Screenwriting

Absolutely, Laurie — and you’re right about everything you’re describing.

Copyright and chain‑of‑title are essential, and downstream buyers will always negotiate based on audience, traction, and market conditions.**

Where this filing sits is actually before all of that.

It’s not trying to predict market value or replace negotiation — it’s simply formalizing the IP as a structured asset so creators don’t enter those negotiations empty‑handed.

Most creators only have:

- a script

- a concept

- a draft

- a loose copyright

But they don’t have a documented asset with:

- ownership clarity

- contribution history

- valuation context

- supporting materials

- a clean upstream record

That’s the gap this solves.

It doesn’t tell a buyer what the IP is “worth.”

It prepares the creator so that when they enter the chain‑of‑title and negotiation process, they’re doing it with a structured property instead of a loose collection of files.

Downstream value is always determined by the market — you’re absolutely right.

This just ensures the creator’s side of the table is clean, documented, and ready before they ever get there.

I’m with Laurie - and more to the point Baron - what metrics are you using to value your work for these filings?

I've gone through chain of title with many projects, it's typically not that complicated. The only time it becomes complicated is when there is more than one writer. In that instance I can see this "packet" being useful, (valuation aside), however the buyer is still going to go through their typical due diligence process.

Great question — and this is actually where the misunderstanding usually happens.

The valuation in this filing isn’t trying to predict what a buyer will pay.

It’s not a market valuation, and it’s not meant to replace due diligence.”**

The metrics I’m using are strictly upstream metrics:

- scope of work completed (drafts, rewrites, treatments, bible, pitch deck, etc.)

- creative labor inputs (hours, stages, contributions)

- developmental maturity (concept → outline → draft → revisions → supporting materials)

- documentation completeness (ownership clarity, contribution history, chain‑of‑title hygiene)

- comparative context, not comparative pricing (similar properties only as reference points, not predictions)

These metrics don’t tell a buyer what the IP is “worth.”

They tell the creator what they’ve actually built.

Downstream buyers will always:

- run comps

- assess audience potential

- evaluate risk

- negotiate based on their own models

Laurie is absolutely right about that.

This filing sits before all of that — it’s simply giving the creator a structured, documented asset instead of a loose collection of files.

It’s not trying to shortcut the buyer’s process.

It’s preparing the creator for it.

I have a patent for an alternative design for landfill sites and remember going through the Patent Process as a strange but interesting lengthy experience. Just saying.

I like it!

These pieces have a mind of their own Juliana Philippi. Some of them may need a chancla to stay in line. LOL.

Leonardo Ramirez 2 La Chancla!!! OMG that’s the title for a comedy….claiming it!!!! Hahahaha. Y mira, a ver pa’ trabajar con Sebastian!

Da’le Juliana Philippi! A magical chancla with powers to change the hardest of wills. All yours sister! LOL. Espero la llamada!

I show Cannon Fodder to my storyboard class. An interesting one because it’s done in a series of “oners” where the camera doesn’t cut. The behind the scenes on the DVD shows some of the backgrounds with strange layouts used to accommodate camera moves.

Mike Boas That’s so cool Mike, and that one in particular was so well done, the story, the tone conveyed through the colors, it was just amazing. And the camera work is super cool. They don’t make them like this anymore? It seems, for anime.

I like your logline, Daniel Stuelpnagel. It kept my attention. I try to keep my loglines to 35 words or less/around 35 words. I also think a writer's style plays a part in writing loglines.

My personal experience has been different. I have tried all 4 price points of the pitch products and felt like I got the most actionable feedback that did actually improve the script and identified some questions I had not previously considered from the more expensive options. Based on one of the pitches, I added a new ending scene and it really pushed the script to another level in my opinion.

Although they are much more expensive I feel like the best feedback that helped my project came from the $149 and $299 price points. I'm limited on how many of those I can purchase but I am glad I did and I hope to utilize them a few times in 2026.

Darrell Pennington congratulations! I’m am glad it’s working for you. I think a lot of it depends on the executive that reads your work. I would have been disappointed with negative feedback but hoped for actionable comments. But from the very beginning line they stated it was a comedy when it clearly is not. so I can not even safely say they read the screenplay.

