Trending Lounge Discussions

Eric Christopherson I didn't say flashbacks were bad. Not sure how you got that from my post.

Spencer Robinson. I paid for a one hour consultation with a studio exec, and yeah...he couldn't get past how I structured my flashbacks. I have had probably 30 reviews and he is the only one that took issue with it. You know, I have learned to consider all recommendations, but not to act upon all of them...it is subjective. You just have to go with your gut because what one reviewer hates...another loves.

You got me mixed up with someone else, Spencer.

Eric Christopherson No I didn't

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.

Geoffroy Faugerolas That’s a really interesting point. If language is wired into the process at a neurological level, it makes sense that putting ideas into words, even in a rough outline, suddenly makes an imagined world feel more real and stable. It is like the moment a "simulation" stabilizes.

As for writing, I think it can be both escapism and a coping mechanism. Sometimes we step away from reality, but at the same time we’re also processing emotions and experiences in a safer space. The boundary between the two is thin, and the same work can do both.

What matters most is not holding back... Writing just for yourself is perfectly valid too — I did that for a long time, and it can be an important part of the process.

Beautiful way to paint that scene of your childhood home Alex Bridge.

Leonardo Ramirez Thanks. Every time I catch that scent, the same emotions come back. And now… Summer is coming : )

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I like this. It's more than just a dream state, it's trying to create new realities for us.

I love that premise and synopsis - all the best on your journey to bring it to life

Thank you so much steve, I really appreciate your kind words and encouragement. It means a lot coming from you.

This is a good question - I don't have an answer but I'm looking forward to the responses. Thank you for asking!

For comps you need produced works that signal what kind of screenplay you're presenting, preferably those that are well-known, critically acclaimed and/or a box office success. The only time I'd use your own work as a comp is when pitching someone who has read previous scripts of yours--and liked them.

Makes sense, Eric Christopherson, thank you. Obviously doing so right now would be pointless lol but I'm thinking down the road, especially since I don't tend to keep up with trends, my only real comps for some projects are ones I've already done. I wanted to see if anyone even does that or if it's tacky to do so. But it definitely makes sense to only really do it with someone who's historically liked your material.

No worries Lauren Hackney~ like I mentioned above, certain projects of mine are very much my creations and I tend to be in my own bubble when it comes to media consumption so the only real comps I can honestly come up with are my own works. If it's fair play to do so and I'm skilled enough, it would be cool to be able to do that lol

What producers are looking for a "scalability engine"?

Great post, Cynna Ael! I make sure every project I develop is a complete bible. For me, the hardest parts to lock down are usually side‑character backstories, the small details that seem minor at first but end up shaping major plot logic later.

Sunil, congratulations on this great achievement. It’s always encouraging to see how dedication to rewriting and refining a script leads to strong opportunities. A contained heist thriller is a compelling format, and it’s great to see your work moving forward to industry eyes. Wishing you continued success with L.A. Gold.

Hi,

Thank you, I really appreciate your kind words and encouragement.

It’s been a great process refining the script, and I’m glad to see it gaining some traction. Hopefully it continues to resonate as it reaches more industry eyes.

Thanks again for your support.

Best,

Sunil

Congratulations Sunil Dhokia ! Wishing you all the best. Email us at Success@stage32.com if you need any guidance.

Congrats, Sunil Dhokia, that’s a great achievement!

Love what you said about rewriting and cutting what’s not working. That part of the process really does make all the difference. Wishing you the best with the submission!

Hi Ayesha,

Thank you — I really appreciate that.

You’re absolutely right, the rewriting process is where the script really finds itself. It’s been a challenging but rewarding journey refining L.A. Gold, so it’s great to see it moving forward.

Thanks again for the support.

Best,

Sunil

Mike Boas What do you think of Stanley Kubrick's The Shining vs Stephen King's book? Faithful in theme? Or same themes presented very differently?

I think there's nothing wrong with giving a story new life through adaptation—in fact, it's often necessary. The problem arises when audiences refuse to divorce themselves from the source material and judge the film for not being something it was never trying to be. A movie isn't a book. It has different rhythms, different constraints, and different emotional tools.

A movie isn't a book, but why shouldn't it follow the book? Isn't a movie made to recreate the book as much as it possibly can? :)

That’s a good question about The Shining, but unfortunately I can’t give an informed answer. Although I like the movie and King’s work in general, that’s one book I couldn’t get through. I remember being inside Jack’s point of view, a recovering alcoholic who regretted breaking his son’s arm, bothered me. I didn’t want to follow him down the dark path of hurting his family.

What do you think? Did the movie keep the book’s theme despite its changes?

