Screenwriting : Exposure by Harold Vandyke

The main two ways someone gets a rep do not include pitchfests. They are queries and referrals. The main three ways someone gets a read at a production company do not include pitchfests. They are queries, through reps (agents, managers), and passed to them by someone else. The one place where pitchfests and querying intersect: if your pitch (story concept) doesn't excite them, that is the end of it. Best thing to do is figure out why, correct that with your next screenplays, and then keep querying (or pitching) until they say yes and read a screenplay. It's a both a numbers game and having the most amazing concept out there. As someone who has been on Film Fest Pitch Panels, we've heard 100 pitches in a day... and maybe only one or two were even good. Many people write the first idea they come up with instead of the best idea they can come up with. You want to spend time coming up with a great idea, and then do some "market research" by looking at recent successful films which were similar. No recent successes? That's a problem. You want to find the idea that they need to read.

Is it really bad etiquette to post your screenplays? I didn't know that! I thought they wanted you to show your work!

I Know That's R I G H T! Get your Exposure on! I Completely Agree && support_ One of the B E S T ways to showcase everybody's beautifully unique individual talents we love to share. #Love #LJDNSho #DiamondCity

So, William are you saying pitchfests are pretty much ineffective? The value of querying has been highly debated and most say its pretty much a waste of time as well. Networking with other writers tends to be like all being in the same boat and paddling in circles, never reaching the production shore. Some of us live in areas where not much is going on regarding the film industry, so it's difficult to get to know people let alone get referred. Dawn, it's not bad to post them, just bad to advertise them. Go figure.

Dawn and Lina, you may post all your screenplays if you wish on your Stage 32 personal page. The forums are for topic discussion, not solicitation. If you wish, you may promote a script in the Your Stage section or on your own wall. But, as Joey explained, you have to be proactive, which means networking and building relationships. "Exposure" is not enough. And, Harold, what makes you think there are ONLY writers on this site or in this section? That's certainly not true. People from all levels and from all aspects of the industry are on Stage 32. Some may not be as "visible" as you would like, but they are here. :)

Bix, you mind sharing what your query looked like? Those are incredible numbers in my opinion.

Beth, most of us in the screenwriter section are writers. I've not seen any posts from those who could be soliciting our work asking us to talk about what we have to offer. Have any writers here been contacted by an agent or prodco regarding their posted loglines? I appreciate everyone's input.

Harold, sorry, but you're slightly wrong. Yes, writers are more active, but just because someone isn't actively posting doesn't mean they are not viewing/paying attention or "not in this section." Many execs/producers look at it daily. Plus, we ask those seeking scripts to post in the JOBS section and not in the forums. Solicitations/script submission requests are to be done there -- perhaps peruse that section. Also, a lot of conversations/connections are happening outside the forums and are done through private messaging/email/Skype. Many are contacted by networking. One has to be proactive. :)

@Bix, Joey is a big boy, and he doesn't need me to prove his point. Still, Joey doesn't know about my personal activity on S32. Ask Beth Fox Heisinger, Fiona Faith Ross, Rayna White, Jason De La Torre, Preston Poulter, etc. I've only been "active" on S32 for about 5 weeks, and I've had "get to know you" calls/Skypes with each of them. Beth and I talked Structure. Fiona and I talked Horror. Rayna had a question about optioning a short story. Jason and I talked about TV sales strategy. Preston and I talked Film Fund strategy. I have a Skype scheduled with CJ Walley in 2 days. I've enjoyed reading their posts, and I suppose they haven't been disengaged by mine.

Oh, and to answer your question, Harold, yes, I have been contacted by producers/prodco because of my posted loglines. I know others have as well. :)

Well said Fiona! I love that writers say the coolest and funniest things on these conversation threads. And Yes Regina is a very nice approachable studio executive!

