Screenwriting

@Jose Luis Madrigal When I pitch my scripts, I provide refined loglines with comps polished through professional feedback. Producers often say my loglines and pitch letters are strong, and that my ideas are high-concept, marketable, and fresh. I also submit to Stage 32 OWAs.

Hi Lisa: where are your titles / loglines / genres posted? If you wish for assistance they need to get an idea of what your scripts are about. You've mentioned "period stories" and that actually will make many shy away. Also, if you do not have professionally completed shooting schedules and budgets, you do not know what your budget is. While it is true your cast can impact the budget, your BTL and post-production will not be impacted. A producer that takes on your projects will still have to have schedules/budgets done since you haven't done this. Your attitude is wonderful about constantly reaching out, pursuing producers for opportunities. So do keep at it!

@Maurice Vaughan Thanks for the tips. I usually keep my loglines private and only share them when pitching directly to producers. I have not been active on social media or Stage 32’s Your Stage Lounge. I mainly focus on submitting to producers who have experience with projects like mine.

You're welcome, Lisa Weiss. Hope the tips help!

@Lindbergh E Hollingsworth Thank you for your advice. I understand what you are saying regarding budgets and schedules. My estimates are based on similar films to mine, and I know a producer will finalize schedules and budgets once attached. I also realize period pieces can be challenging, but that is what I love to write. I do have scripts in different genres and at lower budgets as well, so there is some range in my projects. Regarding my loglines, I keep them private unless I am pitching them directly to a producer.

Faith based films tend to follow certain formulas. Here’s a webinar I found useful.

https://www.stage32.com/education/products/how-to-write-and-direct-your-faith-based-feature-film

Next step is difficult to discern without more information... as in, intuitively pick someone to consult with, execute an NDA, and see what gets recommended with what you have.

Hello Marziyeh Gholampour Congratulations on developing your film idea. Next step: create a treatment and outline. I detailed these types of documents in a recent post: https://filmbudget.com/screenwriting-treatment-synopsis-outline/ or access via the main page: www.FilmBudget.com

Best of luck in your endeavors! Jack

My latest script includes some Christian ingredients. The young rich woman is deeply Christian. So in one scene she tells the scientist "Help me to spread the word of Jesus in the whole universe and I will give you the deepest French kiss you have ever had". The ironical thing is that at the end of the script, the reformed criminal gives the scientist a French kiss, and says "Hallelujah". So make your characters complex, and include some irony.

@Marziyeh Aside from all said above, I add some points. The “Meat of The Story” in the novel is key. Is there enough going on, to fill the feature film time on screen? Cut out thoughts, feelings & the usual longer exposition, then think of what will be seen in moving visual action. Often many pages in a novel, allows for little visual pace. If a novel is very light on “Plot” then even several large chapters might only be 1 - 2 minutes of screen time. Some production companies have readers to see if novels can be “adapted” for screen. Logistics count too, a well written book might cost too much to make and for that reason alone, it will not be green lit. Locations, actors & specific scenes can add millions, so it’s wise to have options available if writing for a low budget script. Emotional beats, each sequences climax, & changes in status quo count, even in fantasy with little/no conflict. Your story sounds an exciting concept, & I like the idea of the seen and unseen. Who the characters are & how the viewers relate to them is important. Also consider target audiences.

How can I find this video? There is no search feature under the Webcasts portal (I do have a Writer's Room membership)

Here you go: https://www.stage32.com/webinars/The-Executive-Hour-Webcast-with-Alice-C.... You can access the Writers' Room webcasts by going to your Writers' Room portal and clicking on ON DEMAND WEBCASTS.

Thank you very much for sharing your tips.

I have an idea that could work as a short film — The Pre-Birth Myth — but it definitely can’t fit into just one page.

Writing a one-page script is extremely challenging, so congratulations to you for accomplishing that.

You're welcome, Meriem Bouziani. Thanks. You're right. Writing a one-page script is extremely challenging. I also write commercial scripts, so it helps me write one-page scripts.

That’s great — having experience in many different kinds of writing will really help develop your career and your talent Maurice Vaughan

I’ve not utilised Stage 32 script services yet but this whole community creates that energy , that possibility and that belief .

Scriptank.com is launching before the Holidays. You should check out its promo site to see what it offers.

Congratulations, Roger D. Mortimer! I'll check it out.

There have been a few times where a writer has come back to me for multiple rounds of notes and it has always been great to see their work improve every time. Some have even gone on the be produced and picked up by streamers!

That's incredible, Ewan Dunbar! Congratulations to those writers! I'll keep you in mind for notes. Have a great rest of the weekend!

Same for me — it’s my first script, but as you said, it’s a beautiful and enjoyable adventure.

It’s worth it, so we try, we learn, we keep going, and we make it happen.

Thanks Maurice Vaughan . Have a good sunday.

Hi Meriem Bouziani Let´s go make it happen:) Thanks.

You’re welcome — have a great day Maria Caeiro

You're welcome, Maria Caeiro. Thanks. Have a good Sunday too. Hope you have a great Week 4!

I'll read it and let you know what I think. I do a good amount of this and the people whose works I read usually compliment my comments. Let me know if you want me to read it and I'll send my e-mail address where you can send it.

Looking for Management or Producing Partner – Original Sci-Fi Series: THE PHOENIX

Hello Stage 32 community!

I’m seeking representation or a producing partner for my original series THE PHOENIX, a

mythic sci-fi drama that explores humanity’s lost history and the legends written in our DNA.

