Screenwriting

Is it possible to create a fictional story that combines medical drama with sci-fi, historical drama, lots of action, and touches of comedy? Not only is it possible, but it's already been done. It's called “TIME MEDICS.” I've been passionate about science fiction for as long as I can remember. I remember drawing rockets, alien ships, and extraterrestrial beings encountering astronauts. But that didn't last long, because drawing is definitely not my forte… Writing, of course, is different. It's an impulse, a pleasure, a vocation, and (I'd like to believe) a talent that has been given to me. Or at least, it's something that comes very easily to me and that I greatly enjoy doing. So, brainstorming with myself, I thought it wouldn't be crazy to imagine that in the 24th century, a group of doctors, paramedics, and other characters with different roles travel back in time… Why? I wondered. Well, if they are doctors, it could be to cure someone; and from there, I thought about what would have happened if some historical celebrities had died prematurely, then the world… simply wouldn't be as we know it, nor as they know it in the 24th century. Half a notebook scribbled with absurd ideas and half a bottle of whiskey later, over the course of a single, lonely weekend, the idea was refined. Then came the hard work: THE CHARACTERS, the essence of any story. Just because they live in a super-technological future doesn't mean they should be exempt from contradictions, fears, phobias, and assorted flaws. And boy, do they have them!

What's more, even their advanced technology does not make them immune to dangers of all kinds: enemies of progress, violent traffickers of contraband and even people who can also travel (illegally) to the past, diseases they have overcome but are no longer immune to, tempting addictions they are not prepared for, the need not freeze up when faced with the greatest personalities in history. And with a load of feelings, sensations, and prejudices that are so inherent to human nature that no radical, futuristic technology can change them.

Months later, there is a 36-page “bible” and a 32-page pilot script.

When you're ready, I'll tell you more (and if you're a producer, talent agent, or network or platform executive… we need to talk seriously).

I look forward to hearing from you, and thank you.

11/26/25 Final Deadline Ends on Wednesday Midnight! Winner gets set up for development & packaging with Erika Alexander's Color Farm Media (AMERICAN FICTION, GET OUT, LIVING SINGLE, and more!) + 5 mentorship opportunities for all top 10 finalists!

Submit here:https://www.stage32.com/happy-writers/contests/Stage-32-%20-Color-Farm-Media-Diversity-Talent-Accelerator-Screenwriting-Contest

I just finished reading Evan Anglin's advice for those of us who write and have been pitching. There's so much there I could write a thesis on it all. But let's start at the beginning- things I'm doing, things I need to do, and what to improve upon. (Oy, the list grows...)

The reminder that a pitch session is to help you grow. This is HUGE especially when you consider how many of us have been writing for years- maybe in multiple mediums, and pitching may not be our strongest point. That said, It's important to remember here at Stage32, they're amazing at that pitch feedback. Now, I've run the gamut with one of my scripts-- all passes-- BUT-- the feedback was invaluable not just in pitching, but also-- forcing me to relook at my script and seeing where those points can be used to really strengthen my script. Why? If you have a pitch area that's weak- you may need to relook at those sections dealing with that-- be it conflict, action, tension, world-building-- and refocus your pages to make sure EVERY scene showcases those aspects- even if it's just a common moment we all find ourselves in. I've made it a point to do that, but this really hits deeper when you realise just how important it is for yourself and the script.

Believe in your script-- Sometimes I think this is hard because we're told not to be cocky, not to be egotistical and sometimes that line is finer than a strand of hair. So, what do you do if you're one of the low self-esteem people out there. (Me, I'm talking about me.) Your script isn't you. You may have written one of your best pieces ever-- and regardless if you're having a "I'm a sucky writer" moment, when you pitch-- you believe 1000% that your script is sharp, fresh, and has the ability to be made. You believe in the characters and the plot, you believe in the fact that this is the BEST VERSION you've written in the moment of the pitch. Scary thought, huh? But what I've noticed for myself is this-- when I BELIEVE in the heart of my script. I know it's got not just potential, but that it WILL make people feel, think, grow-- then you have to rock that aspect in your mind and in your pitch.