Couldn't agree with you more, Fiona! Gotta love this community. :)

I wonder about this as well, especially the networking aspect. What (in all of your opinions) constitutes a sound, ethical networking approach? I don't think spamming producers' and filmmakers' threads with needless, and glaringly self-serving, comments and posts is the right way to go, so how does one go about approaching producers and filmmakers in a way that's not going to come across as horribly self-promotional?

The squeaky wheel gets the grease.

Hi Michelle, my 2 cents (that and $3 will buy you a small cup of coffee). https://www.stage32.com/lounge/screenwriting/Create-a-Win-Win-Exec-Etiqu...

I hope Regina doesn't mind I borrowed this from her bio, but it's a good example of the frustration writers face in their efforts to get their work seen. "***Hey everyone, I've received messages from filmmakers offering to submit their projects to me. Though I'm happy to try to offer some advice, please note that I have to follow standard industry submissions guidelines, and I cannot accept unsolicited submissions. If you send me any material unsolicited, it will be deleted UNREAD. This policy is in place to protect both you and me. I will not be able to read it or click on the links of story material. Why is this standard policy in Hollywood? Because of potential "you stole my idea" lawsuits. If we read your material, we can be accused of stealing or misusing your idea. It's really too bad that exposure to "you stole my idea" accusations has led to a "closed door" policy that is hard (but not impossible!) to break through. It's a bummer for sure. The good news is that there are very legitimate ways to break through the closed door, like winning screenwriting contests and pitch fests, and querying those agents and managers who do accept unsolicited submissions. Thank you for understanding." And on top of that, we can't advertise. :( Little did I know Regina just posted. But I'll leave it up since it applies.

Also here's some advice on how to prep yourself to be ready for an agent/manager: https://www.stage32.com/lounge/screenwriting/Advice-for-Actors-which-als... Now you have a total of 4 cents.

Hey Harold, please feel free to post my submissions policy. No worries!

Thanks Regina. Phew.

Hal Croasum of ScreenwritingU advised to (in the first 40 seconds) to ask the representative what kinds of scripts do they prefer... that way, if you have many scripts, you can immediately pitch the one that falls into their sweet-spot... to give the best chance for each pitch's success.

No worries! And Harold, here's why I enforce the standard submissions policy. https://www.stage32.com/lounge/screenwriting/Paradox-Conundrum-Writers-w...

Thanks for sharing those two links, Regina. :) Reading the first link (on Relationship Building), it sounds like the takeaway is that we writers need to 1) be human/natural (as Joey points out), 2) do our homework (in other words, don't ask what producers are working on or looking for when we can look up that information ourselves), and 3) have something to bring to the table. I think I can do a good job of 1) and 2), but don't feel right now that I can bring anything to the proverbial table except my scripts. ;( Perhaps I should focus on entering more contests and see if I can earn an accomplishment (e.g. semi-finalist, working with another writer, getting notes)--or also, as the "Advice" link says, volunteer for film events/filmings/etc. to have something to prove that I'm doing the legwork?

Whatever you feel will show that you're the needle in a haystack. 7442 writers entered the 2015 Nicholl Fellowship. Why are you the one of the new crop of writers that we should be reading? Help me help you?

Michelle, Harold, Stephen - put yourself into my shoes and learn from the tests I have to pass. What value am I bringing? I can't name names but this happens all the time: I need a writer who is senior enough to sell a pitch to a TV network. I make my Writers List of people I want to be in business with. I call their managers/agents. Why the hell should they partner me with that market-viable writer? What the hell am I bringing them? Why should they let me work with the writer when big producers like Shonda Rhimes, Mark Johnson, JJ Abrams, etc. might be calling them? To clear that hurdle, I must bring something to the table. The dynamic changes if I can. So what do I do? I find an article that could inspire a TV show. I bring them an article that the writer client may like. If the agent/manager likes it, he will forward the article to the client. If the client likes it, I get a meeting. If the meeting goes well, we develop a pitch together. Then we try to sell that pitch to a studio/network. But if I can't bring anything to the table, the agent/manager is not going to waste anyone's time. The agent/manager will set meetings with producers who are bringing something to the table. How can you demonstrate that you're at the top of the newbie pack? What are you bringing to the table that proves you are the needle in a haystack? We producers are in a very similar boat, and we have to be a value-add. That's our job.

