Screenwriting

I don't think so, Ron Reid. I think writers should spend their time getting better at writing loglines, synopses, scripts, etc. instead of spending time using AI. I think writers will do just fine without using AI.

This is an example, of not preparation meeting opportunity, but desperation meeting self sabotage. I feel as artists we tend to put too much stock on representatives creating opportunities for us, versus creating our own work and building our own relationships the industry. The misuse of technology and shift in peoples mindsets are what’s leading to things like this. long-term this is going to stifle a lot of people’s career trajectory. Trust me, I get it things are really hard out here. Honestly I’m feeling the temptation right now to snap or let go, but it’s these trials that separate you from impact vs just getting in the room.

Maurice Vaughan 5 I sure hope so. I think that 30 actors signed on and may be getting work.

Ponce Deleon We have to be careful of following trends vs. being practical and following the herd.

Thanks for your insight.

Great share, Pat Alexander! Thanks. Jim Jarmusch said he starts with characters and finds stories that kind of weave around the characters. I usually start with story, but starting with a character is a great way to come up with stories. Writers can start with objects, themes, locations, etc. too.

In my experience, once, however, the person never followed up with me after our initial phone call. I tried emailing and texting her about a week after but I got no response. After about a month or two had passed, I considered it a lost cause.

I wish someone could see me, I'm literally a ghost, no one sees me or sees my strength in writing, directing, designing, and even drawing and martial arts. I'm tired of being transparent. I want someone to see me and see my strength. Why am I like this?

AZ.AZ. There are times when we all feel unseen, unheard, and unappreciated. It just means you haven't come across people who will. Not everyone will get your or I but I prefer quality over quantity. If you find one person who listens it is better than many who act like they do.

Hi, AZ. AZ. I'm about to post some things on Your Wall that might help.

Hey Pink Matzke There is no specific timeline to hear back from an exec after they receive your script. It's always up to any exec's discretion, needs, mandates, interests, or otherwise on how long they take to crack open your project and dive in. In our experience, some move fast others move slow. There's no firm rhyme or reason, just mainly based on current workflow, existing projects, and other obligations.

I understand how empty the silence can be after receiving a script request. This waiting period is one of the most challenging aspects of the screenwriting journey, and patience is key.

Here's what's likely happening behind the scenes: executives receive numerous script requests and operate on varying timelines based on their current production schedules, development priorities, and reading capacity. Some review material within weeks, while others may take several months. The silence doesn't reflect the quality of your work - it's simply the reality of how busy industry professionals manage their workload.

Consider this perspective: the fact that they requested your script means something in your pitch, logline, or previous material caught their attention enough to warrant further review. That's already a meaningful accomplishment and a very positive signal for you in a highly competitive field.

While you wait, channel this energy productively if you can. Continue writing or outlining your next project, refine other scripts in your portfolio, or research additional industry contacts who might be interested in your work. The most successful writers use these waiting periods as fuel for continued creativity rather than letting uncertainty stall their progress.

Script requests represent genuine industry interest, even when followed by extended silence. Many writers have shared stories of receiving responses months later that led to meaningful opportunities, such as our past contest winner Richard Zelniker, who after earning a general meeting with Executive Producer Brodrick Haygood for winning the 1st Annual Rom Com Contest, spent 2 years toiling away before eventually collaborating as a writer/director on his 2025 film THE VORTEX with Brodrick as his EP. Your material is being considered by someone with the power to advance your career - that's worth celebrating regardless of timeline.

Stay focused on what you can control: continuing to write, improving your craft, and building multiple pathways for your work to find the right champions. Your persistence and dedication to storytelling will serve you well throughout this process.

You're welcome, Terry Podnar.

Congrats!

Thanks Mike!

Congratulations

Thanks Adam!

Only 2 spots remain, looking forward to the lab tomorrow!

Email edu@stage32.com to snag one of the last seats in our 10 spot lab, excited to get going!

It was great to meet everybody today. I'm excited about this class.

Hi all! Did we ever get a video recording of the zoom to refer to the sample when we write our one pager?

Female driven? Would that be like Driving Miss Daisy? After all, Morgan Freeman drove Jessica Tandy all around.

You're welcome, Andrea Wahbe. And I like to search Google for new scripts, but sometimes it's hard to find them for a while.

Scriptslug

You can find new scripts to read on these alternatives

-Script Databases _Internet Movie Script Database (IMSDb)_, _Simply Scripts_, _The Daily Script_

and other Resources _Drew's Script-O-Rama_, _StudioBinder_, _Script Reader Pro_

Script Revolution is another site I like.

https://www.scriptrevolution.com/

Thanks, everyone, for your help!

