Producing : Ask Me Anything (AMA) Wednesday 2/19 to Thursday 2/20- Developing and Producing Impactful Stories for a Global Audience by Liliana Granados

I hope you're doing great, Liliana Granados! Congratulations on being the first in your family to attend college and all your accomplishments! Thanks for taking the time to answer our questions. What are some things writers should keep in mind when developing scripts for a global market?

Hi Liliana Granados - thank you so much for hosting this AMA and spending your day with us. I have a couples of questions if that’s OK.

What inspired you to focus on storytelling that goes beyond entertainment?

How do you ensure the theme or message doesn’t overshadow character and plot?

Thanks in advance!

Hi Liliana Granados, It's so good to have this opportunity with you. Thanks for doing this AMA for us. I attended your webinar, "How To Get The Attention Of An A-List Star's Production Company," and it has been really helpful for me. I haven't achieved my A-list star yet, but I 'll get there! Congratulations on your new journey and your Why! I am a screenwriter and exec, and I wrote my first screenplay, SOULMATED, which aims to increase visibility for diversity, especially for women.

My question for you is: How can I build relationships that will assist me in finding the "right team"?

I'm not sure if I'm allowed to ask, but I'd love to hear about your dream. What do you aspire to achieve within the filmmaking industry? If you don't want to replay, it's ok. Thank you and I am cheering for you :)

Thanks.

Liliana Granados, thank you for sharing your day with us! What key elements make a story appealing to a global audience, and how can independent filmmakers use those elements to position their projects for international success?

Hi Liliana Granados - thank you for hosting this AMA and sharing your wisdom with the community! I've heard the phrase "local is global" from several people in the industry over the last several months including on a panel I moderated for Stage 32 in London. Can you share any insight on how to tell culturally authentic stories from anywhere localy that can connect with a global audience? Thanks so much!

What are your suggestions on working around such cultural differences as the oppression of females? Or do you think we just don't worry about trying to adapt anything for places/peoples who will most likely not be interested or allowing of them? // I was once working on a story development project with a High School in LA and their sister-city High School in Afghanistan, with connections via the State Department. As the students were co-creating their story they were not able to do a Romeo & Juliet type one since AFG culture was not open to that. The resourceful students from both schools selected a different Theme and made quite a good video. // Thanks for your AMA, Liliana, and good luck with all your projects.

Hi Liliana Granados, what are your thoughts on the current market for international epic historical series?

Thank you, Liliana Granados, for doing this AMA. Over the years, I've had a couple of show runners and producers reach out to read a script of mine? After sending the script, how long should a writer wait to contact the producer about the script? Also, if the producer never responds to emails, should the writer take that as a pass?

Great to have you here at S32, Liliana Granados! I've been excited to notice that more faith-based scripts have been streamed under their actual genre, such as character-driven drama, BIOPIC, true story, thriller, etc., instead of F-B as a genre. What is the best approach to getting producers to read a script for its genre and not its label when you know it fits their overall niche? Who would you approach, and who would you steer clear of while getting your foot in the door when navigating the industry? Thanks again for sharing your time and experience!

Liliana Granados Hi. Thanks for spending time with the Stage32 crew. I'm an award-winning screenwriter with accolades that span across the globe. Does it matter to a producer or CAA if we have international laurels on our scripts?

With gratitude Liliana Granados, I've noticed that most historical or period pieces produced in the last few years as series focus on England, Scotland, France, Japan, Australia, or Austria, while stories set in the Americas—aside from 1883—are rare. Why is that? Is there hesitation due to market concerns, or perhaps a reluctance to explore these histories? Personally, I find the rich and dramatic histories of Spanish, Mexican, and Native American cultures of the Southwest, deeply compelling, filled with conflict, resilience, and romanticism. It seems like an untapped goldmine for storytelling. I’d love to hear your thoughts on why this era and region remain largely unexplored on screen?

Hola Liliana, un gusto saludarte, me podrías decir, si un escritor debería invertir en hacer un presupuesto o mandar a hacer uno, desde su uion, para presentarlo a convocatorias y productoras? Creo que eso es una función de producción, pero he visto en portales como "el inquilino guionista" que insisten que los guionistas deberían tener un presupuesto de su proyecto y sinceramente, me parece ya demasiado, como si el escribir no fuera lo suficientemente demandante y costoso ...qué opinas o sabes? gracias.

Liliana Granados I'm thinking about turning my scripts into novels since they have international appeal. Is it better to have novels with the script or just the scripts?