I was one of those 7,442, but didn't place in the first cut recently announced. :( Makes me wonder if I really AM a needle in a haystack, although I DO feel I put out quality work and have good stories to share. I know a LOT of writers are in the same boat, so it gives me some measure of comfort and camaraderie to realize I'm doing the best I can, just like thousands and thousands of writers out there. Guess it will take doing even better than my best. :)

Brian, usually they execs etc. say what genre they're looking for ahead of time. The problem is the pitching format/time is set up so you can only tell them about one story before they decide, then move on.

I've been contacted eight times because of my Stage32 loglines/scripts, and two shorts are in production now. So there's that theory. You just have to be active so people are familiar with your name and what kind of person you are. Or you can give some sound advice on a lively topic and that might get you recognition too. One thing you don't want to do is have people remember you for the wrong reasons. (I've had my moments)

Well said, Jean-Pierre! ...Yeah, we've all had our moments. LOL! But, that's the great thing about being active and being part of a community; people get to know you; where you're coming from; your sense of humor; your goals; we become a support system for each other. The key is to be open to all possibilities. :)

well I agree with what everyone else is saying. you need to be very active in this business to get noticed (which is something I need to do.) it's been a year since I joined Stage 32 although I haven't gotten my lucky break yet, I have learned a lot about screenwriting as a whole. I learned why networking is important. I learned why you need to rewrite and many other things. Sometimes I look on this site and see how people are encouraging each other to keep going which motivates me to write. Lastly you got to believe that you are a great writer. Every day I close my eyes and say "I am a great writer and good things will come." Does that mean I get ahead of myself? No. Although I am a great writer, I still have a lot to learn.

Yeah, and besides, Beth's now a moderator. If you make her mad, she'll kick you off. Maniacal LOL ;)

While nothing has quite panned out yet, I've definitely gotten a lot of activity out of Stage 32, including some script requests (that went nowhere), script exchange and read through (for which I'm always thankful), meeting a producer at a Stage 32 meet up (that lead to me writing for two projects that have not yet seen the light of day, but hopefully will), working with Shawn Speake on a number of scripts and some exciting future film projects, along with a whole lot of awesome conversations. That all being said, I've had no real action on my posted scripts in my profile just for the sake of being there without some kind of action on my part, but it's always good to have something there for when someone DOES look at it. And I recommend doing a short film if you can, even at a low budget level. It's a lot easier to watch Youtube for five minutes than it is to read a screenplay for two hours.

I've got a script for a short film, but neither the time, funds nor expertise to film. I'm just a writer, dammit! Well, at least as far as film making goes. I'd be happy just to write and let someone else do the rest.

Now, Harold, don't tempt me. ;) LOL!

Samuel, yes, one never stops learning. :) I have a ton of work to do too. Gotta keep honing your craft and pushing forward!

Alle, thanks for taking the time to write all that out. "I don't trawl S32 writer profiles. I don't have time." That is exactly one of my concerns; that our profiles are rather ineffective at getting our work noticed.

Profiles are ineffective if you are not proactive.

in·er·tia noun 1. a tendency to do nothing or to remain unchanged..............DONT MAKE THIS YOUR PROBLEM

Claiming Stage 32 profiles are ineffective is like blaming the paper manufacturer when your resume gets rejected. Stage 32 is absolutely doing it's job to give writers an unprecedented level of access. However it's up to each of us to stand out from the crowd - and it's a big crowd. This all boils down to one factor; attitude. We've got to show you're passionate and we've got to demonstrate you're charitable.

