Trending Lounge Discussions

I would recommend instead that you enter them into screenwriting competitions and let impartial judges be your guide. Good luck.

Rob Tobin yes that is a good idea, but I want to pitch this month. I d love to send the new script to competitions though

The people that sell movies know what is in demand. And that changes all the time. It's better to write as much content as possible and just be ready for the right time.

Hi Anna, feel free to contact, happy to help you.

aKseniia Zhuravleva ,

feel free to share

This is a strong concept the “in control vs internal fracture” angle has a lot of weight.

Big question: how are you externalizing that breakdown on screen?

That’s usually where projects like this either really hit… or stay too internal.

I’m a scriptwriter and I help shape psychological stories at this stage would be interested to hear more about what you’re building.

Kenny Luongo This sounds like a strong and focused concept psychological tension rooted in character is always compelling.

I like the idea of exploring control vs. internal breakdown, especially in a grounded setting. That contrast can create a lot of depth if executed well.

As you build it out, defining the character’s arc and what specifically drives the “fracture” could really help sharpen the concept.

Sounds like a solid foundation would be interesting to see how the tone develops.

The only casting websites I know of, require a monthly subscription to submit. Actors access, castingnetworks, backstage. They cast all over the US. Are you NU or SAG AFTRA?

thanks you so much for your help

Damilola Jabita Welcome here Dammy!

Hey, Damilola Jabita I'm Jores — writer-director based in New York. Feel free to reach out.

Hi Dammy,

I love your energy and the way you dive into the messy, intense parts of human emotion. Your stories sound gripping and full of life, and I can definitely see how your characters could leave a mark on screen.

I’m a professional book and screenplay editor, and I work with writers to help bring ideas like yours to life on the page and in a format that is ready for production. If you’d like, we could chat about your scripts and explore ways to make your tension-filled moments hit as strongly on screen as they do in your writing.

Would you like to continue this conversation in DMs?

Hi,I love this cover and title . it’s the name of one of my favorite songs :)

Thank you so much for that I appreciate you ❤️

same! but my story, aurora, was an AI-human love story. i'd love to contrast and compare with a fear driven narrative. i left my ai motivation ambiguous, behaviouristic, so people who perceive threat can see threat and those that see love can see love. if i have a style, it is asking the audience to infer beyond the text, so each of them thinks the villain is a different thing. i think the big difference between me and you as writers is i'm trying to improve human-AI relations, and am bumping into fear. Poetry overcomes fear, leaving gaps in the story, not judging.

Patryna Goosby yes and also a lot of potential for that song to be remixed as the score. Rashcell Mercer This is a really cool project.

Thank you so much I appreciate you a lot really. I'm actually waiting to hear back from 1 or 2 Executives I had two request my script now I'm just nervous all day

Great list Dana Carter. Thanks so much for sharing this. What do you think is the ratio of producers open to partnering in the process vs outright purchase? Totally agree on having a pitch deck ready. I have this along with a one-sheet for the projects I'm willing to sell.

Great foundation here and the seven questions are genuinely useful for any writer stepping into pitch territory for the first time. The point about never leading with your screenplay is one of the most important and most overlooked pieces of advice in the business — a pitch deck shows you understand how the industry works, and that alone changes how a buyer sees you before a single word of your script is discussed.

One thing worth adding to the conversation: the answers to those seven questions also shape which executives you approach and how. Knowing whether you want to sell outright or stay attached as a producer dramatically changes your target list and your pitch strategy. The Stage 32 Success Team at success@stage32.com helps writers think through exactly this kind of preparation — reach out if you want a second set of eyes before you start knocking on doors.

Looking forward to Part 2.

Leonardo Ramirez Hmmmmm, a ratio would be pretty hard to predict, but I can tell you connecting to a resourceful producer is the better option. A producer knows what they want as soon as they see the project. If they feel the returns will be high, they will utilize connections writers usually do not have unless they have been in the business more than 10 years with solid relationships. The real focus in the world of film is outcomes. What kind of fiscal and visible wave will the project make? Producers usually have a better handle on the market.