Hi Maurice, The best global stories feel personal yet resonate universally. Themes like family, love, identity, resilience, and justice connect with audiences worldwide, but the way those themes are explored should feel authentic to the culture and characters in your story. "The more specific, the more universal"—so don’t dilute cultural details; instead, ground them in emotional truth. There's a made up term I love using and it's "glocal" - which is a mix of global and local. It's the idea that specificity is what makes stories universal.

Hi Leonardo!

- to answer your first question:

I believe art is most powerful when it has something to say about society. Entertainment can be an escape, but when it also challenges perspectives, sparks conversation, or amplifies unheard voices, it becomes something deeper—something that lingers.

One of my guiding beliefs is summed up in this quote by James Baldwin:

"Artists are here to disturb the peace."

Storytelling isn’t just about reflecting the world as it is—it’s about imagining what it could be. Films and television have the ability to shape culture, influence policy, and inspire action, and I want to be part of storytelling that does just that.

- As it regards to your second question:

For me, character is always the core of storytelling. No matter how big the theme or message, if the audience isn’t invested in the character’s journey, the story won’t resonate.

I believe that all stories have been told before—"Titanic" is Romeo and Juliet on a boat—but what keeps us engaged is perspective. The way a story is told, through a unique lens and specific characters, is what makes it feel fresh.

That’s why I approach storytelling with this philosophy:

- Character first. Who they are, what they want, and what they must overcome should drive the story.

- Plot and theme should serve the character’s arc. If they don’t, they risk feeling heavy-handed or forced.

- The audience should feel the message, not be told it. If a theme is integrated naturally into character choices and emotional stakes, it will land without overpowering the story.

Hi Sandra!

- to answer your first question: The right team is the one that understands your mission—your "why", your north star. If the people around you don’t align with your vision, their priorities may steer your story in a completely different direction.

For example, if you set out to make a sci-fi adventure, but someone on your team sees it primarily as a love story, their creative influence could reshape the narrative in a way that doesn’t serve your original intent. That’s why it’s critical to define your non-negotiables early on. A story of redemption can be told in any genre, but how you tell it—and why—should be consistent with your vision.

When you’re clear about your purpose, you naturally attract like-minded collaborators who believe in what you’re trying to create. From there, things start to align—the right director, actors, producers—all the people who share your vision will appear. It’s the power of attraction, but it starts with clarity in your mission.

- to answer your second question: I aspire to bring stories of underrepresented communities to the big screen—stories that deserve to be seen, heard, and celebrated. And I want to do that with amazing people who share that passion.

This industry is grueling, and while it’s important to stay goal-oriented, I also try to focus on the joy in the journey. If I ever win an Oscar, I want to be able to look back and say that the process of getting there was just as meaningful as the achievement itself. Because at the end of the day, storytelling is about connection—to the work, to the audience, and to the people you create with.

Hi Sam! The most authentic stories are often the most universal. When you tell a story that is deeply rooted in a specific culture, community, or experience, you tap into something that resonates beyond borders—because human emotions, struggles, and desires are universal.

Take films like Parasite and Minari. Parasite is a deeply Korean story about class struggle and social disparity, but its themes of economic inequality and ambition resonated worldwide. Minari is an intimate look at a Korean-American immigrant family’s experience in rural Arkansas, yet its themes of family, resilience, and the pursuit of dreams were deeply felt by audiences across cultures.

The key to telling culturally specific yet globally impactful stories is:

- Root it in truth – Authenticity comes from lived experiences, real emotions, and specific details that bring a world to life.

- Make it personal – The more personal a story is, the more relatable it becomes. People connect with honesty.

- Find the universal themes – Love, loss, ambition, identity—these themes transcend culture, and if they drive your story, it can resonate anywhere.

- Respect the cultural nuances – Don’t dilute the culture to make it "more universal." The specificity is what makes it compelling.

HI Ashley! A story appeals to a global audience when it balances specificity and universality—meaning it is rooted in an authentic, culturally specific world while exploring universal emotions and themes like love, ambition, loss, or resilience. Successful global films like Crouching Tiger, Hidden Dragon, Roma, and Everything Everywhere All at Once thrived because they were unapologetically tied to their unique cultural identities, yet their themes spoke to audiences worldwide.

For independent filmmakers, there are several strategic ways to position their projects for international success:

Understand global market trends – Certain genres perform better in specific territories. For example, action, horror, and animation tend to travel well because they rely less on dialogue, while dramas and comedies can be more region-specific. Researching which genres work in which regions can help filmmakers tailor their pitch and marketing strategy.

