Screenwriting

Have had a somewhat rough start to 2026, with a dose of shingles on the scalp - not wholly rid of it yet but getting there - hoping to get back to my screenplay before the week is out - in the meantime I did finish John August and Craig Mazin's distillation of their podcasts in hardback book form and can highly recommend it - here's a review:

https://medium.com/@achuka/scriptnotes-a-book-about-screenwriting-and-th...

Hey Screenwriters,

If you have ever gotten the note, “I just didn’t connect with the characters,” you already know how much that one line can sting. After months of shaping structure, dialogue, and plot, hearing that the characters didn’t land can feel brutal. That’s exactly why today’s Stage 32 Blog is such an important read.

Our Stage 32 Writer Liaison, Pat Alexander, just published a really thoughtful piece on character development and why unforgettable characters are what actually make a script work. What I love about this blog is that it doesn’t treat character as some mystical talent you either have or you don’t. Pat breaks it down as a learnable craft, with clear ways to build characters who feel specific, layered, and emotionally sticky.

The blog really drives home the idea that no amount of clever plotting can save a script if the audience doesn’t care about the people on the page. It digs into things like internal flaws versus external goals, why characters need to change, how backstory quietly informs behavior, and how exaggeration, voice, and first impressions can make a character instantly memorable. It’s the kind of read that makes you want to look back at your current draft and ask yourself if you truly know your characters as well as you think you do.

If you are working on a script right now, or about to start one, I highly recommend giving this a read and letting it sink in.

Read it here and jump into the comments to continue the conversation with Pat:

https://www.stage32.com/blog/creating-characters-that-executives-cant-fo...

Once you’ve read it, I’m curious, which part of character development do you find the hardest to crack? Or did anything in the blog spark a new way of thinking about a character you’re currently writing?

Hello Stage32 community,

I’d appreciate some professional perspective from fellow screenwriters and producers here.

Recently, a UK publishing house reviewed my manuscript Frame / Small House and offered a contributory publishing agreement after their editorial board evaluation. They provided positive feedback on the originality of the work and its narrative design.

However — my core intention for this project has never been traditional book publishing.

This manuscript is actually part of a larger prestige television series project I’ve been developing, including:

• A complete pilot screenplay

• Follow-up episodes

• A series bible with world rules and season arc

My primary goal is to move forward in the screenwriting / series development path — submitting the pilot to international competitions, labs, and eventually pitching to producers or agents.

Before making any decision on the publishing offer, I wanted to ask:

From an industry perspective — is accepting a contributory publishing contract for the manuscript version likely to help, harm, or have no impact on future screen adaptation opportunities?

I’d truly value insights from anyone who has navigated similar crossroads between publishing and screen development.

Thanks in advance — and looking forward to learning from this community.

Warm regards,

Shahin

Marbella, Spain

I hope the new year is treating everyone well.

I’m reaching out on behalf of a writer I’ve known for more than 35 years who has created an exceptional screenplay. While I’m an Enterprise Partner with Apple and have several industry contacts, I’ve learned firsthand that getting a script into the right hands at the studio and network level can still be a challenge.

I’m hoping someone here might be able to point me in the right direction — specifically to reputable producers, reps, or submission pathways connected with major outlets such as Apple TV+, Amazon Prime, Netflix, HBO/Max, or creative teams associated with Ridley Scott, Taylor Sheridan, or Dick Wolf.

Any guidance, referrals, or insight would be greatly appreciated.

Thank you in advance for your time and support.

Wishing everyone continued success in the year ahead.

So guys i have a question.

when is the best time to put up your logline and synopsis on here

when you done writing the script?

OR

when you just start writing the script?

Pls let me know if this is a movie you'd like to see:

Confessions of a Sony Adman—Based on a True Story

Scott Westover

Genre: Docudrama, Comedy, Biopic--118 minutes

Comps: AIR, STEVE JOBS, BLACKBERRY

Video Storyboard 2.5-min: www.admanrevelations.com

Logline: When ambitious Sony adman Scott Westover signs Stevie Wonder to a campaign meant to launch the compact disc player, a chain of corporate politics, production crises and his newborn daughter's life-threatening illness forces him to choose between a signature career triumph and the family that keeps him grounded.