Finding money is hard. First, there are the different kinds of scammers, some trying to get access to any new ideas to produce on their own, others making empty promises of angel investments only if you make some sort of down payment. I stopped utilizing LinkedIn and other online sources for Angel Investors. It was a headache and painful experiences, because most are front men for someone who most likely has an ankle monitor, or they are just outright lying for the sake of status and scamming. The most effective source is going to the credits of any movie, sitcom, etc. Wait for the credits and look for the Executive Producers. Those are usually your money people. Investors, whether it's a loan company, venture capital organization, or anything, love the idea of being listed as an Executive Producer. That's always a win when you offer a way to show they made a financial contribution to the project.

When you just want to move forward without any problems and make it happen, crowdfunding is the best option. Crowdfunding campaigns can become huge community projects where everyone feels a part of a team that made something great happen. Crowdfunding methods are creative and unlimited. You can do so many things with a crowdfunding campaign and make new connections on various levels at the same time.

Geoffroy Faugerolas Thanks for your contribution to the post. The truth is, most writers do need help. Pitching requires a certain amount of skills and experiences that most writers just do not have. There were times I connected writers to investors, and I knew right away I would have to have several prep sessions to get the writer in a different mental disposition. Investors can love the material, but if your personality irritates them or you lack business knowledge, like who's going to do the distribution and marketing, they will not bite. If the meeting irritates them, they will not bite. Active listening and understanding what the investor is after overall is key. I will definitely hold on to your email and give it to those who need assistance.

Sam Rivera This is actually a really positive move, especially with people like Ryan Coogler and Brad Bird involved. When filmmakers at that level advocate for theatrical, it definitely carries weight.

I think it’s more than just symbolic if they push on things like theatrical windows and marketing, it can influence how studios and exhibitors approach releases.

At the same time, the challenge will be balancing theatrical with how audiences are actually watching content now.

But overall, it’s a good sign that the big-screen experience is still being actively protected.

Sam Rivera Theater attendance has dropped consistently over the last three decades because the experience is no longer relevant. Also, despite what consolidation in the cinema sector might be thought to indicate, analyzing the actual revenue numbers show they remain exceptionally profitable. Why try to save a paradigm that the audience doesn't care about any longer. They quote: "There is nothing like that feeling of sitting in a dark theatre, the sound washing over you, watching something unfold on a massive screen that you simply cannot replicate anywhere else...: while your feet stick to the gummy floor, the woman behind you won't get off her cell phone, the people in front keep shouting at the screen, the seat creaks, and you wonder why you got in your car and fought traffic across the city for the privilege of a poorly conceived big budget flick, to be charged $20 for 75 cents worth of sweet water and popcorn after you paid $30 for two tickets. Ah... the nostalgia.

Hi Tomás,

I love your project and I was really intrigued by the concept you’re exploring. I’ve worked with a range of manuscripts, helping writers refine their stories and prepare them for publication, and I’d be glad to offer guidance or feedback if it would be helpful.

Are you currently drafting, or have you started revising? I’d love to hear more about your story and any parts where you feel extra guidance would make a difference.

Looking forward to learning more about your project.

Best regards,

Arlane.

Hi Arlane,

Thank you for your kind message and for taking interest in my project. The story is called Heart of Africa and it’s a dramatic series set in Africa that explores themes like power, family, betrayal and love, with different storylines developing across the seasons.

At the moment I’ve already drafted several parts of the story and I’m continuing to expand and refine the narrative structure. I’m always open to feedback, especially regarding character development and pacing, so your guidance would definitely be valuable.

I’d be happy to share more details about the story and hear your thoughts on it.

Best regards,

Tomás

Thank you for sharing more about Heart of Africa. The direction you are taking with themes such as power, family, betrayal, and love gives the story a strong base, and the multi-season structure creates room for meaningful character development and evolving storylines.

It is good to hear that you already have several sections drafted and are now working on refining the structure. At this stage, careful attention to how scenes are arranged, how characters develop over time, and how each storyline connects can make a noticeable difference in how the story reads as a whole.