My point was, if executives and agents don't take the time to look at our profiles, like Alle mentioned, then they (our profiles) are ineffective. We have easy access to each other as writers, (I've read some of your work CJ and that of many others, on other forums, and have made constructive observations when the writer wanted them) but as demonstrated by Regina, for example, we can chat with execs, but getting them to read our work is another story. As writers, we're trying to get our work in the hands of those who can take them to the next level, but that can be the most difficult barrier to our efforts.

Alle doesn't represent all industry members using Stage 32. I can assure many look and many will engage with you if you reach out to them without imposing.

Harold, don't hold your opinion too close to Alle's -- she is but one person. Perhaps do some research on execs/producers' backgrounds before solidifying your own, or aligning yourself with a viewpoint. :) Sorry, you're feeling frustrated. We all face these realities. Perhaps reexamine your own work; your own methodology; your networking; your approach. Are you building relationships that could become a referral? Could you be doing something different? At the end of the day, our potential rests on our own shoulders. :)

To CJ's point, let's say you write a successful query letter, pitch successfully, or win a prestigious contest that draws managers to you like bees to honey; now you've signed with a reputable agent/manager. You've gained someone who will make submissions on your behalf and set meetings for you when appropriate. But you're not the biggest fish in the pond (yet), right? It's still up to you to build a viable body of work and rapport/relationship with your agent/manager that will incentivize them to prioritize building your career over focusing on all their other clients. Additionally, when you get in the room for general meetings, you will have to build a rapport/relationship with the execs you meet. Even if your manager submits your script, it's partially your responsibility to help get your script(s) read. The relationship-building never stops. Your professional persona and interpersonal skills have to make you desirable and fun to be in the room with. Typing is toneless - my intended tone is "tough love" empowering! Please don't read me as negative. There is a way to work within the system. If there wasn't, there wouldn't be 1000s of WGA writers in the system. Then again, it's perfectly valid to be an indie writer, making content outside the system. To each his own path. :-)

Whinging and moaning isn't going to get a script into the hands of those who can take it to the next level. Nor is taking at face value the comments of someone who, in order to blow their own trumpet, claims that there aren't competent writers out there because they don't like the scripts they've read. They want you to believe that the only way you can get into the business is if they "mentor" you (eye roll). Just because someone isn't looking at your profile doesn't mean they're not looking at others. Just because someone doesn't request your other scripts doesn't mean they aren't requesting others. If you don't like the way Stage 32 operates, don't let the door hit your ungrateful backside on your way out.

So now we're getting into unprofessional, personal attacks. No one is Whining and moaning, I simply used Alle's and Regina's examples because they spoke up. Too often certain members of forums come up with negative comments/criticisms when another raises a viable concern for discussion, instead of coming up with ways to assist. It makes one reluctant to reach out and bring up any topic at all.

You think pointing out the fact that you’re ungrateful and moaning is an unprofessional, personal attack? Wow. I based my opinion on what I’ve seen you write in this thread. It’s ironic you accuse me of negative comments when yours have been consistently negative. This will be only my second post on this thread. Nothing wrong with raising questions, that's what this community is about, helping each other with our queries. But you're complaining. There's a difference. I think you interpreted my opinion of Alle’s opinion as a reflection of your opinion on her opinion. Nope. Your perception of her comment has nothing to do with me. I made no mention of your interaction with the helpful and gracious Regina. If you're accusing me of being one of those "too often certain members of forums come up with negative comments/criticisms" you'd better back it up with facts because I don't appreciate lies about me being made in order to justify your assumptions. It's clear you refuse to realise the common denominator in your situation is you and are now playing the victim.

Thanks for that, Leona! Harold, believe me, I feel the same way. Every time I post I am opening myself up to criticism. You need only read through other threads to see that I've been criticized. I want to rebut those assertions (from other threads), but why go there? We're all adults, right? Some people like to argue, and that's their prerogative (as long as they're following S32 policy). In general, you and I can choose not to engage in unfriendly conversations on S32, just like in real life! All good!!

No problemo Regina.

