Trending Lounge Discussions

You're welcome, Abhijeet Aade, and thank you :) yeah it reminds me of how in Harry Potter, Voldemort is evil and everything, but Umbridge had a MUCH more visceral reaction from readers and viewers and was hated far more than Voldemort, for the sole reason that she's someone we all knew at least once. In this case, a particularly cruel teacher who made you hate school. Much more relatable and personal than an evil wizard who keeps trying to kill you lol

I was just watching Godfather 2. The moments that always stand out are when you see corrupt & powerful men succeeding, while others struggle. Watching the persecuted rise up & do something about it is always powerful, since we can all relate the that feeling of powerlessness at some point in our lives. The use of dialogue & the restraint of dialogue, are both equally powerful. Stirs your mind, heart & soul.

David Ramey Gordon That makes a lot of sense. I think connection is really the core of it regardless of genre. Even with suspense or something more unconventional, if there’s a strong emotional or human layer underneath, it tends to land better.

I also like what you said about blending things like bringing a love story into an unexpected setting. That contrast can make something feel fresh without forcing originality.

And I completely relate to needing a personal connection to the material. For me, that’s usually what keeps me going through the tougher parts of writing.

Wade Taylor I completely agree those contrasts are what make it so powerful. Seeing authority and corruption operate so effortlessly, while others struggle to hold onto control, creates a tension that feels very real.

What always stands out to me in The Godfather Part II is how much is communicated without being said. The restraint in dialogue almost forces you to read between the lines, which makes the emotional impact stronger.

And that idea of rising from powerlessness it’s universal. When it’s handled with that level of subtlety, it stays with you long after the film ends.

Banafsheh Esmailzadeh That’s a great example and I completely agree.

What makes a character like Dolores Umbridge so effective is how familiar she feels. She represents a kind of everyday authority that abuses power in small, controlled ways, which makes it much more personal and uncomfortable.

Whereas someone like Lord Voldemort operates on a larger, almost mythic scale, Umbridge feels like someone you could actually encounter in real life and that makes the reaction to her much more visceral.

I think that relatability is what often makes an antagonist truly memorable.

Leonardo Ramirez That’s a great way to look at it.

I’ve noticed the same when you step away a bit, the story almost starts solving itself in the background. It’s like clarity comes in those quieter moments rather than when you’re forcing it.

Do you usually take a complete break during rewrites, or still stay loosely connected to the material?

Leonardo, us getting together in Music City, USA sounds like a plan!

LOL Erik Bianco - don't we all my friend!

Definitely stay loosely connected Abhijeet Aade. But not by choice. I try to disconnect but it tries its best to remain. I do have moments where I'm totally disconnected and that's a good thing.

Heck yea Jim Boston - we'd have to share a pie though!

Preston Poulter I totally would if I can find an illustrator! I’m sure there’s some software out there. I do know a lot of talented artists in my area, actually. I never thought of that!

Kendall Helton I know too many illustrators and can recommend a number of them.

Kendall Helton I’m in a similar place building scripts and trying to figure out the right next steps so I relate to this a lot.

From what I’ve seen and experienced so far, it seems like having a strong, polished script really is the foundation. Most of the opportunities whether it’s managers or producers tend to come after the work itself is ready and speaking for you.

Platforms like Stage 32, competitions, and even just engaging with other writers have been helpful in terms of visibility, but I’m starting to feel that genuine connections and consistency matter more than chasing quick access.

Also, being selective about where you invest time (and money) seems important there’s a lot out there, but not all of it moves you forward.

Still figuring it out myself, but curious to hear what’s worked for others here too.

As I mentioned earlier with Kendall, it all comes down to relationships. Of all the scripts (7) I've optioned, only one came from a service (InkTip). The rest were as a result of working with people I met on set or in the business of film production. Keep networking and make friends. Bonus: be a nice person - no one wants to work with a jerk, no matter how good the writing may be. Good luck!

Steve Dini luckily, I’ve got the nice thing down perfectly lol thank you again for the insight!

M Bartels How you can ensure that the right people are being credited for soundtracks is simple. Make sure your soundtrack is properly registered on your Nigerian music rights organization https://www.mcsnnigeria.org register your library with them. Once this is done, any film and television producers wanting to use your music or soundtrack worth their salt will place your music with proper cue sheets which approximate where on the films timeline the music starts and stops . It's that simple.

Hi M Bartels, welcome back to Stage 32! I’m Ashley, Head of Community here on the platform.

And thank you for highlighting the importance of staying up to date with how the industry is evolving. You’re absolutely right, the landscape has expanded far beyond one place, and conversations around credit, ownership, and fair compensation are more important than ever.

A lot has grown here on Stage 32 over the years. It’s become an even stronger, more supportive global community, with incredible resources and industry partnerships designed to help creatives better understand both the craft and the business side of the industry.

