By the Numbers: 250 Different Writers Selected over the Last 50 Stage 32 Open Writing Assignments (OWAs)

If you're waiting to be discovered as a screenwriter, I have bad news: random wish upon a star magic discovery is a myth. Sort of.

The writers getting reps and landing deals aren't magically stumbled upon by benevolent executives sorting through unsolicited email submissions. They're being deliberate and calculated in how they're positioning themselves in front of decision-makers with actual, immediate needs.

That's exactly what Stage 32's Open Writing Assignments (OWAs) do. They put your material right in front of the execs who are looking for specific material based on their active mandates.

Don't believe us? Just ask the 250 different writers who've been selected across the last 50 OWAs.

What OWAs Actually Are

Open Writing Assignments are open submissions from production companies, studios, managers, agents, and producers actively seeking writers.

They're not vague calls based on loose interest. They are real script needs. Based on mandates the execs are receiving in real time from the studios. 

Netflix tells a Producer, "I want to see Rom Coms in the $10M range," or Paramount tells an SVP, "We need $20M Horror movies." So they come to Stage 32 for their scouting needs, knowing we can collect high volumes of material with rapid turn-around times to find them writers writing the exact types of projects they need.

When an OWA posts, there's an exec telling us: "We need an [Insert Genre] script, with THESE parameters, and we're actively looking right now."

Further, if you watch along throughout the year, you can see what types and genres of material execs are scouting for, and what the current market looks like right now. What genres are execs looking to find? What niches are out there? What is currently in demand? These are huge questions every writer has - that can be answered by simply following along to what mandates are being posted.

So far this year, we've had 45 different execs scout for materials via our OWAs. There's been 9 weeks in 2026. So that's 5 new execs per week coming to us to find their next project. That's also 45 different market insights on what buyers are searching to find. It's invaluable intel for you to collect and be aware of as a writer.

OWAs are a direct pathway to get your project in front of execs, as long as you're using them correctly. 

Why Most Writers Don't Get Selected for OWAs 

Mistake #1: Submitting to Everything

We see this constantly: Writers carpet-bomb every OWA regardless of fit, assuming volume increases odds.

It doesn't. 

When a Producer posts specific requirements, such as: "contained thriller, single location, 3-5 characters, budget under $2M," and you submit your epic sci-fi space opera because "it's also a thriller," you're wasting your time and training companies to ignore your name. 

It's like, if you want pasta for dinner, you wouldn't go to a taco stand to ask them to make you a bolognese. You'd be lucky if they didn't hit you over the head with a frying pan.

The fix: Only submit when you have a genuine match. Read requirements carefully. If 80%+ of what they're asking for doesn't describe your project, don't submit.

Mistake #2: Treating OWAs Like Lottery Tickets

You submit your logline, cross your fingers, and wait for magic to happen.

OWAs aren't lottery tickets. They're job applications.

Companies are evaluating: Does this writer understand what we're asking for? Can they execute at a professional level? Do they seem like someone we'd want to work with?

The fix: Treat every OWA submission like a targeted job application. Demonstrate professionalism. Clean formatting, clear communication, no typos. 

Mistake #3: Submitting Before You're Ready

The most painful pattern I see: Writers submit half-baked concepts or first-draft scripts because "it's free to try."

Here's what actually happens:

When you submit unpolished material, you're not putting your best foot forward. And if your script is selected, but the writing is not all the way there, you could be in trouble. That might have been perfect company for your project. But instead of reading high level polished work, they're reading a messy, undercooked early draft. Which probably won't work in your favor.

The fix: OWAs work best for professionally ready material. 

Ask yourself:

• Has this script been through multiple revisions?
• Have I gotten professional feedback confirming it's working?
• Would I feel confident if this company requested the full script tomorrow?

If the answer to any of these is "no," keep developing before submitting. 

How to Actually Succeed with OWAs

Strategy #1: Play to Your Strengths

Don't submit to OWAs requesting genres you've never written or concepts outside your wheelhouse just because they're available.

Focus on assignments where:

• The genre matches your strongest material
• The concept aligns with stories you naturally tell
• Your background gives you authentic insight (i.e. medical dramas if you're a nurse, sports dramas if you played sports, etc.)

One perfectly matched submission beats ten "close enough" attempts. 

Strategy #2: Read Between the Lines

OWA descriptions often tell you exactly what companies value, if you know how to decode them.

Examples:

"Seeking elevated horror with strong female lead" = They want prestige genre (think Hereditary, not Friday the 13th), and they're trying to balance commercial appeal with awards consideration. And they want the concept's hook to feel unique, not just another vague slasher. 

"Contained thriller, minimal locations, character-driven" = Low budget, actor showcase piece. Think Locke or Buried. Your $100M ensemble action spectacle won't fit. They want a movie they can plug-n-play the star actor they have a close working relationship with into a cool, new role.

"Family-friendly adventure with heart" = They're chasing the Paddington / Wonka sweet spot. Gentle stakes, emotional core, four-quadrant appeal. They want a movie parents can take their kids to in a theater to kill time one weekend afternoon, so they can turn off their brains and have a moment to themselves with the kids locked into what's on screen.

Match the underlying need, not just the surface description.

Strategy #3: Understand Timing

OWAs aren't open indefinitely. Most are open for only 2-3 weeks. The time goes by quick, but if you're staying aware of the opportunities around you, you can capitalize.

This means:

Check OWAs weekly so you don't miss opportunities that match your material

Have your best scripts submission-ready so you can move fast when the right OWA appears. If your script isn't ready, see Mistake #3 above and wait to submit to the next opportunity in that genre.

