Trending Lounge Discussions

Robert, I'm more of a slow-burn viewer.

Wade Taylor, I’m right there with you. Slow burn just sticks with people longer. That unease lingers in a way quick hits don’t.

Eric Charran This is exactly how I see it. That space between feeling something is wrong and understanding it—that’s where the story really lives.

What you said about AI degrading slowly instead of collapsing all at once… that hit. That’s the same rhythm I’ve been chasing with The Hollow—something already moving beneath the surface before anyone realizes it.

Really appreciate you taking the time to break that down.

Right now I’m working across Appalachian horror, memoir adaptations, and some grounded drama.

Jim Boston Appreciate that, I’m the same way. Slow burn just feels more real to me.

I'm kinda plebian. If a script, a book, a film, a documentary, an article doesn't hook me in the first 5 minutes, I'm outta there. Life is too short to gamble on the off chance there's a point to something. And then if I'm watching and trying to convince myself the lighting or set decorating, or lack of set, or bold decision to completely ignore story structure or acting justifies my time, that's kinda my cue to scroll YouTube for funny cat vids.

Shortly after I became a member here two years ago, I did a small statistical analysis. I checked the finalists at a big screenwrriting contest ten years ago. For one third of the finalists, there career was better after than before. For an equal number, the result was the opposite. For the remaining third, there was no change.

For what it's worth (for TV scripts at least), here's a list of some current ones with good reputations that aren't run like a shady used car lot:

1. Stage 32 (all of their contests)

2. Austin FF

3. Big Break

4. Scriptapalooza

5. PAGE

6. Emerging Screenwriters (screenplay and genre contests)

7. Los Angeles International Screenplay Awards

8. Script Pipeline

9. Shore Scripts TV Mentoring Program

10. The Golden Script Competition

11. Outstanding Screenplays

12. ISA Fast Track Fellowship

13. Filmmatic (TV pilot, genre categories, Inroads fellowship)

14. Roadmap Writers

15. Sundance

16. Studio fellowships

I'd say if you stick to like the Top 20-ish of known and trusted screenplay competitions, you'll have a positive experience with them. I personally can't speak to dealing with most of the other contests or festivals out there, but if you submit to the Downtown Green Bay Quarterly Screenplay Competition, there's a pretty good chance you're wasting your time and money and you'd get what you paid for.

Good stuff. Thanks for taking the time to write that, much appreciated.

Completely agree with you on DIFF, I will never be participating in that contest again.

I agree with "most established screenwriters."

Ashley Renée Smith Great question this is so true.

For me, one key decision was rewriting a scene much later than planned. Initially, I thought the original version worked, but once I revisited it, I realized the emotional core wasn’t strong enough.

Changing that one scene ended up shifting the tone of the entire project and made the character journey much clearer.

It taught me that sometimes the smallest creative decisions especially around character can have the biggest impact on the overall story.

Ashley Renée Smith Well the casting had no impact on the script, which our director followed like it was handed to him by the Archangel Gabriel himself.

As for how it impacted the performances, I invite you to watch the film and judge for yourself.

https://www.amazon.com/Frontier-Crucible-Travis-Mills/dp/B0FYTJTKNF/

Ashley Renée Smith You are simply an amazing person! To give your precious time to everyone — that is the height of humanity!

Ashley Renée Smith Yeah. She was already a character who had been through a lot of recent grief and loss, so by adding her weight gain it became a visual indicator of that pain she's carrying. Plus, it contrasts with how she presents herself. She tries to project a confident, unhurt air, even though she's hurting quite a lot underneath. So her increased weight became a way of showing the inner tension: she's trying to make it seem like she has it all together, but her body says there's something wrong internally.

Biggest thing I learned is to trust no one, always do your homework, keep your shirt tucked in, and have a good attorney.

Welcome to the S32 Club, Sahiru Sajjana!

Delighted to meet you and welcome to our team!

Hi Sahiru, welcome to Stage 32! I’m Ashley, Head of Community here on the platform. It’s great to meet you, and I love how many creative areas you’re exploring!

To start building connections and momentum here, I’d encourage you to jump into conversations in the Acting Lounge (https://www.stage32.com/lounge/acting), Filmmaking Lounge (https://www.stage32.com/lounge/directing), Screenwriting Lounge (https://www.stage32.com/lounge/screenwriting), and the Post-Production Lounge (https://www.stage32.com/lounge/post_production). Those are great places to ask questions, share your experiences, and meet other creatives working across the same areas.

