Trending Lounge Discussions

Hi Kevin Aldrich Cool photo! Congratulations to you and your wife on completing your novelette! If you’re looking opportunities that could be a strong fit for your script, I highly recommend reaching out to the Stage 32 Success Team at SuccessStage32.com. The team is great at helping members identify next steps. The Writer’s Room can also be a strong resource. There’s a free month available so that you can explore its perks: https://www.stage32.com/writers-room/plans-vip

Great to have you in the community, Kevin Aldrich, and congratulations not only on the project, but the positive reception to it.

Thanks

Congrats to you both on Lunar-Tickz, you exciting move jumping into a screenplay already.

Curious how you’re handling rights and character control this early, especially before pitch sessions? That part can really shape your leverage with investors.

Wishing you a strong run with it

Thank you

Nikita Adams Lol! Your comment didn't make me roll my eyes, but it definitely made me sigh. I've applied to numerous assistant positions at multiple production/network companies, but I've found the playing field is very crowded, with a lot of talent coming in. I'm trying to find a way to stand out. I would LOVE to have an assistant position, not only to get my foot in the door, but also to LEARN! I am just having trouble getting past the "resume" phase.

Thank you, Nikita! Will do; sounds politically correct as stated in your remarks.

Hello Nikita! I'm sure you've gotten (and still get) countless responses like this, but I have aspirations to build a career as a screenwriter of television and film. I'm twenty-three, so I recognize that I'm young and early in my career and that I have my whole life ahead of me to make this happen. I'm currently writing spec scripts and reading scripts of movies I like to practice my craft, but I'm also looking for some professional opportunities. What are some of the best career decisions I can make right now? What are some habits I can get into? Who are some people I should try getting in contact with?

Thanks Nikita - I am convinced that because my story is part-bio and I’m a fairly bold personality at heart…that my character is strong - she carries the weight of blame and guilt throughout the four books I’ve written, so far. There is always something out there - waiting to raise its ugly head, and she faces it - head on. I think female empowerment is the WHY NOW golden nugget - with a fight for justice. I’ll make sure I highlight the right qualities.

Thank you very much Nikita for your amazing industry success, guidance, and support. I have 5 Novel screenplay adaptations, I"m so thankful that 3 out of my 5 adaptations have updated WGA certificates. Hopefully I will be able to get the WGA certificates for the other 2 adaptations soon. I hope you have a great rest of your day.

Nice, I really like Backrooms lore. Some of the fan fiction it has produced is really good.

Hi Chass, I saw your post about 'You Were Never Here' the 'Backrooms' inspiration is a really compelling angle for a novel. I'm an eCommerce developer who helps authors set up independent Shopify stores. Have you considered selling signed copies or digital bundles directly to your readers? It’s a great way to keep more of your royalties compared to the big retailers. Happy to share some ideas on how to set that up if you're interested

Michael Dzurak Appreciate it! The Backrooms has inspired some incredibly creative storytelling—it’s a great example of how a simple concept can evolve into something much deeper.

Hi Ryan - go write it until it's ready to go before the cameras. Do not concern yourself with a crew at this point. Are you going to direct? If yes, do you have directing experience? If no, don't get a crew at this point. To learn some basics of directing, grab your smart phone. Don't be concerned about any special apps. Go shoot someone making a cup of coffee. Start from when they enter the kitchen to when they enjoy the first sip. Do not worry about lighting or sound. Ask the person to show you what they do. Then break it down into shots. Edit in the smartphone (iMovie or Capcut). Do this 5 times with different people in different homes. Trust me, you'll quickly grow as a director. And do learn composition!

Ryan Wilford Really interesting concept the split between the “physical” and “internal” day has a lot of potential, especially if the contrast builds subtly over time.

From my experience, the first three steps are usually:

1. Finding a DP who connects with the idea, not just the visuals. Especially for something like split-screen, you’ll want someone who understands emotional storytelling and how to differentiate tone through lighting, framing, and rhythm while still keeping it cohesive.

2. Building a small, committed core team first (DP + sound + 1 assistant) rather than trying to fill every role immediately. A reliable small team is more valuable than a large disconnected one.

3. Testing the concept early even a short visual test or reference shoot helps attract collaborators because they can “see” what you’re aiming for.

For your split-screen specifically, I’d look for a DP who thinks in terms of visual language how each side can feel distinct (maybe through color, movement, or lensing) while still belonging to the same world.

It’s a strong idea if executed with restraint, it could be really impactful. Happy to stay connected and see how it develops.

Marie Hatten Thank you Marie! Appreciate the support as always :)

Lindbergh Hollingsworth Thanks for the insight and the practical advice! I’m currently weighing that exact decision. While I’m a screenwriter first, I’m open to this being the project where I gain that directing experience—or, ideally, finding a DP and Director to collaborate with so I can stay focused on the narrative side.

I love the idea of the smartphone 'coffee' exercise to understand composition better regardless of which path I take. Appreciate the perspective!

Abhijeet Aade Thank you so much for this insight; this is exactly the kind of strategic breakdown I was looking for.

I completely agree that the core team (DP + Sound) is the priority. Interestingly enough, I just had a meeting with a creative last week who turns out to be a DP. We connected deeply on the mental health aspects of the story, and he’s expressed a real interest in the project. It feels like the 'nudge' is already moving in the right direction.

I’ve spent the last three years focused exclusively on my two feature specs—finishing the pitch deck for one and currently outlining the other—but I’ve reached a point where I’m ready to see my narratives take a physical, visual form. Your advice on testing the concept early with a reference shoot is something I’ll definitely take to heart as I move into the writing phase this April.

Let’s definitely stay connected—I'd love to keep you updated as this develops!

Laura Hammer I'm a little late but thank you for sharing the event, how was it?

Lindsay ThompsonI appreciate that. I couldn’t agree more. When animation and sound are developed together from the start, it completely changes how the final piece feels. What kind of work do you primarily focus on?

Patryna Goosby Thank you! I received your connection request.I’ll accept and reach out soon, as I’m currently focused on a client project with a deadline approaching.

"This was helpful."

Cyrus The event was great! We had a lot of members join and Jacob gave lots of good advice. You can watch the webcast on demand here: https://www.stage32.com/webinars/Exclusive-Stage-32-QandA-with-HEATED-RIVALRY-Showrunner-Jacob-Tierney#about-instructor

Thank you for your service

You're very welcome and thank you so much!

I am interested in your ongoing project

Really? Right now, Favour Day is also interested in helping. What would you like to offer?

I love to learn about new cities/locations becoming filming centres. Thanks for the post, Michael Fitzer, Mfa

Michael Fitzer, Mfa Very good to hear your enthusiasm for Kentucky filming. I've likewise heard great things about shooting there with producer colleagues extolling the advantages and opportunities. It sounds like it is growing steadily in work and facilities. Thanks for sharing.

Great question this is exactly where strategy makes all the difference.

Getting your films onto streaming platforms typically involves either going through aggregators, film festivals for exposure, or connecting with distributors who already have platform relationships.

The key is not just having a great film, but packaging it properly strong logline, polished pitch deck, and clear audience positioning.

I work closely with creators on refining their projects and positioning them for opportunities like this, including outreach strategies and industry connections. If you’d like, I’d be happy to take a look at your work and explore how we can get it in front of the right people. Feel free to reach out I’d love to help you move this forward.

Alex Silverscript

Thank you very much for your helpful insights — they are truly excellent. I understand your points very well. As you mentioned, creating a strong logline and preparing a proper proposal can be time-consuming, and it really helps to have someone alongside you to guide the process.

The industry is complex, and sometimes it feels like even if you create something, you may not achieve real success