list); best books ever (76K list). So it as historical publishing industry listing s. Within an industry (mind you) that has two (2) million english books released annually (obviously) by various authors.
Each of these book-to-motion picture scripts are of ninety (90) minute, main stream commercial studio appeal, (of fantasy & non fiction) with faith-inspired, faith-based content, faith-friendly content, and probable MPA Inc. rated, general audiences consideration (G rated. Rated G. All ages admitted). The circumstances are the villany.
Having only situational conflict. (And) Situational friction remains the standard as reflected from my intellectual property, and source material via publishing (The book) that the originally adapted scripts are composed from. Each script has socially responsible content as well. (Mind you again) The circumstance is the villany.
I am currently heading towards my first book-to-film purchase agreement (production agreement. production lock. green lit scenario.) with a ongoing (upcoming 35th) pitch session process. Wherein I mention having my one, awarded union (s.a.g.) acting talent; two, my (p.g.a.) producer talent with a plethora of credits; three, my union (d.g.a.) Oscars ® production associated directing talent. Who-is a consultant at a classic major studio. They are “attached” guild member talent who enable me to forego the need (not need) of a major studio level ‘Pitch Deck’ that would typically accompany a script. (just one of these “attached” talents suffice to forego a studio system ‘Pitch Deck’)
Note that my adaptation development consist of three (3) of the four (4) major demographics. Which are, one, young adult (YA); two, kids and family; three, (do not have) live action; (and) four, animation (as hybrid animated).
I also have an eighteen (18) major studio credited, Oscars® and Emmys® acclaimed w.g.a. script writer as a co writer credit for the actual screenplay (also “attached”). Thanks for being a part of this phenomenal international platform. Thank you for listening too. Be blessed (blest) with all your endeavors here as well.
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Well then you've misinterpreted my comments. I like flashbacks and voice-overs very much when they're done well. But doing them well isn't the easiest part of screenwriting to master IMO. That's all I meant to say.
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Spencer Robinson Really valuable insight. I’ve realized the same while writing devices like flashbacks or voiceover only work when they’re serving the story, not decorating it.
The point about placemen...
Expand commentSpencer Robinson Really valuable insight. I’ve realized the same while writing devices like flashbacks or voiceover only work when they’re serving the story, not decorating it.
The point about placement really hit. When it doesn’t connect to the present moment emotionally or thematically, it breaks the flow instantly.
I think as writers, we sometimes use these tools thinking they’ll make the script feel more “cinematic,” but clarity and intent matter more than complexity.
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This really resonates, especially the idea of being intentional with every device. I’ve found that when something like a flashback is used just to explain something, it often weakens the present momen...
Expand commentThis really resonates, especially the idea of being intentional with every device. I’ve found that when something like a flashback is used just to explain something, it often weakens the present moment instead of strengthening it.
When it works, it usually feels like it’s adding emotional context or shifting how we understand a character, not just filling in information.
Otherwise it starts to feel like the story is stepping away from itself instead of moving forward.
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Spencer, I hear you loud and clear!
I'm not really a flashback fan when it comes to writing scripts...that said, during the October 2024-April 2025 period, I worked with a producer named Dennis Erichse...
Expand commentSpencer, I hear you loud and clear!
I'm not really a flashback fan when it comes to writing scripts...that said, during the October 2024-April 2025 period, I worked with a producer named Dennis Erichsen to help script out his "Mental Lockdown" psychological thriller.
Because "Mental Lockdown's" lead character, Kenny Martin, was a suspect in the murder of his mother Ella, and had to spill the beans to a police detective named Nancy Brigati, Dennis wanted the story primarily told in flashbacks...beginning with the day Kenny's father John was robbed and murdered: 9-11-1984...Kenny's seventh birthday. (And that also was the day Ella started forty years of messing with Kenny's head.)
Other than that...as long as I can find a way to tell a story free of devices, I feel I'll be fine.
Thanks for sounding off...glad you're here on Stage 32!
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Hmmm. My second novel, Terminal Cascade, I have converted into a screenplay and the whole story is "Present", "Past", "Present", "Past". Every chapter throughout the entire book follows this. The reas...
Expand commentHmmm. My second novel, Terminal Cascade, I have converted into a screenplay and the whole story is "Present", "Past", "Present", "Past". Every chapter throughout the entire book follows this. The reason is that I take you through the development of this mild, brilliant, GRU scientist, how he develops this thrombotoxin, and how he figures out how to develop immunity for himself, at great...I mean great...personal sacrifice. At the end of the "Past" chapters there is a great reveal...how is he deploying the toxin? He is the walking Grim Reaper...able to take out city blocks and walk away completely unscathed. It is a very unusual format...but for my story I believe it works... I guess they wouldn't be considered flashbacks...but two completely intertwined stories that collide at the end...