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i would love to collaborate with you

Hi Tajudeen, thank you for reaching out! I'm thrilled that you're interested in my IP slate. I'd love to discuss potential collaborations further. Let's stay in touch!"

I agree, being a newbie who nonetheless came out swinging (call it that overconfidence that's endemic to newbies), I've now learned to significantly cool my jets lol. I'm focusing entirely on getting as much stuff written down as possible, whether novels or comics or screenplays, without worrying about any of them getting released anytime soon. Basically enjoying my writing as an old partner suggested, reducing the stress of wanting something made right now.

Also I think it's great for creatives to be aware of all the different elements that go into building a career. It's not just about writing a script (which is the best it can possibly be). It's also about learning about the industry. Networking. Making connections and finding collaborators. Creating buzz and momentum about yourself and your work and then building on that. You have to be prepared that things aren't always (or usually!) linear, and that often you won't go in a straight line from the A to B you imagined, and that's ok.

Totally agree with all of this; some really great feedback here. I often tell new screenwriters/producers/directors that actually MAKING ANYTHING is a win. The process of creating and then putting that creation up on its feet is the most valuable learning experience one can have. An added bonus is: you have an asset for your portfolio at the end of the lesson! So, if you're just starting out, don't start fundraising for a TV pilot or an indie feature. Start with a 2-minute short film that you can make for under $500. And then, once you do that short...do another one. When you feel like you've made something you're proud of, move to the next level...and fundraise for a couple of 5-7 minute shorts at $1.5k...and so on, and so forth. By the time you're looking to raise more money, you'll be deserving of that money, because you'll have cut your teeth and gone through the necessary paces.

Great advice Michael Fitzer, Mfa. Get your feet wet, just shoot a project to get the feel for it. Definitely direct a short if you haven't.

Cedric Sanders Welcome, great to have you here.

I like that you’re working across multiple areas of storytelling. That kind of on-set and cross-discipline experience really shapes how you see a story, especially when it comes to performance and tone.

I’m a director–writer, currently developing a feature called Pie & Coffee, and I’ve been in a phase where I’m focusing a lot on emotional clarity and subtext in the material.

Would be interesting to hear how your acting background influences the way you approach your writing especially in terms of character behavior and dialogue.

sure

Yeshua Manéré Thank you for sharing this it’s really important, especially for emerging filmmakers.

I had a similar experience recently where the conversation shifted toward shared development costs early on, which raised some concerns for me. Situations like that really highlight how important it is to verify people’s background and be cautious with any upfront financial commitments.

Posts like this definitely help create more awareness in the community. Appreciate you putting this out there.

Thank you Abhijeet Aade , really appreciate you sharing that. The 'shared development costs' angle is a classic early red flag — glad you caught it. The more we talk about it openly, the harder it becomes for these networks to operate. Stay sharp out there!"

Yeshua Manéré Appreciate that means a lot.

Yeah, it definitely made me more aware moving forward. Conversations like this really help in staying sharp and making better decisions.

Glad we’re talking about it openly—it makes a difference.

LOL... I love it!

This is brilliant, Mike! Thank you for the insight.

My impression is that Hollywood folk use terms like "prestige" and "elevated" not to denote script quality but to describe what kind of screenplay the work aspires to be. Prestige is shorthand exec speak that signals a work that might compete for awards, attract top tier talent, generate critical acclaim. Elevated says this is a genre piece but has broader appeal beyond core genre fans and perhaps is more character than plot driven or has a strong thematic spine, elements that could attract better talent attachments and/or a higher budget. So I wouldn't run away from these terms, but use them when they make sense. Again it's not script quality, it's script categorization.

I have no idea what half these terms mean so I don’t even bother saying them about my works lol

Georgette Skolnick Really compelling concept, Gigi there’s a strong emotional core here, especially with the bond between the man and the dog.

Here’s one take on the logline:

After dying in hiding during wartime, a devoted father refuses to enter Heaven until he knows his dog is safe forcing a cynical, rule-bound angel to break celestial law and help him find the animal a loving home before he can finally move on.

I leaned into the emotional stakes and the dynamic between the man and the angel. Curious how close this feels to the tone you're aiming for?