That was my point of posting. Yes there may be good experiences, but there are negative ones as well. And when support doesn’t assist, the writer is the one that loses.

Congratulations, Finalists!

Congratulations everyone

Way to GO, OWA finalists! Congratulations!

I'd love to see the loglines from the winners.

Pat Alexander To block a merger or acquisition, there first needs to be a legitimate legal basis — often some form of antitrust or national security concern. WBD apparently mismanaged itself into financial distress. Once a company is effectively in bankruptcy, the sharks start circling.

Apparently, potential buyers have been narrowed to Netflix, Comcast, and Paramount. I thought Bezos was in the mix.

If I were WBD, I would boot out whoever dragged the company into the abyss and bring in a team that specializes in navigating failing companies back to sound financial condition. I just can't imagine the logic or rationale of selling, in some cases, 100-year-old IP assets.

WBD’s business spans various lines, which suggests that most potential buyers are likely considering only certain parts — either those that integrate into their current business model or those that stand a chance of not exceeding the 30% market share threshold for antitrust considerations:

It takes a special type incompetence to mismanage an entity of this sort unless of course its a deliberately engineered distress to kill or break it off.

Streaming / Direct-to-Consumer

[HBO Max, HBO, Discovery+, CNN TV app, Warner TV, CW Seed (FAST channels), Pam Grier's Soul Flix (FAST channel)]

Film & TV Production / Studios

[Warner Bros., Warner Bros. Pictures, Warner Bros. Pictures Animation, New Line Cinema, DC Comics / DC Studios, Warner Bros. Television Group]

Cable & Linear Entertainment Networks

[TNT, TBS, Turner Classic Movies (TCM), CNN, CNN en Español, HLN, Warner TV, Boomerang, Adult Swim, Cartoon Network, Cartoonito, TruTV, Cinemax, TVN, Space, Boing, Discovery Family, Discovery Channel, Science Channel, Animal Planet, Investigation Discovery (ID), TLC, HGTV, Food Network, Oprah Winfrey Network, Magnolia Network, Cooking Channel, Travel Channel, Destination America, American Heroes Channel, DMAX, Giallo, Frisbee, K2, Nove, Canal 9, Discovery Familia, Hogar de HGTV, Pogo, Tooncast]

Sports

[TNT Sports, Eurosport, Golf Digest]

Unscripted / Lifestyle / Reality

[Discovery Channel, Discovery+, TLC, HGTV, Food Network, Cooking Channel, Magnolia Network, Travel Channel, Destination America, American Heroes Channel, Animal Planet, Discovery Life, Discovery Familia, DMAX, Quest, Quest Red, Space, Giallo, Frisbee, K2, Nove, Canal 9, Boomerang, Pogo, Tooncast]

Interactive / Gaming

[Warner Bros. Games (Avalanche Software, NetherRealm Studios, Portkey Games, Rocksteady Studios, TT Games, TT Fusion, Traveller's Tales, WB Games Boston, WB Games Montreal, WB Games New York, WB Games San Francisco)]

I agree with the WGA that the merger would be harmful to the industry — just listen to recent episodes of The Town for specifics — but proving it illegal is a challenge. Plus, you would need the government to block it, and other mergers have gone through just fine in recent years.

Alternately, I wouldn’t want WB to go to Skydance/Paramount either.

We’ve already seen the worst when Warner merged with Discovery. All long term moves to maintain or build brands were shoved aside in favor of short term gains like tax breaks. Now it’s rearranged into pieces and being sold off. If another studio buys WB, any identity its components have will be watered down or disintegrated.

If you want to see what has happened to Turner Classic Movies behind the scenes, see the excellent “TCM Wine Club” video from Patrick Willems.

The Death of the TCM Wine Club

https://youtu.be/4Bq8aNRCwts?si=0aKCEL5uSycrvbq_

(It’s not just about wine.)

Roth Rind - I agree with you, I want to understand how this would eliminate jobs, etc. I appreciate where the WGA is coming from but it’s a blanket statement.