Some genres are pretty evergreen and always in demand - Action, Horror, Comedy, RomCom. While others have more limited demand, like Period Pieces, Fantasy, Unscripted. Keep abreast of the trends in the trades. What's selling? What's not? What's cold? What's hot? Don't chase those trends, but understand that everything is cyclical. If what you're writing isn't hot right now, there's a good chance it will be again whenever some new random internet trend makes it so. If you've been around long enough, you see it happen constantly. 

Strategy #4: Leverage OWAs for Relationship Building

Even strong OWA selection can lead to:

• Script requests for other material ("We'd love to see other samples")
• Future consideration ("We're keeping an eye on your name for the future")
• General meetings ("We liked your voice, let's meet to talk about what else you're working on")

This only happens if your submission demonstrates professional-level craft and alignment with what the execs are looking for.

What Happens When You Get Selected

If a company selects your submission, here's the typical process:

1. Script request – They'll ask to read your full screenplay
2. Evaluation period – Expect 2-6 weeks for them to read, evaluate, and discuss internally
3. Meeting or pass – They'll either request a meeting to discuss the project or pass
4. Off to the races – If they want to continue the conversation, we'll gladly coordinate. Or they may reach out to you directly, assuming your contact info is on the title page. Once you reach that point, it's up to you to deliver the goods when you meet

Important: Getting selected for an OWA doesn't guarantee a deal. It guarantees serious consideration from a company with active development needs. This industry is built on relationships and OWAs are a terrific bridge to build those relationships and make execs aware of you, your writing style, and what you have to offer. 

Common OWA Questions (Answered Honestly)

Q: How many OWAs should I submit to per month?

A: Quality over quantity. Submit to those that are genuine matches. Better to submit strategically than spray-and-pray. 

Q: Do I need an agent or manager to submit?

A: No. OWAs are open to unrepresented writers. That's the entire point. They create access you can't get through traditional querying. 

Q: What if I get selected but don't have reps to negotiate?

A: There's usually a few steps between selection and the deal stage, that include vibe checks and more in-depth meetings, but if you reach deal-stage discussions, hire an entertainment attorney (not your cousin who does real estate law). Many work on contingency or flat fees. Never negotiate contracts yourself. At a deal-stage, you might also have leverage to get a rep's attention with a direct email to them explaining the situation and that you have producer interest. 

Q: Can I submit the same script to multiple OWAs?

A: Absolutely, as long as each OWA is a legitimate match for that material. Just try to avoid duplicate submissions to the same company. Nothing says "unprofessional" like spamming a submission with multiple copies of the same script. If it didn't leap out at them the first time, the chances are the second and third times won't make a difference.

Q: What happens if multiple companies want my script?

A: Congratulations! You are making waves and that means you're doing a lot of things right, especially with your logline. It's okay to pursue all opportunities at once and see how far they can go. You never know what will happen. So don't feel the need to be cautious, until you have a term sheet in front of you or a firm attachment to your work.

Real Success Stories

Writers have used Stage 32 OWAs to:

• Secure paid writing assignments adapting IP for production companies
• Land representation after companies requested meetings based on OWA submissions
• Get options and development deals on original material submitted through OWAs
• Build ongoing relationships with producers who became repeat collaborators

Recent wins from our OWA program:

1. A writer's script sent to Angela Bassett for consideration to act in and produce
2. An A-list director/producer attached to a script found through an OWA. Now shopping it to studios
3. Atlas Management, Zero Gravity, and Marathon Management all signed writers we submitted for consideration

Every month:

• 40-50 scripts get requested by executives
• 5-10 meeting requests that lead to representation, attachments, and studio pitches

None of this happens by accident. It happens when writers:

1. Submit to genuine matches
2. Present professionally ready material
3. Understand what companies actually need
4. Follow up appropriately when interest is expressed

Your Action Plan

This week:

1. Audit your completed scripts. Separate them into two batches. Which ones are truly submission-ready? Which ones still need polish? 
2. Review current OWAs. Bookmark those that genuinely match your best material.
3. Read requirements carefully. Make sure you're submitting what they're actually asking for.
4. Workshop your logline. Have your logline polished and ready before the perfect OWA appears. Use the Screenwriting Lounge to aggregate feedback all in one place. There are many talented writers within the community who are happy to provide insights on what's working vs. what's not.

This month:

• Submit to OWAs that are legitimate matches
• Get professional feedback on your strongest scripts if you haven't already
• Track your submissions so you know what's out and with whom

This year:

• Treat OWAs as ongoing job applications, not lottery tickets
• Keep writing new material so you always have fresh projects to submit
• Keep Geoff & myself aware of what you're working on. We're always around to help and provide guidance for you. 

The Bottom Line

Open Writing Assignments aren't magic. They're structured access to companies with immediate needs.

Most writers fail at OWAs because they:

• Submit everything to everyone
• Send unpolished material
• Don't understand what companies actually want
• Treat them like a spin of the roulette wheel instead of serious submissions

The writers who succeed:

• Submit only to genuine matches
• Present professionally ready material
• Understand company needs and align accordingly

OWAs are one of the most direct pathways from "aspiring screenwriter" to "working" or "repped" screenwriter.

Stop waiting to be discovered. Start applying strategically to companies that need exactly what you're writing.

To get a free month of the Writers Room (for new members), just go to: https://www.stage32.com/writers-room/free

Questions about OWAs or need help identifying which assignments match your material? Email me: success@stage32.com

Pat A., Writer Liaison @ Stage 32

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