Here's my spin for you Georgette: Logline: Stuck in the afterlife with a chain-smoking angel desperate for a promotion, a stubborn man refuses to ascend until his dog is safe—sparking an irreverent, heartfelt quest that bends the rules of Heaven.

I love Charles’ suggested logline. Well written and whimsical, hitting all the beats.

Mike, If you mean Chas, so far I agree with you. I'd change the word "afterlife" to the "void between Earth and Heaven": Stuck in the void between Earth and Heaven with a chain-smoking angel desperate for a promotion, a stubborn man refuses to ascend until his dog is safe—sparking an irreverent, heartfelt quest that bends the rules of Heaven.

Chas, So far I like your logline, but I'd change "afterlife" to "the void between Earth and Heaven"... Please see my reply to Mike above. Thanks for your help!!

Congratulations, Jores! Making it to the Quarterfinals is a huge achievement. Your story sounds incredibly moving and personal—bilingual and culturally rooted stories like this are so important. Wishing you and your team the best as you move into pre-production and shoot later this year. Can’t wait to see it come to life!

Thank you, I really appreciate that. This story means a lot to me — it's rooted in my culture and my family, so hearing that it resonates means everything. We're deep in pre-production now and pushing forward. Thanks for the kind words and the support.

Congrats Jores, where in NYC are you? I'm in flushing queens

I have a bunch of great projects if you would like to hear.? shoot me your email.

I have finished 5 TV Pilots & am currently in the process of pitching them. I’ve heard so many good things about Stage32 & the platform’s ability to help writers get their stories in front of people who can actually make things happen. Thankfully I have a co-writer, so coming up with new ideas is easier & completing scripts isn’t frustrating.

Spencer Robinson Yes, what would you change on the producer or studio sides of the journey to the screen?

David Taylor I wish producers would do more of the packaging. Some are amazing; and do, but plenty want everything brought with a nice little bow on it.

Spencer Robinson If you get one of your scripts sold, does it make your second script easier to sell? Does anyone ever ask you if you have other scripts available? Or is the process always going to be trying to sell one at a time?

Akpobasa Success Sounds like a pretty cool story.

Thanks

I like it already!!!!

Thanks

Hi Mikhail,

I’m a book editor by profession. I spend most of my time working with writing that already has something working in it, but isn’t fully translating on the page yet. That tends to show up in scripts too, especially in how scenes turn and what they leave behind.

I’m not reaching out to offer anything. I just pay attention when something is this close, and I respect the kind of work that goes into it.

Are you in the middle of something right now or taking time between projects?

Arlane Whitmore

Hello, Arlane!

Thank you for your comment.

I'm currently working on a new project. If I have any questions, I'd be happy to send you a private message

Abhijeet Aade Great point. As creatives, we love our work and think we are one step away from stardom. Unfortunately, there are people out there in the space that take advantage of that emotion and make you feel that they can take you as a writer over that hump at a price. The way I look at it is we have a product to sell; a story and the writing that conveys the story. If someone wants money from me to sell my product, I walk the other way. If your story and writing are solid, they will eventually pay you for it.

John Fife That’s a solid way to look at it.

I think it’s easy to get caught up in that “one step away” feeling, especially when someone presents things convincingly. But like you said, at the end of the day, the work itself is the product and if it’s strong, it should create value, not require us to pay to move it forward.

I’ve started looking at it the same way now focusing more on strengthening the material and being patient with the process.

You might sight NASA as the overall Government Agency but create your own project group to cover your fictional group.

A fictional department within an existing agency. For example the IMF from the Mission Impossible series is based out of Langley, Virginia which is the headquarters of the real CIA. In the first MI film, that is even one of the key settings.

Also, James Bond works for MI6, but as far as I know the good guys in the "00" section and "Q Branch" are as fictional as bad guys in Spectre.

The titular department in The X-Files also started as a quirky fictional department within the real FBI. In fact, in season 1, episode 1 it had 1 member, Mulder. Scully joins him in the pilot.

Thank you both for the insights—really helpful perspectives.

I like the idea of grounding the story in a real agency while building a fictional unit within it. That balance between authenticity and creative freedom feels like the right approach for what I’m aiming to do.

Appreciate you taking the time to share examples as well—it definitely gives me a clearer direction.