SCREENPLAY PITCH

Bookending the Narrative: A Birthday Gift

This screenplay uses a framing device to open and close the film with Scott Westover’s family gathering to celebrate his 70th birthday. His children gift him a legacy video to capture the stories of his memorable advertising career. This setup not only invites the audience into Scott’s life but also serves as a powerful vehicle for reflection as he recounts pivotal moments in his journey. It highlights his growth and encapsulates the themes of legacy, family, gratitude and the passage of time.

Setting the Stage: The 1980’s Music Crisis

The early 80s marked a challenging period in America, under the weight of its worst recession since the Great Depression. Music sales were plummeting, Disco was out, traditional vinyl records were losing their luster, and the industry was ripe for change. In a pivotal moment at Sony’s sales convention, Advertising Manager Scott Westover (31/athletic), stands boldly in front of the entire company and predicts that compact discs will outsell vinyl records by 1988. With audacity as his ally, he unveils an ambitious ad campaign featuring superstars Phil Collins, Alabama, George Benson, and Stevie Wonder—all while knowing none are under contract.

Early Flashbacks: Begin Scott’s Character Arc as an Inexperienced Adman

• Daring air-to-air photography over the aqua blue waters of Vero Beach.

• Lessons learned after an interview goes south with a brash Steve Jobs.

• Advice from Scott’s mentor Vince McEwen (32/a Pro) to, “Do something every day that scares you and amazing things can happen”.

• Patti (28/pretty-perky) announces she is pregnant. Scott risks taking a new job.

The Stakes: Professional & Personal Put a Career and Marriage on the Line

• Sony wants CD player sales to replace lost $1B Betamax revenue.

• John Battle (40s/Antagonist & Boss) stands in Scott’s way at every turn.

• Stevie Wonder must be signed to attract the other artists to the campaign.

• Sony needs windfall CD profits to buy CBS Records/Columbia Pictures.

• Newborn daughter Lauren suffers from Respiratory Distress Syndrome

• High levels of oxygen therapy at birth threaten Lauren’s eyesight.

• She undergoes experimental surgery to treat vascular tumors in both eyes.

• Scott counts on a bonus tied to CD sales to pay for Lauren’s operation.

The Game Begins: Signing Stevie Wonder

• Marc Finer (33/tech geek) and Scott visit Wonderland to meet Stevie (35/icon).

• Humorous banter ensues over air hockey to break the ice. Stevie crushes.

• Scott struggles with Abner (55/Stevie’s Manager) to get the contract signed.

• Battle challenges Scott to travel to Tokyo for funding.

• Co-Founder, Norio Ohga says, “You will have your money. Scott, I like your fire”.

• Battle undermines the offer and plans to throw these funds to his bottom line.

Parallel Storyline: Personal Connections

In a parallel storyline, Scott and his wife Patti develop a friendship with Stevie Wonder. During a heartfelt conversation, Patti tells how their daughter suffered from Respiratory Distress Syndrome at birth. Stevie reveals he had the same sickness causing his blindness. As the bond deepens, Scott finds himself torn between his commitment to an important meeting with Sony's Co-Founder and his responsibility to be there for Lauren's surgery. Arriving late, he grapples with feelings of shame and regret, realizing the personal cost of his ambition.

The Highlight: A Celebration of Gratitude

A year later, the film culminates in a magical moment at a Stevie Wonder concert, where he publicly acknowledges Patti by dedicating a heartfelt harmonica solo to their “special connection”. As the poignant strains of “Alfie” fill the arena, tears of gratitude flow as Scott and Patti reflect on the precious gift of their daughter’s eyesight.

The Revolution: Impact of the Campaign

At the concert Battle and Westover, make amends. John is baffled that the Stevie TV commercial was everywhere despite cutting Scott’s budget. After a confrontation, Scott admits taking a second run at Mr. Ohga to fund prime time programming. The campaign wins a prestigious award, generates 50-million impressions and jumpstarts CD sales --making the compact disc player the fastest growing home electronics product in history. Profits soar helping Sony acquire CBS Records/Columbia Pictures and become an entertainment titan.