Amanda Toney Whoever acquires WBD will typically replace most C-level executives and top management, though a few may be retained to manage the acquired or surviving entity. When it comes to creatives, anything is speculative — once the transaction closes, we cannot predict with certainty what the buyer will cut, keep, or expand. It’s similar to corporate dividend policy: entirely at the discretion of management.

This is why the argument that Netflix represents better “long-term value” is legally and practically indefensible. We don’t know what Netflix will do tomorrow, let alone over the long term.

From a purely financial perspective, consider institutional shareholders: Vanguard holds roughly 281 million shares of WBD. Accepting an offer $3 per share lower than Paramount’s would cost them $843.6 million. It’s hard to imagine Vanguard making that choice. Similarly, BlackRock and State Street would each be giving up $500 million and $400 million, respectively, by accepting a lower offer — unless their decision is motivated by personal or non-financial considerations.

WBD board will likely have a very tough time selling its recommendation to shareholders to take less because more than 73% of its shareholders are institutional holders (money managers) who are sophisticated and not in the business of taking a loss,

Well, now everything is ready(plot, script, synopsis etc.). What should I do now to get a quick result?

Congratulations on getting everything ready, Murat Ersahin! It's really hard to get a quick result. My biggest tip is network on Stage 32, on other platforms, and in person. It could lead to you connecting with producers, script requests, meeting requests, etc. Here's some blogs on networking: www.stage32.com/blog/tags/networking-41

Stage 32 has free in-person Meetups that are great for networking (www.stage32.com/meetups). If you don't see a Meetup in your area, keep an eye on that page for new Meetups. And you're welcome to start your own Meetup.

I’m sorry you’re dealing with that. I won’t pretend to know your exact situation, but I do want to be honest... relying on selling a screenplay or plot to solve a financial issue is extremely risky. Even great scripts by established writers can take a long time to get read, gain traction, and actually turn into any real money.

If you really have materials ready, the most realistic next step is to package it clearly: a strong logline, a 1-page synopsis, and ideally the full script or a polished treatment, then start pitching or querying through legitimate channels (like here). Just know that quick results are rare in this business.

I truly hope things stabilize for you soon. Don't give up on the dream of writing despite this. I would just encourage you to do it from a place of passion versus pressure.

Thank you Martin Graham for your honest opinions and advices. Actually, the thing that you mention about to solve financial problems by selling a feature film projects can be changed according to where you live. For example I am living in Turkey and one USD is equal 42 TRY and that can change most of the things inevitably. I just wanted to say this as an example...

I will keep writing without any urgent expectations. A lot of feature film ideas in my mind already, aside my published short story book.

Thanks again and have a great Christmas in advance!

E Langley solid

A year ago, I was very cautious about sharing my ideas, and I tried to find opportunities that allowed the use of AI because my English was not very strong.

Later, I realized that as a Moroccan, this path is especially challenging, and that I need to show up internationally to access opportunities.

So I created my Instagram page, where I began publishing visuals of my worlds.

Then I discovered Stage 32 and continued sharing visuals and loglines there.

I still feel some anxiety about sharing, but I understand now that this is part of the process of building visibility.

Dolf Van Stijgeren We can safely say it’s not risk-free—in fact, it can be VERY risky. That said, talking about “idea theft” from sharing a logline or synopsis often comes across as either amateurish or overly paranoid. That doesn't mean you are wrong just that the industry is conditioned to think or act in a certain way.

My conclusion is that stealing scripts (certainly on Stage 32) is highly unlikely. A petty thief might theoretically do so, but no professional company would risk it. I do indeed think this is largely a fear among beginning writers.

What does happen is “parallel thinking” and ideas being “absorbed”: a producer reads dozens of pitches, and sometimes an element unconsciously seeps into another project.

Professional companies do steal scripts. Happened to a friend, as mentioned earlier in the thread.

I had a script stolen from somewhere online. Never found out where.

I had a producer give me a concept idea that was basically the opening of a script that I'd shared with him.

Dolf Van Stijgeren CJ Walley You must be careful where and with whom you share ideas and creative materials. While outright script theft is uncommon, misappropriation risk is real and often subtle, especially when creators lack legal awareness. Most disputes arise from access-based derivation rather than direct copying, and trusted systems or intermediaries can unintentionally or intentionally enable IP compromise.