Mike Boas I think that the movie version expanded the abuse within the Torrance family from one alcoholic dad to a generational abuse theme where old habit die hard and last through many generations. Hence there are two Gradys (Charles and Delbert), the apparent time travel of Jack to the 1920s (including the party scene), and a host of references to the past and past generations. Also, there's the results of "Manifest Destiny" and the destruction of the indigenous populations of North America.

So Kubrick said the movie is "a famiyl quietly going insane together" and he was right, but he eschewed the film's subtext in order for it to be explored by (meta moment!) later generations. It's a dark, dark film. But I love it for it's subtleties and ambitions.

Congratulations Lauren Hackney !

Thanks Laura Hammer

Lauren Hackney That’s really powerful you can feel how personal this is just from the way you’ve described it.

Stories rooted in real experiences like that tend to carry a different kind of emotional truth, and it’s great to see that being recognized.

Congratulations on the script progressing and even more so for telling a story that clearly means so much.

Congratulations Lauren Hackney

Thank you Abhijeet Aade for such a lovely response - I appreciate your words. :)

Hi Mathis Degraeve. It's great to have you here on S32.

Here’s a useful post to help you navigate the world of Stage 32: https://www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-p...

Also, try and stop by the Screenwriting Lounge and get to know some of your fellow writers: https://www.stage32.com/lounge/screenwriting

And here are all the S32 Lounges: https://www.stage32.com/loungeSee what you can find and enjoy your time here!

Best.

Welcome!

It’s so great to have you here Mathis. What made you get interested in animation?

Great news for a Brit who is serious about her craft!

THANK YOU, Geoff, your deep industry insights always elevate my screenwriting career strategy.

This shift is even bigger than production volume. What it actually changes is what a script has to do to survive a border crossing. The things that used to carry American scripts abroad were all cultural shortcuts. High school rhythms. Courtroom procedure. Network act breaks that assumed a specific viewing habit. None of that travels the way it used to.

The writers who are going to move in this new map are the ones who anchor their stories in behavior and systems that read the same everywhere. How power actually works. How people cover their own exposure. How institutions respond when a problem lands on a desk. That layer does not need translation. It reads in Cape Town the way it reads in Vancouver.

One more thing worth saying. When you write a story set in a place that is now a real production center, buyers notice if you understand the logistics of shooting there. Not in a location scout way. In a what would actually be possible to make here way. That is becoming a craft skill in its own right.

Banafsheh Esmailzadeh You can fly in for meetings or when you have an offer on the table ;)

That's true Geoffroy Faugerolas~

What and awesome background Leander D'Silva ! I totally understand that you are trying different things to figure out what your path is creatively. That’s totally normal. As far as your creativity, no matter what make sure you are always moving forward creatively every day so you can stay inspired. Right now you’re in a great position in that you have access to the entire world of opportunities for filmmaking. What I will say is that the development side of the industry right now is very active, but there isn’t as much money to make a living on the development side right now. I would recommend focusing your efforts to make money on the production side and get involved with films that are filming in tax incentive rich countries. I’d also recommend taking our Stage 32 certification for below the line roles. Once you get certified, you get entered into a global database or film productions, and film commissions can search and hire you for their projects. We are working with over 50 Film commissions now! . https://certification.stage32.com/?\_gl=1*17vieoh*\_gcl\_au*NDgxNTI5OTE3LjE3NzQ5MzcwNTU.*\_ga*MTc3NDU0MTA0MC4xNzc0OTM3MDU1*\_ga\_XLNHJMK8VC*czE3NzU4NDYxMzgkbzEwJGcxJHQxNzc1ODQ2OTg2JGo2MCRsMCRoMA..#/

Welcome! I hope you get everything you need out of this platform. The blogs are great and Geoff F. gives a serious amount of weekly insider intel to keep us all informed as to what is happening in the industry. Also, the Open Houses are good to attend so keep an eye out for those. Cheers!

Screenplay competitions are worth it only if you target top-tier contests with a polished script, as they provide validation, industry recognition, and potential representation. They act as a "career equalizer" for outsiders but can be an expensive, useless endeavor if you enter weak material into obscure contests

Pauline Johnson - agree with my colleagues. Only thing I would add is that the depending on the contest, the laurels can add some value to your pitch deck.

I'm curious to know what are some top-tier contests that are worth entering?

Ian Wolfe Page, Austin Film, Scriptapalooza and of course, Stage 32. If it's for a short, Hollyshorts.

Since screenwriting contests are mentioned so often, I performed a trivial statistical investigation two years ago. I checked the finalists at a prestigious screenwriting contest. Afterward, the career improved for one third of the finalists, while the situation was the opposite for an equal number of finalists. And for the remaining third there was no change.