Thanks Regina. Leona's avatar and comments speak for themselves. I will choose not to rebut as it will go nowhere. I opened this thread and when the contentious types show up it's time to shut things down. I believe we are done here.

Harold, I get it. You’re frustrated. It’s clear from your thread, postings and singling me out for my THREE COMMENTS, one of which was thanking another poster. And you attacked my (wonderful) avatar! lol. Negative mindsets create responses to back up negative feelings (which aren’t facts, but are valid only to the person feeling them). There are two types of helpers in this world. Those who will bullshit you in order to keep you down so they have company for their misery, and those who are honest in order to try to help someone see things from a different, positive perspective in order to move forwards. When we point fingers, blaming others, we fail to see the three pointing back at us. Self-reflection is hard, but if we want to grow, it’s necessary. It’s a shame you’ve chosen to label me as a bully but it’s understandable when you’re coming from a place of despair. I wish you well.

Yes, it's "cheeky." ;)

I agree, I think it's a sign of leadership - from a bottom up approach.

You've blown my concerns completely out of proportion and put your own spin on them. You're not being any help at all. Time to move on. "Well said. It's a lonely, unnerving business, and this community is wonderfully supportive." Some people are, Fiona, others are just mean. "I'm just tired of this mysterious Hollywood etiquette because of the confusion and animosity it generates. And I'm frustrated by how a completely free submission system is gradually waning to routes that only the privileged can afford." I didn't say this, CJ did. Go pick on him.

Guys, you're all pretty. :) Can we have a civil conversation about getting exposure as a screenwriter and filmmaker? I just don't like to see us fight--we're all in the same boat together, right?

Thanks Michelle, this type of thing happens all too often on Stage32 -- and other forums -- and needs to stop.

HV, William Martell, Joey Tuccio and Bix Santana gave you three really good insights. + Mr. Martell let you know the long odds for any script to be requested at a Pitchfest. Actually, 2 in a 100 to be requested is pretty good, considering there's a huge inventory of scripts out there; there's a huge amount of scripts being registered each year; and that the vast majority of films made today are not from speculative scripts by unsold writers. + Mr. Tuccio let you know that you have to be proactive in your marketing and your relationship building. + Mr. Santana relayed his very successful request rate of 8 requests out of 150 queries. That's pretty good - congratulations. So there you go. If I were going balls-out on a marketing campaign of one of my scripts, I'd budget it in this way: + (tie) $450 to Stage32 for ten pitches to agents, managers and producers who were looking for exactly what I had. + (tie) $297 to SmartGirls Productions for the Platinum Package Email Blast to 300 producers + 150 Agents/Managers. + $200 to the Black List site for an evaluation and a six month listing. + $100 for a couple entries into the most appropriate genre-specific screenwriting contests. + $60 to InkTip for a six-month listing. Remember - you're not just competing against fellow aspiring screenwriters, but you're REALLY COMPETING AGAINST established industry veterans for the most part. That's how good your work really has to be and is the real baseline for judging screenplays by industry professionals seeking scripts to be made into movies. Those established writers are the status quo of Hollywood - not a bunch of aspiring screenwriters whose skill levels range from "somebody please cut that person's hands off, because they really don't know how to write" to "hey...that's pretty good, you talented unsold writer...you might have something worth making here." Good luck, bro!

Harold, it actually doesn't. I should know. Stage 32 has made huge efforts to maintain a more positive environment. We have a fabulous community here. Often it's how members choose to react or not react; engage or don't engage, that determines the type of exchange that occurs. We also encourage healthy debate. All posts or comments are open to challenge or agreement, are they not? Anyway, I think this particular post created a great discussion. Thanks for starting it.