The do's and don'ts in the NWC week 4 article was not just an eye opener, it forced me to look differently at my pitch feedback and see where those Don'ts come into play. When Evan says, "Don't forget to tell me WHY you wrote it," I was like-- well crap. I've done that. I've forgotten to make the script personal. Because every script- even if you're writing to market--- IS personal in some way, shape, or form. What is the personal to you? The reason you wrote it? Yeah, Blue Moon Marriage Mayhem is very personal for me, the LGBTQIA+ community, and because living in the world we do-- we don't get the big films we deserve to see ourselves as we do every single day. It's THAT kind of personal. My thriller/horror script, User Not Found, is personal because I ADORE horror, I love thrillers, and I wanted one that wasn't the same standard we find over and over. I wanted something that hit people where it counts- how relevant they feel in every day life. How these artificial standards for beauty, for work, and more-- makes us all cogs in a machine and instantly replaceable. It's how I felt at some of my jobs.

"Don't apologise."-- Yeah, I am that person. Being neurodivergent, you fall into the habit of apologising for everything, even when it's not something you need to do. Why? We're put so on edge with our behaviour, with how we see things, how we interact-- that it's the first words out of our mouths sometimes. But as writers, we can't apologise for things. I recently pitched BMMM(Blue Moon Marriage Mayhem) and I said straight out, "Hey, I'm currently rewriting the story as I take a Sundance Collab course." That honesty was thanked and more importantly- it's a reason to celebrate. I didn't say anything about it not being done. (It is but the story went from romcom to rom-dramedy and I'd like to keep it as romcom as possible.)

"Start with a hook, not a setup."-- I learned this doing pitches for novels to editors and agents. They so are wanting you to get to the point. The setting can be learned by asking questions and it's usually answered when you give the broad storyline of your script. For User Not Found-- I actually used my tagline to open my pitch. Why? Because it MAKES you want to know more. It drew you into wanting to hear the full pitch itself, the comps, and the helps stick with people at the bottomline-- "To be flawed is to be human, to be flawless is to be erased."

Good Questions are necessary. On both sides, but as a writer- you deserve to know more on how that person works, what they're interested in. The suggested questions are great to have if you've not been asking questions. One of my feedback recently was the conflict didn't seem as strong as it should be. So, one of the things I've done is gone in and looked at the conflict for the main character to be sure that even if I didn't say it in the pitch-- it is solidly there in the script. Where it was weak, I made a point to really get in and strengthen that area up.

One of the questions I love is about tone. For me, tone is an issue because I tend to write cross-genre stories. So, getting that tone just right throughout the script without sagging one way or another is indelibly important for me. It's also why asking those questions can help show you're willing to relook at your script and your pitch to make it tighter, better.

I love talking about my vision regarding my script. I shared earlier about making it personal. This is part of that process. That personal connection can sometimes be a huge reason why they want to look at a story- why? Because it may hit on the story's theme just as much as it is your personal reason for writing. The other aspect? Knowing your market and the joy you had writing the script. By joy, I mean that deep place where you've poured out your soul, even if you're writing to spec in some cases. There's always a piece of us in every script we write. Show that-- let it be a reason to say yes.

When Evan goes over his questions for evaluation-- I found myself realising I ask some of these questions when I prep for pitching. Is it a sellable script or is it one of those unsellable, but showcases how good I am, scripts. The goal is to have the request, have an extended meeting, to show your work. It's hard sometimes when we write to realise we're as deeply involved with the next steps as our script is. Being open to that fine-tunning is imperative, but also those questions make you think on how you can best showcase your talents, your script and the future you can have with that person at your side.

The tips on what to do before a pitch- if you've read my other post- I go into my pitch process. (https://www.stage32.com/lounge/screenwriting/Preparing-for-Pitching-and-...) I use a lot of these techniques in prepping for my pitch. One thing I need to get better on is taking notes. I do a lot of note-taking in my day job, so more notes can be tough-- but plus side, I always have a notepad beside me for notes. It helps but I need to be more consistent with it. Listening more is always a good reminder- one I need to take to heart when I get nervous about open space.

The article was a great reminder for me to really be grateful for my strengths and to look at my weaknesses and see how I can strengthen them so they're not so weak. Asking questions, listening more, taking notes, knowing your story inside and out, and being able to relate your personal connection to the script are big things for me. This blog post is one to keep for me. One I'll refer back to time and again whenever I pitch.