You may also find it really helpful to reach out to our Success Team at Success@Stage32.com. If you share more about your projects and your goals, they can point you toward resources, opportunities, and connections that align with where you want to go.

Hi Sahiru, welcome to Stage 32

Thank you so much! I'm new and so excited to learn more about this platform! Nice to meet you all!

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Thank you! Thailand is even more beautiful in person.

SYED HAMMAD - Your poster art on your profile is amazing! What are you working on now?

Amanda Toney Thanks, I'm currently focused on a series of remakes for official movie and show posters. I love finding existing posters online and completely redesigning them from scratch using my own style to give them a fresh cinematic feel. It’s been a great way to push my creative limits

Hi Aaron Newman both of those roles sound like an intriguing challenge to me!

Thanks for reaching out and for the comment..These are both really great female lead roles. Trying to find actresses who would champion them to their management and want to see them come to life.

I really connect to what you’re saying here.

For me, it always starts with loving what I write, otherwise it has no weight. But at the same time, I’m very aware that film is also a commercial space. I don’t separate the two.

The story stays true to itself, but the way it’s told, the pacing, the visuals, the structure — has to invite an audience in. That’s where it becomes cinematic and accessible.

I’m currently working on a sci-fi feature, THE SINGER, which lives exactly in that space. A high-concept world on the surface, but something emotional underneath.

LOGLINE:

In a silent future where music is outlawed, a girl whose voice pierces the atmosphere awakens a city—and uncovers the truth about who she really is.

I think the goal is to make something that people feel — and still want to watch.

Curious how you navigate that balance in your work.

Fellow writers, I want to share the experience I've had pitching my screenplay, "CONFESSIONS OF A SONY ADMAN--Inspired by a True Story". I've submitted two written pitches to Stage32 that received a Pass. So far, I've pitched five executives on Zoom and three requested to read the script. A fourth liked my pitch but said she was working on something that was too similar. I now believe that face to face is the only way to go with this process. It might be a little scary and requires rehearsal but, if you ever expect to take your screenplay across the finish line, this is just the beginning. A Production Company or Manager will expect you to be able to passionately represent yourself and your film. So get started.

Hey Scott Westover three requests is pretty great!

Overall, I wouldn't say there's a huge disparity in results for verbal vs. written pitches in terms of getting script requests. The material always dictates results from what we've seen.

The benefit of verbal pitches is like you mentioned: the face time and ability to connect person to person, which many writers like.

The benefit of written pitches is if you're busy or an exec gets booked up or you're just an introvert, it can be an advantage for you to get material in front of an exec while playing to your strengths or on your schedule.

My advice is always go with what you do best and what is your strength! For me, I'm great in the room so I always love the face time. But if you can impress on the page, always go with what will allow you to put your best foot forward!

Good, simple medium shot where we can see much of the character and their emotion. Especially for a hard emotional hit or silent revelation. Many times there's a close up cut to capture the emotion when it's unnecessary.

I agree, the amount of emotion in something as small as a push in is so impactful. I also love a good tracking shot to convey energy and motion, nothing too fancy like from the show Adolescence but something to keep the scene flowing and moving.

and color!

Haider Abdulhamid Thank you for the kind Words sir. Im still trying my best to navigate around the site and learning a lot.

Volkan Durakcay Thank you. Will definitely connect with you soon. Cheers bud.

Thank you so much, Joe, for your kind words. I truly appreciate your encouragement and wish you continued success. I’d be delighted if you visit my profile to explore my projects: stage32.com/profile/1362796

That’s amazing! Ash and Razz are both wonderful people and I adore them, Joe Alexander. Happy to have you here as well!

Colourist currently working remotely https://www.instagram.com/p/C_XuA5jCCks/

Sounds like an awesomely uncomfortable place to be Salustiano Berrios! Who or what would you say were your biggest influences for your work?

For this particular project, my son. I struggled accepting his autism diagnosis for more years than I’d like to admit. Writing this script—and my novel it was based off of—was cathartic, exciting, and ultimately healing.

I managed to write something that is at once a thrilling horror ride, as it is a meditation on the expectations we bring into parenthood.

This script goes places most don’t, anymore. It is The Excorcist for this generation, and I say that with my chest. It’s a movie that SAYS something, and will have audiences debating it for years.

Would love to share more with you Amanda Toney