Materials completed:

Pilot Script

50-Page Show Bible

Full Pitch Deck

Storyboards + Music Direction

Season One Draft (with arcs through Season Four)

The Phoenix is built for HBO-level storytelling — cinematic, character-driven, and deeply

mythological.

If you manage or produce genre content and love stories with scale, mystery, and heart, I’d love

to connect.

Ilanna: Send it to lenilevi@comcast.net

Lenny Levy hi Lenny, the safest protocol is to connect with people and then message them with your personal details.

Jay Swendris hi Jay, the site protocols are in place to stop the highjacking of other people’s posts.

You can publish your comment as a post in the Your Stage Lounge, or even create a job vacancy by following the JOB tab. Please remove your comment and follow the protocols for the site. Many thanks, Geoff

AI is a tool that, like the automobile, the steam engine, the airplane, TV (which didn't replace movies until they merged into streamers) amd a host of other gadgets in our homes we take for granted, will be an inevitable tool in writing. But it cannot replace people unless people want to be forcefed formulaic watered-down, unimaginative stories, which they usually succumb to, succeeding generations so used to it as the only thing that they don't even care.

I use AI to market my work because I don't have a clue, but AI hasn't gotten me a contract so it's clearly not shown itself to be better than me.

I never use it to write scripts even though ChatGPT like a whining boy keeps saying, "Would you like me to write a better version of that for you now?" and they answer always is no.

But--I've shared this before here in astage 32--one day, I overwrote or oversaveda later version with an earlier version cause I write on both my phone and computer I was so scatter by it that I refused to rewrite it. But one morning after the dust had settled on my self-hatred, I asked either it or--I think it was Copilot-- to resurrect it from the dead because I had heard that deleted files still exist in the ether zone somewhere.

Unfortunately, what I got back was a totally new script. AI ain't that good, at least for espionage work.

But I gave the rewrite a chance. Most of it wouldn't work anyway because Amanda and Samantha are not girlfriends. Amanda is Josh’s girlfriend, Samantha’s brother. But she and Samantha have moments because Amanda is supersexual and loves Samantha as a friend (they already "did it" once, at least that's what the loose blouses are meant to suggest when I wrote that.) But I did learn something that enhanced my script: If you go to a show, there's "slightline" where you see the singer from a balcony (I wouldn't suggest it at MSG unless you have a good pair of binoculars and perfect eyesight) and mosh pitthe floor, where you go crazy with all the other moshers. In my hands, the girls want sightline but since Josh’s is the one hacking up the tickets for his sister and his girlfriend, he insists on mosh pit . Fun story, eh? because he's hiding from the police.

Use AI but find where that line is, as we do with children and pets. Use it as the tool to enhance but never replace your work. and keep writing better scripts than the industry can churn out one after the other like an assembly line of fast food. there'll always be a market for art But just look around you at the art out there. Can you afford to live on the money your art will net?

This is a minefield topic right now, so I'll be direct: mentioning AI skills in writers' room contexts is currently more likely to hurt than help you.

The WGA strike partially centered on AI protections, and most working writers view AI tools with deep suspicion or outright hostility. Showrunners hiring for rooms want writers who bring human creativity, unique voice, and collaborative energy. Not efficiency through automation. Much like how Michelin chefs don't use microwaves. Sure it's faster and gives a modicum of heat, but there's no craftsmanship, care, or soul. There's nothing that makes it special or standout.

Where AI might be acceptable:

- Personal pre-writing research or organization (privately, not discussed)

- Production-side tasks (VFX, editing workflows) where you mentioned your course focuses

- Post-production audio/video work. For DIY filmmakers, there are thankfully some AI tools that can clean up audio somewhat

Where it's a red flag:

- Outlining, dialogue, character development, or any creative writing tasks

- Anything that suggests replacing human writers' contributions

- Positioning yourself as "the AI guy" in creative contexts

Honest advice for breaking into rooms:

Focus entirely on demonstrating exceptional spec writing, understanding of story structure, ability to collaborate, and knowledge of how rooms function. Your FTII course might be valuable for production roles, but lead with traditional writing skills when pursuing writers' room positions.

Well said.

What Pat Alexander said is spot on! If you want to be in a writers room, you must demonstrate your ability with a body of work! That will help open doors. Having no scripts will not open the door.

Thank you so much to everyone for sharing your valuable insights and opinions! Your perspectives and advice are incredibly helpful and much appreciated. It's wonderful to learn from all of you!

Welcome back to writing! I'm so glad to see you inspired.

I understand not wanting to go back to work. I get that so much! That's the dream, right?

Glad you joined November Write Club, Nicolas Lavoie. WOW! Writing 80 pages in two days is really IMPRESSIVE! Congratulations!

Just incredible dedication Nicolas Lavoie , I need some of that !

MY screenplay, HANCOCK PARK, is a semifinalist.

Congratulations and good luck to all who made the list!

Congratulations Dale Janda. May the best scribe win !

Congratulations to the semi-finalists! Bravo!!

Stoked to be a semifinalist! Congrats to everyone on the list <3

congrats to everyone that made the list. I made it myself so I'm happy to be riding the wave.

That’s awesome, congratulations to you,

and good luck with your pitch sessions.

Congrats, Juliana.

Meriem Bouziani Thanks Meriem!

Juliana Philippi That's beautiful!

Maria Caeiro Thanks!!!