Screenwriting : So now what? by Ed Hayes

It's always good to get feedback. You can get peers or professionals to give you feedback and you can improve your script to however you want. Networking is a plus and Stage32 offer great opportunities if you check out their Happy Writers page.

I've written some articles that may help, check out www.anthonycawood.co.uk/articles

Not seeing how Stage 32 actually has a network of producers, film companies and independents who are actually seeking scripts. I'm new to this site and getting a lot of people trying to sell me a service which I'm not interested in. Any suggestions from anyone on how to actually tap into real producers, literary agents etc. here with experience and connections so they can sell scripts or get them produced?

@John - read Eric's post above, then you know it. :))

@John - S32 is a social networking site for people in (or wanting to get in) to all aspects of film making. It isn't specifically for selling scripts... But, there is a Jobs section, there's often script requests on there... you should also have a look at Inktip, The Blacklist, Simplyscripts, Mandy.com... You can of course post some of your scripts on here and get feedback from the other writers on here, we're a friendly bunch ;-)

Query to managers and production companies.

I would definitely recommend getting professional feedback on the scripts. Then be sure to keep learning and rewriting as necessary.

I would like to know the same about THIS site. Is there a place where those who can actually buy or attempt to sell your script exists? I'm not talking about someone who is "trying" to be an agent, I mean is this a site where real top-level management, literary agents, producers etc. are seeking scripts? I have not seen anything yet. Please advise and thanks.

@John - you asked the same question a month ago... same answer, no not really, but you can pitch to Producers using the Happy Writers service on here, or check out other sites as I mentioned in my previous post... and read the articles I linked to before, they might be useful. Have you tried any of the sites I mentioned as yet?

YES! John, we have members from all areas of the industry; from different levels; from all over the world. Our site is about relationship building and networking. The more you contribute the more visible you will be; the more visible you are the more people will look at your personal page and your work. Have you looked through Stage 32 Success Stories? Have you looked through the Jobs section? Have you looked at the Stage 32 Blog? Have you signed up for a free webinar? Have you offered to read someone's script? Have you contributed in the forums? Have you helped answer someone's questions? Are you paying it forward? Have you looked at the Happy Writers? To date, the Stage 32 Happy Writers and the Online Pitchfests has lead to over 100 screenwriters launching their careers by securing representation, being optioned, or sold, or landing work. You have access to over 250 managers, agents, producers, directors of development, and other high level decision makers within the Happy Writer's stable of executives who hear pitches for their companies. So, whether you sell a script or not is really in your hands. It's up to you.

Hi Beth. Thank you for responding. My sole goal for this site, is to locate, and communicate with individuals in the industry who would like to learn more about my scripts, both film and theatre, and give them links to that information. I have 7 full-length films, 6 of which have very strong acting roles for both male and female leads and supporting roles. I see the #'s or people above - where exactly are these people and how do I peruse them to get them my information? I'm really seeking those who are established in the business. Are those kinds of professionals available - again, where? I am most interested in either a screenwriter's agent, or those who read films for the sole purpose of optioning or buying them. I am also interested in getting theaters large and small, as well as university theater depts. who can use my 20 plays - many of which have had productions including last year in Europe. Primarily those two things. Re; Films - I'm not interested in those who do independent films with low budgets, the films I've created, are all star-possible scripts. The roles are complex and great for actors who really have a lot of skill. One script is an indy film "The Garden" which I wrote in 1992. I have 2 in the works as well - both independent. But the other 6 are real studio-type films - although I'd sell to anyone who has the money to buy them :) I really do not have time to post in forums, peruse blogs and join groups - I've done all that - pitched to major studios and have retired friends who created major TV shows like the Cosby Show and Punch Productions, Imagine Films etc. But those days are gone and I need to re-enter the business. I'm hoping this site really does have those kinds of contacts you've said exist. Summary: How and where do I find those people so I can read through them and send them information? Thanks for taking an interest. John Monteleone

One last thing - I have answered questions here - but really that is the one thing I have no interest in. I do not want to participate in social networking with people trying to be writers or actors, etc. I really was established, I have 2 Masters Degrees, Taught Theater and ran a professional Theater Company and acting school for 20 years in NYC and on campus and performed leading roles in over 50 productions. I have done major solo performances I wrote and acted in, etc. etc. etc. I'm 59 - and have no interest in being "in the group" or spending hours talking about the business - I want to find and submit scripts directly to the right people - that's all. If you can send me links or directions on how to find the locations of these areas of the site that would help. I also do not want to pitch online to studios - although this can lead to something for the minority of people doing it, I'm really interested in direct contacts if they are here. Pitching sucks and only a small minority or people get anywhere with that, and it's not necessary if you have quality materials - which I do. I want to at least start with direct solicitations. Thanks again.