I’d encourage you to spend some time each week in the Composing Lounge (https://www.stage32.com/lounge/composing), the Filmmaking Lounge (https://www.stage32.com/lounge/directing), and the Producing Lounge (https://www.stage32.com/lounge/producing). Those are great spaces to dive into conversations around authorship, collaboration, credit, and how projects move through the industry today.

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

I’d also love to hear from you, what are your current creative goals for 2026?

What you’re describing about the “two brains” is very real, and I think a lot of writers underestimate just how different those muscles are until they actually try to cross over.

The part that stood out to me most is the shift from internal truth to external proof. In novels, emotion can exist privately. In scripts, it has to behave. If a character is grieving, it’s not what they feel, it’s what they do, avoid, or fail to do that reveals it.

I’ve noticed that writers who make that transition successfully don’t just “cut down” their book, they reinterpret it. They start asking different questions:

– What is the character choosing in this moment?

– What changes because of that choice?

– What can the audience see that replaces what the reader used to know?

Also, your point about architecture is important. A lot of authors resist structure at first, but structure isn’t there to limit voice, it’s what gives the story momentum once it leaves the page. Without it, even great concepts struggle to hold attention visually.

And that last point about IP is where things are really shifting. Writers who can think in terms of world, continuity, and scalability already have an edge. It’s no longer just about telling a story, it’s about building something that can live beyond one format.

Curious from your experience, when authors struggle with adaptation, is it usually more about letting go of internal narration, or more about restructuring the story itself?

Okay for me-- I know the adaptation part is honestly about relooking at the continuity as a whole and why did it work on paper? Then it's how much of this is overlap, how much is just giving repetition of three to make sure the audience understands. With shifting it over- it's that 3:1 ration- every 3 pages is one page of script. So it means considering reorganising the structure for more impact. It means learning how to stop telling narratively and start showing it in ways that can be seen on the screen. Now I am a plantster- the hybrid of pantser and planner- I plan the beats, I may have must have scenes put in their place and let myself write to those points as an author. But as a screenwriter- I've learned that detailed scriptment outlines with dialogue notes, SFX/VFX notes-- are my WORLD.

Writing is rewriting. One trick I always use is to get friends who I know write/like genres/stories other than the kinds I write to read for feedback. Always helps me see things I wouldn't notice, from the opposite perspective of who the scripts I write are for

i can help you with that if you are ready let's talk

Absolutely. Personally, people think I'm a kid when I watch an animated film. Like, "He's an idiot! What's he watching? Stupid stuff!" But I don't care. I see animation as a source of inspiration for creating my own manga. And besides, these days, all the kids are crazy about it. If you think animation is lame, I recommend you go see "GOAT." You'll change your mind.

Josiah Cosgrove I think it depends on the person and how much knowledge they have about the industry and what consumers like. I think for the average person it may seem silly and dumb but for those who are educated and understand the history of animation and where it is headed the statement becomes obsolete.

From my experience I've come across countless individual who simply aren't educated in animation and simply don't know any better.

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.

SO many creative ideas listed here. Best wishes to everyone. I submitted an adapted screenplay for my own mystery/thriller novel Starless Midnight. Logline: A shocking mystery/thriller that pits a young bi-racial woman against a secret white supremacist group in her hometown. Her discovery of a murder victim close to home begins a race to save her own life, and she doesn’t know who in the town she can trust.

Everyone's scripts sound so interesting! I submitted Perfect Moments. Logline: A control-obsessed strategist who can rewind time must learn to let go of perfection before it costs her a chance at real love.

I wanted to submit my feature poster too. I did not see that as an option upon my initial post. Thank you all who uploaded pics, causing me to seek out how to do it. Good Luck to everyone!!

I entered by romantic drama, "When Will I See You Again?". LOGLINE: When a stubborn 75 year old man agrees to care for his lifetime first love now battling cancer, their rekindled romance forces them to confront the wreckage of decades while racing time to finally chose each other.

My submission is "King of Blades".

Logline: When her champion father is paralyzed in a train crash, a rookie virtual reality swordfighter aims to win the championship to prove her self-worth, going to extremes and risking her friendships and life in the process.

It recently finished second for Best Genre Screenplay at Moondust FilmFest Helsinki 2026 and is currently a semifinalist at the 2026 AREA51 Filmfest for Best Feature Screenplay. This competition is branching it out for TV as well.

Best of luck to everybody else here.

Not seeing anything

Hey Michael Dukumor ! Looks like you posted something but it's not showing on our end. You mind reposting with the content again, would love to see what the series is about.

I watched a masterclass by Samuel L Jackson, and he said something akin to: “you’re paid to sit and wait, the acting comes free” and I think about that a lot. The turnaround for money with my acting has been long indeed, so I’m definitely used to it- but I can imagine representation fields a LOT of questions concerning cheques.

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.