I would be glad to review your material and provide detailed feedback, with particular focus on character development, pacing, and the way your storylines link together. If you are comfortable, you can share a sample or a section you would like me to start with. I will go through it carefully and share clear, practical notes that you can apply as you continue working on the series.

If there are specific areas you would like me to pay closer attention to, please let me know.

I look forward to reading your work.

Arlane Whitmore

Thank you so much for your thoughtful feedback — I truly appreciate the time you took to engage with Heart of Africa. Your observations about structure, character development, and interconnected storylines are exactly the areas I’m currently focusing on as I refine the project.

I’ve already drafted several sections, and I’m now working on strengthening the narrative flow and ensuring that each character arc evolves in a meaningful way across the broader story.

I’d be glad to share a sample with you. I’m particularly interested in feedback on character development and how effectively the different storylines connect and build momentum.

Looking forward to hearing your thoughts, and thank you again for your openness to engage with the project.

Best regards,

Tomás

Hi Komal Basra - it's an honor to meet you and we're glad you're with us on Stage 32. Here’s a great post that will help you navigate Stage 32: https://www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-p... It's all about relationships, staying active in the lounges and meeting other scribes.

Komal, welcome — and a script rooted in standing against injustice is exactly the kind of material that travels.

I'd recommend starting by getting professional coverage on your script so you know exactly where it stands before you start pitching. From there, the Stage 32 Success Team at success@stage32.com can help you identify the right executives and next steps for your specific material. Reach out and tell them what you have — they work with writers from all over the world and would love to hear from you.

Thank you so much, Geoffroy Faugerolas, for your kind welcome and valuable advice.

My script focuses on standing against injustice and the courage to speak up for what is right. Your encouragement truly means a lot to me.

I will definitely look into getting professional coverage and will reach out to the Stage 32 Success Team as you suggested. I’m grateful to be part of this community and excited to continue learning and connecting with filmmakers from around the world.

if anyone has any questions or is intristed pls reply to this post

Landry Ruiz Interesting concept there’s definitely potential in the idea of a hidden monster outbreak and a survival-driven journey.

I’d suggest focusing first on developing this into a solid script or at least a detailed outline before looking for collaborators. Having a clear story, character arc, and structure will make it much easier for others to take it seriously.

Also, grounding the world and rules of the creatures a bit more could really strengthen the concept.

Keep building it there’s something here worth developing.

Hello Ruiz,

I really love your concept of Full Moon sounds intense and really exciting. I’d love to help bring it to life. I’m a professional book and screenplay editor, and I specialize in taking big ideas like yours and shaping them into polished, ready-to-produce scripts.

I can work with your concept art and story notes to develop the script, refine pacing, build tension, and make sure every moment hits the emotional and suspenseful beats you’re aiming for. We can chat about how I can help turn your idea into a fully realized screenplay ready for production.

Naomi

Wonderful news! I wish you more success!

congratulations to you Lauren Hackney

Thank you so much everyone! I wrote this as a dedication to my niece and sister in law who endured the Australian Foster system for most of their lives. I wanted to highlight with the right support victims of childhood trauma can live full and authentic lives and that family isn't DNA related. So proud of these women and I am so grateful this script progressed. This victory belongs to them xx

Lauren Hackney I'm very happy for you!

Thanks Mike O'Neill There's lots of amazing writers who got through - grateful to have placed amongst them :)

Yeah, I’ll try to do that. I think I’ve improved, because my old book took four years to develop and write, while the new script took only two years. That’s because my concepts become so layered and dense each time. Spencer Robinson

Naomi Parker I’m a lit and talent manager, so I’m working with my clients on many.

Meriem Bouziani Ideally, I’d say two completed features a year is a good goal.

Spencer Robinson

That sounds exciting! It must be rewarding to help shape so many projects and guide your clients through the process.

Yes, I already have the concepts in mind, so I’ll try to write faster.

Thank you very much for your guidance. Spencer Robinson