Hi Anthony, I'm not seeking to read job descriptions and hope a script fits the bill. Where is the Happy Writer's - what is this? IT sounds like a forum - writer's don't buy scripts :) - really the last thing I want are to submit to people here for readings or read their scripts. That's a great thing if you time for that, and need it. I don't. I had all kinds of readings for 20 years some with well known actors. I don't want to come across as a prude as all of the "credential stuff" really bores the shit out of me but I'm a critically acclaimed actor, and writer many times over in the NY Times and so on. I have letters of rec from famous writers, etc. etc. a lot of good it's doing me. What I need :) - are contacts who I can send a 3 line letter and a link to - who are open to that kind of thing - who can really buy a script for professional fees. No options for a year, $2,000 seed money bullshit - I'm seeking the real people who can do that. I can't seem to find any of the sites and locations you're mentioning. Could you post a link so I can see what you're talking about? Maybe I'm missing something. Where would I find that? Thanks again.

@John... you do realise that this is a networking site for people of like mind, either in the industry or wanting to be in some capacity. It exists and works to help the members improve, collaborate, find opportunities and generally support each other. Quite frankly if you aren't willing to contribute to the community why on earth would anyone help you out?

A NOTE ABOUT AWARDS, CAREERS AND POSITIONING YOURSELF It's really important to understand that winning awards for screenwriting, or playwriting, and networking with a lot of people usually does very little in someone actual paying you properly for a script or creating careers. The Script, if it's great, is all you need. And that is what you should focus on. More, if we cannot find a way to directly submit to those who can read a script and take it to the next level - then the script failed or we did in finding the right people to read them. Of course there are exceptions. But the whole "Work your way up via grouping, and sharing ideas", and so on, really has nothing to do with great writing and how things happen in reality. It's good education, it's fun - nothing bad about it - but it's not how things happen. Not really. I'm sure many of you know this. But I really have been around the block, and I've seen how all this plays out over many years. I have had friends who won major awards and even got a $800,000 purchase deal $400,000 down and $400,000 when the script was actually produced. It never was produced, they got 1/2 the money, but no career came of it etc. etc. I have a friend who was the Producing Writer of numerous hit TV Shows - he left Hollywood and could not get a job. Scripts were purchased to NOT be used as they conflicted with investments in scripts in development and the list of sick shit goes on and on. Many of the greatest writers we've known, have no education, never won an award etc. Someone put on their work, it was great, and it created a career. There is really no magic to it. Samuel Beckett's play Waiting for Godot was done in a small theatre after WW2 ended, it got great response and it was brought to the Cherry Lane Theatre in NYC - same for the Zoo Story and countless other plays. Cafe Cino was a 200 square food spot on Cornelia Street in Greenwich village. It was the hot spot for most of our 20th Century Greats - Sam Shepard, David Mamet, Landford Wilson (who I lived next door to for 4 years) - and so on. I lived on Cornelia Street and met the owner's son of Cafe Cino. Cafe Cino in my mind was a huge event - I remember studying it in college - it was a little dump. I met the son - then in his 60's with his dog sitting outside on the busy street. I passed him many times then started talking to him - and learned that his mother who owned it would bring down pasta and meatballs to feed the starving, then very young, playwrights whose careers started there. A group of artists who got together in a space with actors and did great work - and now are world famous. Small spots with huge history - warp the perception about how great work evolves. What I've come to know are a few basic things - as I ran a theater against all odds and within a few years had full houses listening to new, original, plays and had the NY Times, Newsday and other media covering everything I wrote or did for over 14 years. I had 10 people one night and with the right reviews a month run of full houses and standing ovations. I learned from those experiences what really matters and that's what I want to share here. I read all the writing books, I studied with great writers and teachers at NYU, and I wrote screenplays based on mythological and classic structures experimenting, showing it to many, staged readings, etc. - for my theatre I met those at FEDAPT (the Foundation for the extension and development of professional theater) sitting behind large desks giving me large folders of info on how to start a repertory theatre. I hired consultants on how to build a theatre - nothing they said was true in reality. It was a lot of hot air, bureaucratized bs, that sold books and kept untalented people employed. They said do plays that audiences would understand and then slowly educate the audience. I did that - no one came. I did my plays - hard-hitting and inventive works that I created for my students who I trained as actors - we packed the houses in the middle of suburbia. A place where all the other small theatres were doing Neil Simon and Deathtrap over and over again and again. Most of the criticisms I heard for my plays and famous writer's plays in my play reading festivals I ran for many years - in NYC and in Colleges - were total bullshit. Nothing constructive at all was said most of the time. The thing is - it often sounded good - as the "ideas" were not bad and people feel a need to share. It's nice - but who cares about their need to share. The comments were just "theirs" and all that really was occurring was people telling you how to take your vision, and make it "different" not better. This is a key factor when listening to others offer ideas for your scripts. Like bad directors who do not know how to listen, create an environment to allow creativity to flourish and discover what actors can bring to a role, the same is true for writing. 