Harold, while indeed I did say those very words, let's not forget I followed them up by stating I feel Stage 32 is one of the few areas amateurs can gain free access and potentially the remedy to this issue. If anything I see (and have personal experience to prove) that our Stage 32 profiles can be enormously powerful exposure tools. For what it's worth, I feel your pain and I'm sure many others do. Putting your heart into writing while yearning for an audience who never seem to materialise just slowly eats away at your soul. Trying to gain any sort of profile in this industry takes a marketing mindset and I many of us just don't think that way, or even know how to begin thinking that way. Your feeling about the attitude here has to be respected. You can't really help how you feel. However I should point out that if you look at things with a negative mindset then the negatives will leap out at you. Bill has put together a respectable strategy (for any writer with capital), but the easy mistake to make here is not establishing where you personally fit into this industry. 18 months ago I decided I didn't want to pursue career in screenwriting, I lack the funds, the talent, and the work ethic. The lifestyle doesn't appeal, the working conditions don't appeal, I couldn't handle the ups and downs. But I love being part of a positive team and I love supporting up and coming artists. So I thought long and hard about where I fit in, what makes me happy, and I adjusted my approach to suit. I have barely spent a penny on screenwriting since then and managed to find exposure, option short scripts, and work on exciting projects. I chose getting made over getting paid. Sure it's a lot of leg work, but you can do that through Stage 32 and a few other resources. Going back to my point about attitude, this is putting things as bluntly as I can; Try not to be a Dick - Don't waste people's time. Don't expect handouts. Do your research. Don't be lazy. Don't be entitled. Never assume you're the special exception. Don't hound industry members. Don't put others down. Avoid being self serving. But don't be a Pussy Instead - Don't feel you're worthless. Stop waiting for your fairy god mother to materialise. Don't play the system like a lottery. Don't kiss up to people in the hope they'll do you favours. Stop claiming the world is against you. Please don't feel the above is directed at you. I can assure you it isn't. It's directed at those voices in all our heads that can cause us to push a little too hard or get a little too soft. You can do this, brother. But it's critical to do some little self reflecting and find a positive outlook that motivates you.

I'm really glad Bill took the time to reply as there's a lesson in contrasts here. First off, his avatar is a picture of himself. he's saying, Hi, I'm Bill and I'm not here to anonymously make an ass of myself. His post is how all posts should be. He addresses the question/concern in a professional, helpful manner -- no insults, or disrespect. Everyone should make it their goal to reply in this way. Thanks Bill. I've run out of time to further comment, but I'll be back later.

Harold, yes I've had requests just off of the loglines on my profile without even being connected to the producers. Your logline is important. In addition to your profile, now with the Pitch Perks your logline is sent to all execs when you join one of the pitch fests AND this works, I've had great requests from this is well, so get your loglines in tip-top shape!

Harold, I checked out your profile. I think it's really cool you've posted your three script loglines. I'd consider doing more in your bio to sell yourself as a writer in the hope of enticing visiting industry members to check out your loglines section. Laurie has a very good example of a professional sounding yet approachable bio. I know it can feel a little awkward to write about oneself but you're a writer, show off your skills a little.

CJ, I definitely appreciate what Stage32 is trying to do, and Laurie, I do like that they've expanded our logline exposure, but I still feel like our hands are tied to some degree. Seems that there are still "barriers" in place that keep one from simply having a chat with an exec. regarding one's body of work. It's like you get one controlled shot at a time, which gets expensive. Bill C. gave some info on a possible budget for one script -- I actually happen to have twenty of the damn things (not bragging, just a fact). That's where I totally agree with your point of view, CJ, about the cost factor. There's a saying: "you can do anything in this world with money" But, you have to have the money, and most of us don't have that kind of budget to gamble on long odds. By nature, I'm not a gambler, so that makes things more difficult. Personally, I don't think loglines do a script justice. There's just so much detail left out. Some people have great bios because they've worked in the industry. Here again, most of us are outsiders, so there's not much to say. And, based on the "likes" distribution, I can see that even here I'm considered an outsider. I just don't believe contention solves anything and prefer not to have to argue a point. There are ways to get one's point across without being disagreeable. Eg. Instead of saying "you're wrong", or "I disagree", one might simply say, "In my experience." or, "from what I've heard/read."...