Conclusion: Hollywood and Heart

The screenplay returns to present day, where Scott reflects on how digital music reshaped the industry, while emphasizing that personal legacies are what truly endure. This film carries a powerful message of gratitude and purposeful living, while inspiring a worldwide audience to make their life’s journey extraordinary.

Hi Y'all! I'm trying to be more active in the community and not just in the Script Services arena. I'm so grateful that this platform has introduced me to so many of the brilliant storytellers the world has been waiting for! I'll be on here for the next 30ish-minutes. Ask me questions and I'll do my best to answer. GO!

Ch6 Pg 11

EXT, CASTLE GARDEN - NIGHT

Garerit, still cloaked in his enchanted invisibility cloak, crouches in the moonlit garden. He gazes up at the towering structure, where a single window remains lit- the Princess's chamber. Garerit clenches a small pouch in his the magic beans he had taken earlier.

Garerit inspects the small, shimmering bean in his palm. It pulses with a faint golden glow, humming softly with hidden energy.

Garerit (Thinking): "If these beans truly hold magic, then this should do the trick.”

Garerit kneels by the tower's edge and presses the bean deep into the soft earth. He quickly covers it and steps back.

A faint tremor ripples through the earth. Tiny cracks form in the soil. Garerit stumbles back, eyes wide.

With a sudden burst, a thick, twisting vine shoots out of the ground, spiraling and twisting upward along the tower wall! Its leaves spread wide, forming natural footholds. The beanstalk stretches higher and higher, wrapping itself around the side of the tower. It stops just below the Princess's window.

Garerit grips the vine and begins his ascent, carefully stepping on the thick leaves. The tower walls are too smooth to climb otherwise—this is his only way up. A cool night breeze sways the beanstalk slightly as he climbs higher.

Ch6 Pg 12

EXT, CASTLE GARDEN - NIGHT

Under the pale moonlight, Garerit climbs a thick vine that has sprouted from the magic bean he planted below. The vine coils around the stone tower, reaching the window outside Princess Elaine's room. Garerit moves with practiced ease, careful not to make noise.

Garerit crouches on the window ledge, his magic cloak draped over his shoulders. The moonlight streams through the window, illuminating the chamber's elegant yet lonely decor.

Princess Elaine, a young woman with sorrowful eyes, sits on a luxurious, ornate bed under the moonlight, gazing at the night sky. Her long, flowing silver hair drapes over her shoulders as she absentmindedly touches her flowing white gown. A small candle flickers on a nearby table, casting a warm glow alongside a gilded mirror. Her expression is distant and pensive. Garerit observes her with awe.

Garerit (Whispering): "Princess Elaine?”

INT, ELAINE"S ROOM - NIGHT

She turns her head toward the window as the sound of rustling leaves reaches her, eyes narrowing. She looks at the dark figure in surprise.

Elaine: "GASP! Who's there?”

 Garerit (VO): "A friend.”

Garerit peeks through the windowsill with a mischievous grin. Elaine stood up quickly, startled by his sudden appearance.

Elaine (Softly): "Who are you? How did you find your way up here?”

Garerit (Grinning): "I'm Garerit, just a simple tailor, but a clever one. I used a little bit of magic."

Garerit steps down from the windowsill with a graceful bow. Elaine, though startled, watches him carefully, unsure of his intentions, but curiosity flickers in her gaze.

Garerit: "I heard a tale of a princess cursed to live as a white deer. Thought I'd see if it was true and meet her myself.”

We've all been there - staring at a killer line we just cannot bring ourselves to backspace away.

My notes app accepts these sacrifices like a hungry god - gratefully and without complaint. But I do have a split second of regret when the cut happens. It's not quite like eating your young. Far less chewy. But there's an echo of what I imagine is a similar remorse.

'I hate that you gotta go, buddy, but GTFO.' then cut, paste.

Disappeared into the notes.

I call these guys my ghost lines.

Do you keep these sacrificial lambs as I do, tucked away in a file or note for potential resurrection someday? The zombie line's return.

What do you do with the lines you can't keep but are too good to just toss out?

Hi Everyone,

Curious to know what are the best film festivals you attended in the past that you would recommend?

Thanks!