99.9% of what you are told is useless shit. I've had producers who wanted writing credits when they didn't write. Many want to piggy-back your talent - don't let them. You wrote, you get the credit. There is that .0001% of constructive criticism - and that can be life changing but finding someone who understands what you're saying, cares about THAT, and offers insights into how you can make what you're saying better - is rare. Today I write songs - and, my friends listen and say things like "I would have said" blah blah blah. And I say - well then write songs. I don't want to say it that way - i want to say it this way - becuaseeeeeeeeee that's how "I say it". That does not mean if someone sends me a gem of an insight I won't listen. I will. But there is an important fine line here that can destroy your vision if you let mediocrity enter. Remember, those who do not write, who have all kinds of things to say - are not writers. If they were, they would write. Here is the key: Write what you HAVE to write not what others tell you to write. Write it with all you have, every ounce of passion and skill. Believe in your script. Make it the best it can be. Then rewrite it and make it better. Then find someone who can produce it. Or better yet, produce it yourself. Make it with your iphone if you have to. Content and quality acting, and directing will overide "proper lighting". The Twilight Zone is in black and white, not great lighting to today's standards, but great writing and acting. ONE great script can launch a career. One. Audience react to greatness. Passion. Truth. The catch is that those who have money are usually too paranoid to see this and water down everything anyone says as they don't want to piss anyone off. They want to insure they make a profit. I can't blame them for that. But that's the rub. Piss people off. Vangogh would piss in wealthy people's fireplaces at a party. If they jump off their audience seat, better. Let them walk out of the theatre. If too many like you, you're doing something wrong. Get arrogant - be real, don't smile so much and never ever wet your lips. :) Writing, is not about being liked, fitting in, and compromise. In the end if you need money and sell scripts - so be it. But that's a different thing - that's earning a living. But not YOUR real writing. When I did work that was great, and that actually happened a few times :) we had full houses, we made money, and we received standing ovations. Nothing less should be expected. If you get less, you're not doing you job, and, you're a coward. That is, you succumb to compromise by idiots who don't know what they're doing, who think they know what they're doing, and instead of standing up to the tyrants with brains in their asses, artists kiss it for the opportunity to get noticed. If your child needs food - sell out. Unless that's the case - create greatness. create greatness even if you sell out - do it behind their backs. Those who see it will react. It might take 10 years but so what. The cycle is real. Artists don't really put 100% into their study, their time to master the skill, and the work itself. Too many seek fame and adoration - rather than the need to speak. They seek fast answers, they seek to fit in with one rationalization or another - and in the end, they never develop the knowledge and skill to create great work. Talking to other artists can be the greatest waste of time you can possibly participate in. The right ones, like any friendship, is very hard to find and then, very useful. Everyone has an opinion - everyone thinks their right. It's important to protect your talent, your vision, and your work while many smile at you, and try to convince you to be them. Don't smile back - hand them a script they can't say no to. If it's great - they won't. Thanks for your interest here. I hope these thoughts help.

John you have to give to receive. Don't be selfish.

Writing is giving. That's all I have to do. That's what I give. Read my post above - I'm not selfish and I resent the remark it's completely uncalled for and typical of what I'm talking about above.

You just said you weren't interested in helping others on here while asking for a favour. You're acting all about yourself in a COMMUNITY. Writer's don't buy scripts, BUT they do answer your questions by taking time out of their own schedule to do so.

John, thanks for sharing your thoughts and personal experience. "Success" here is reciprocal. Give, give, give first, then ask. Again, "those people" are here. I've already told you where to find them and how to access them. You can also do a member search by occupation. Here at Stage 32, it's about relationship building. If that's not exactly what you are looking for then perhaps just query directly with production companies and managers. :) I wish you the best of luck!

I'M IN NEED OF A SCREENWRITER FOR A COMEDY FULL FEATURE FILM! PLEASE CONTACT ME ASAP! NO PAY AT THE BEGINNING BUT WILL NEGOTITATE WITH CONTRACT.

I definitely know how to sell a script. I'm a Producer/Film Director

Contracts will stop all the madness!

Hi Maurice! Please post your screenwriter needs in the "Jobs" section. Thanks. :)