Harold, I used to see the issue as a barrier but now I tend to see the issue as overcrowding. It's tricky for me to talk more about this as I personally pulled out the system very early on. Like yourself I can't afford to gamble any more money, especially when I write quite polarising material. It's incredibly frustrating when you're trying so hard. Having to spend money just to flash in front of what may or may not be the right person. But that's the nature of an industry where supply so massively outstrips demand. My answer was to get out of it and focus on an area where I could make a difference. It made me a lot happier.

Fiona, I never have bad hair days -- I'm bald. Heh-heh. CJ, I think Stage32 will eventually get overcrowded. 400,000 members! How many are screenwriters? The contests have gotten the same way -- just too crowded. The unfortunate truth is most will not find success.

@Fiona just curious what is meant by "elitist" vis-à-vis (UK) script competitions?

As the (new) co-writers of DUNE told me in 2004 when I asked them to help me get an agent for my writing: "Just keep writing. Eventually, you will write something that opens all the doors." Been at it 20 years now Harold... now with 32 books published... and barely a micro-budget to work on. So keep on keepin' on my friend. Like the song by Journey, "Don't Stop Believing."

EDIT: Posted in wrong thread originally. Way way back to making a short film. It can be done, for free/cheap, with very little experience, in a variety of different manners. Time Limited Short Film Contests: These are going on all the time, and there's usually one near by. They often have meet ups prior to the event where teams look for members (actors, crew, etc.) and they often need writers. You may get wrangled into doing some other stuff on set (first one I did I ended up doing a lot of set design, the second one I played go-fer and PA and acted in, third I mostly was there to help if there were last minute line changes, and the fourth is the only one where all I did was help with writing and ideas. But that's a good thing. Helping on a set let's you see how your script gets implemented, how lines sound live, how the movie gets made, and working in the capacity will give you new appreciation for the magic of well managed coordination that brings your screenplay to life, often better than you would have done on your own. http://www.48hourfilm.com/kansas-city-mo Team Building Outside of Frame: Even when it's not contests, there are people who want to do projects, but have zero ideas on what to do. If you have a script and a plan, you can assemble a low to no budget team and make something. If you have a local college with a tv or film program, there are likely students there with cameras who need to get a reel assembled. Unless you're being an utter tyrant or aimless slacker, working together on a film benefits everyone involved in one way or another, whether it's on set experience, improved quality for a reel (crew, actor, writer or otherwise). Point is, you can do a lot for very little, and I honestly believe in it as a very positive practice when well managed.

I kind of love living in a place where the action ain't....I have a lot of quiet space to dream up stories. Some day I'll be busy on sets and 'taking meetings' all the time, but if I wanted that in my life right now I'd move to the city! I do wish I could see who has downloaded my screenplays....but on the other hand I'm grateful to Stage32 for providing this service and this excellent exposure (and many seminars, and podcasts, and lounge discussions) all for FREE! I've been active in online environments like zoetrope, blacklist, inktip, chatrooms in linkedin, pageawards. They all have their valuable points (especially zoetrope), but I've decided to just focus on getting my material ready for the next pitchfest here on stage32. No other contest or website allows newbie writers FACE-TO-FACE pitch time with producers and agents for so little cash. I feel like I am in the same room with them right there in California when I pitch. Another thing I'm loving about stage32 is that the environment for lounge discussions has allowed me find some other writers willing to do script swaps. I'm a fan of script swaps because, a) you get notes for free and, b) by reading other newbie's scripts you develop a feel for those little mistakes that over time must tend to make talent-searchers like Regina Lee roll their eyes. So, Harold (et al) there's a LOT of value in looking at each other's work as writers. We are best equipped to provide feed-back to each other, and learn the craft from each other, gain inspiration from each other, and most importantly be supportive and encouraging towards each other. Cheers!

Sarah, thanks for joining us -- now that we've got this thread back on track.