I rewrite a feature script or TV script a lot of times, Joshua Viers. Here's my rewriting process:

I rewrite as I go when I write the first draft. Rewriting as I go helps me think of ideas, scenes, etc.

I leave the first draft alone for a day, days, week, etc. after I finish writing it and rest or work on another project. After that, I rewrite the script. I break the rewrite up into categories:

– A Story

– B Story

– Subplot(s)

– Character Arc(s)

– Dialogue

– Visualize (I go through the script, visualizing the action and dialogue -- it helps me think of ideas, scenes, etc. and catch story issues)

– Track (I go through the script, tracking important things like character behavior, relationships, and items)

– And sometimes other categories

– Mischievous rewrites

After I finish rewriting the script and making the pitch material, I either get feedback on the script or start pitching it.

I get feedback from script readers I've gotten notes from before.

I also ordered a Feature Script Read + 30 Minute Talk with an Executive here on Stage 32. The feedback helped me fix a huge issue in my script. I'm definitely thinking about ordering another one. I'm also planning on ordering Stage 32's Script Coverage.

Don't chase the winds of change in your script. Anchor yourself in the essence of your story. Calm the turmoil of revisions at your desk. Immerse in the depths of your narrative. Close the doors to distractions. In stillness, truth reveals itself. Are you writing for perfection or passion? In all those years. You could have wrote many more. And you'll be more relaxed at the desk. Writers plot twists... Suddenly they find the flow.

That is such a good question lol since I’ve written a few stories over the years and have fallen in love with writing many different characters. But I’ll attempt to list some:

1) Erik Rhodes from Finding Elpis. He has a big ego and often talks harshly but he’s the most grounded character in the series so you can’t say he’s a complete jerk.

2) Mezzaluna from Marisol and Mezzaluna. Since I love surrealism I had a lot of fun writing her, and she was a good challenge too because I wanted the reader to decide for him/herself what she actually was (which I don’t believe the readers appreciated too much lol).

3) The Boogie Man and The Foxy Lady from Leaf. A happily married couple and both of them are sassy and so much fun. In fact I loved both of them so much I gave The Boogie Man his own comic :D

4) Madison from Metal Garden. I love fiery Irish redheads and she’s also dealing with a lot between her boyfriend being a bit of an idiot, the girl he wanted to marry falling in love with her instead, and her family being way more screwed up than she initially thought.

5) Smiley from Karma Dealers. A professional troll and master of disguise, made even better by the fact that no one except his boss knows what his actual face looks like—he always wears a mask and changes it bian lian style.

6) Jean-Pierre from Plastic Love. Probably the most controversial of all of my characters but he was just such a blast to write because he’s so over-the-top sexist/flamboyantly gay and just loves talking shit to everybody. But similar to Erik Rhodes, he has a heart of gold underneath it all.

Sierra. She is cunning, dangerous and manipulative. Her beauty is what drives men to her and they lust after her

Fun question! Hey Pat, was Bronco based off a real dude? This one sounds right up my alley!

So much fun reading your characters and sensing the creativity they've pulled out of you! It seems we writing people do fall in love with our characters - one way or another.

From my current script I'm working on, two high school cheerleaders who are complete opposites of each other (Stacey and Tracey Burroughs). Stacey is the stereotypical snob who's obsessed with being popular, and making sure she gets the most likes on TikTok and Instagram while Tracey is more kind-hearted and tries to break out of the popular crowd to find herself.

Incredible opportunity for writers, Geoffroy Faugerolas 2!

Even full features are giving way to series. Returning eyeballs. Why do people make shorts, when a full feature is more marketable? And if you write the ending correctly, you can have it as a pilot for a series...

Jon Shallit, Short films are essential for creating a portfolio. People don't like authors who don't have finished works. The series are paid for by the advertiser. Therefore, it is incorrect to compare the success of the film and the success of the series.

I love the thought of expanding our thinking with this exercise Sandra Isabel Correia. I've turned one short into a feature and I've thought about turning a feature into a pilot. But I'll be honest - it's a real challenge for me. I'm wired for features. I still like the thought of considering other formats.

Thank you Sandra Isabel Correia, I’m rooting for your success as well~

amazing post/'challenge' Sandra Isabel Correia :) I am doing something of the sort now, taking a short film I wrote as a proof-of-concept and integrating / developing it into a similar world for a series - the challenging thing for me sometimes was to ALLOW for things to change as they need to in order to become what this new format & story requires. badly phrased here from me, but that's what popped to my head first when reading your post :)

Hey, Justin Groats. Hope the executive finds this draft to be the best one yet and requests your script!

Maurice Vaughan 5 , this is sending in my script, I am hoping she requests a meeting!

Ok, gotcha, Justin Groats. I hope you get a meeting request!