Screenwriting

An ocean of scripts and limited time for the readers-it is too crowded to try someone new, and now with AI...it is even harder.

With everything I've tried, next year (Limited success) I'm going to start producing proof of concept videos.

@Jon Shallit I understand that producers need to manage risk, and I respect that. At the same time, I do everything I can on my end, offering to sign a release or even have my lawyer submit material to remove that risk. Still, the barrier remains. In reality, much of it comes down to hesitation to read unsolicited material. They may assume the quality isn’t there because it’s not coming through a trusted agent or representative, rather than due to any actual risk.

You're trying to effectively buy/short-cut your way in. I don't mean that in a mean way. You've just mentioned the routes most people use and recommend - despite never getting anywhere.

Competition placements are next to meaningless within the industry. Even the "big" ones. The better comps, like Stage 32, push their winners hard to industry members. Most don't.

Querying is often effectively spamming. There's no reason for someone to give you the benefit of the doubt. They're getting hit by strangers every day. Believe me, now I have a few producing credits, I know all too well.

The answer is networking in a qualitative rather than quantitive sense. One deep connection you have with a producer on your wave-length is worth ten thousand cold-queries and a million social media impressions.

It's hard to get started, and those without any existing connections generally have to start in the trenches with shorts and indie film, but it's something that grows over the years if you're patient. In 2014, I knew next to nobody. In 2024, I was flying to upstate New York and staying at an Oscar nominee's home to workshop one of my specs. We tend to overestimate what we can do in one year and underestimate what we can do in three.

If you’re trying to protect your ideas, it’s going to be difficult; the best thing is to make a pitch deck with the minimum information that explains the story, idea, or project. As Krista Owens said, if the producer doesn’t know it, it could be hard to conceptualize the idea. like

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.

Hey Marziyeh Gholampour , People with great experienced have commented in this, which are incredibly good. But view months ago I also have a vision about writing not quite spiritual movie but a journey of person who lost everything and went on spiritual journey after losing everything what he loved for. And filled with grieve the man choose to ask his all answers to God. As we already knew that this world has so many religions and every single one has their own kind of GOD. isn't it ironic that one single globe and many Gods have been demanding their control over this. But end of day what's important is that we are human, and we shouldn't forget the humanity.

Hi, Sandra Isabel Correia. Congratulations again on finishing your major goal early, I'm rooting for you to reach your Week 4 goal! My goal this week is do another rewrite of my feature script.

Juliana Philippi, huge congratulations on finishing your first Christmas screenplay! That’s such a fantastic milestone. I love that you’re taking time to reflect and prepare for your upcoming pitch meetings; that balance of gratitude and confidence is powerful. Cheering you on as you head into December, you’ve definitely got lift off! Happy NWC week 4.

Maria Caeiro, thank you so much! I really admire your commitment; that’s what keeps the momentum alive even when the month feels challenging. The fact that the more you write, the more you enjoy it, is such a powerful sign that you’re on the right path. Progress isn’t always about hitting every deadline perfectly; it’s about showing up, staying dedicated, and letting the joy of writing carry you forward. Cheering you on your perseverance will pay off!

Thank you, David Taylor . Happy NWC week 4.

John January Noble, that’s fantastic. Congrats on finishing your horror script! Pulling something out of the drawer and bringing it to life shows real commitment. If you feel energized, setting a goal to write another short next week could be a great way to keep the momentum going. But even if you pause to polish this one or follow Maurice Vaughan great advice, you’re already building strong creative progress.

Sandra Isabel Correia Exactly, but I read an article by Adan... I forgot his last name :) here on Stage32. But he gave some great advice: move forward and focus on what you already have ready. Sandra, I read on a page you participate in, but I don't remember which one, that you talk about writing at ARC STUDIO, so I looked it up and ended up writing there. It's very good for writing scripts. Have a great week, Sandra!

I think the newest season suffered for a lot of reasons. Particularly I felt the actor chemistry felt lacking. Which is understandable considering the transition the show made.

I think the biggest problem is the writing. I'm wondering if it was written during the writer's guild strike by a scab or it's AI. It's truly dreadful, like I didn't even want to finish watching it. The replacement of Geralt was fine and the addition of Lawrence Fishburn was a nice surprise. Everyone that signed off on the scripts should be banned from tv production forever...

Hi! I can't say anything about the script. I haven't watched the third season of the series yet. I'll just note that TV series are created for the sake of making money, not for the sake of art.

i just couldn't go past the fact that Henry cavil is not playing the lead. so didn't watch it

I really enjoyed the first season. It felt tight and like it was made for fans of the game. Second season wasn't so tight but still felt on brand. This last season felt like it was made purely out of necessity and by people who knew absolutely nothing about the source material and couldn't be bothered to know what the fans cared about. They made it into poorly written generic melodrama lol. Painful to watch for all the wrong reasons.

It's a glitch, Michael Elliott 2. The Tech Team is working on it.

You should keep the 2, it sounds catchy lol

It's my truth, AdamAdam Spencer. Thank you :))

Sandra Isabel Correia, you are most welcome.

Thank you for crafting and championing stories that heal and inspire.

Adam Spencer I am sorry to hear of the cost but it has obviously earned you what I feel is a much coveted spot - that magical balance between not giving a [%#$&] about what other people think and remaining gracious and with an observational eye on perspective. Good on ya' & much respect. A pleasure to have you here on the platform.

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 Geoffroy!

“Every character is the main character of the story'" statement from Alice Coulthard is powerful. This insightful quote holds significant weight for anyone involved in screenwriting. I wholeheartedly agree with this perspective and make it a central technique in my own scripts. Far too often, in television shows and movies, screenwriters focus their energy solely on developing the main character’s arc. Their intention may be to strengthen and make the protagonist memorable, but this approach often leads to supporting characters who lack believability and depth. Sometimes, this results in the neglect of crucial subplots, such as the B story. From my experience, investing time to develop every character’s arc within a script brings balance to the narrative and results in a richer, more compelling story. When each character is thoughtfully crafted, the script feels more complete, and every role contributes meaningfully to the overall tale.

Alice’s remarks further reinforce the importance of developing minor characters. She pointed out that "many actors are drawn to compelling small roles, especially those with fewer shooting days". This insight serves as a strong incentive to put effort into creating dynamic and memorable characters beyond just the lead. Well-developed minor roles not only enhance the story but also attract talented actors seeking unique opportunities.

It is also encouraging to learn that international opportunities are booming for screenwriters. This means we can broaden our horizons beyond familiar territories and tap into a global network of possibilities. This exciting development motivates us to revitalize our scripts, acquire new skills, and collaborate with experienced individuals to become the best screenwriters we can be. As we approach the end of the year and look forward to the next, this information is both inspiring and uplifting. It reminds us to seize opportunities, continue learning, and strive for excellence in our craft. Thank you, Geoffrey, for sharing these valuable insights.

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