Leverage film markets and presales – Attending international film markets like Cannes, Berlinale, AFM, and TIFF can help independent filmmakers secure presales, where distributors from different territories buy rights to a film before it’s completed. Having elements that make a project more commercially appealing—such as an established actor, director, or producer with global recognition—can increase its marketability.

Explore international co-productions – Partnering with production companies in different countries allows filmmakers to access funding from multiple sources while also benefiting from tax incentives, grants, and subsidies offered by various regions. Many countries have programs designed to support international collaborations, making co-productions an effective way to secure financing and expand a film’s global reach.

Hi Pamela! Good question - Cultural differences shouldn’t stop important stories from being told—instead, they challenge us to find entry points that resonate within that culture. Rather than forcing a narrative that may not be accepted, it’s about finding that culture’s equivalent of the situation—a way to explore the same issue through a lens that feels authentic to them. For example, if romance is restricted, the same themes of love and sacrifice might be told through family bonds or deep friendships. Using metaphor, allegory, or shifting perspectives (like Persepolis or The Breadwinner) can also make sensitive topics more accessible. Collaborating with local voices ensures the story remains respectful while still carrying its message. The goal isn’t to avoid difficult themes but to adapt them in ways that connect rather than alienate.

Hi Pierre! I think the market for international epic historical series is strong, with audiences craving rich, immersive storytelling that brings history to life (The Crown, Narcos, Shōgun). Streamers and global networks are investing in these projects, especially when they offer fresh cultural perspectives or untold stories. Success comes from balancing authenticity with universal themes, ensuring the series resonates beyond its country of origin.

Hi Francisco, it's good to hear from you again! As a writer, it's important to be elegantly persistent when following up with producers. After sending a script, it’s typically reasonable to wait 2-3 weeks before reaching out with a polite follow-up. If the producer hasn't responded, don’t take it personally—they may be busy, or your script might not be at the top of their pile. Rather than continuously asking for feedback, find ways to stay on their radar creatively, like sending an update on your new accomplishments or a simple "Happy New Year" note. It’s important to keep moving forward and share your work with other people, don’t wait around solely for one producer to respond. If they haven't explicitly passed, they may not have read it yet, so keep pushing forward!

HI Melanie! The key to getting producers to read a script for its genre rather than its label is all in the framing. If your script is a drama, biopic, or thriller, highlight those aspects and pitch it as such—emphasize the character-driven aspects, the true story, or the suspenseful narrative without focusing on the faith-based element upfront. This allows the story to stand on its own, appealing to producers looking for compelling content in those genres. As for who to approach, consider platforms like Netflix, who recently reorganized and now has a dedicated division for faith-based content, showing there's a growing market for it. But generally, it’s important to target producers and companies with a known interest in socially impactful, character-driven stories. When navigating the industry, focus on producers who value diverse storytelling and compelling narratives rather than sticking to a specific label—steering clear of those solely focused on traditional blockbuster content or those not aligned with socially conscious themes.

Hi Anthony! Yes, international laurels can matter to producers or agencies like CAA, but it depends on which festivals those laurels come from. Prestigious festivals with a strong reputation, such as Cannes, Sundance, or TIFF, hold more weight and signal a certain level of quality and recognition. Producers and agencies value these accolades as they can help with publicity and demonstrate that your script has been vetted by key industry figures. However, while international recognition is valuable, it’s important to also show that your script is marketable and aligned with their current needs.

As it regards to your second question: I think turning your scripts into novels could be a great idea, especially if they have international appeal. Novels can serve as intellectual property (IP), but only if they have audience appeal and resonate with readers. If you feel the story has potential beyond the screen, a well-crafted novel can expand its reach and build a dedicated fanbase.

Hi Ken! This is an interesting observation. This may be due to market concerns or a lack of familiarity with the rich, complex histories of these regions. There's a hesitation to explore these stories because they often require a deeper understanding and cultural sensitivity, which can be more challenging for mainstream audiences. However, the stories of the Southwest's history are full of conflict, resilience, and deep emotional resonance, making them ripe for exploration. While shows like The Son and films like The Revenant have touched on elements of American frontier history, there is still so much untapped potential in the cultures of the Southwest. With the growing demand for diverse, impactful stories, I’m hopeful we will soon see more narratives from this region come to the forefront.

Hola Rafa! Creo que tienes razón, la labor principal de un guionista es escribir, no desarrollar un presupuesto. Un guionista no debería tener que encargarse de esa parte, ya que es más bien una función de producción. Como mencionas, los presupuestos varían mucho dependiendo del tipo de película que se quiere hacer; si incluyes un actor de renombre, el presupuesto puede aumentar considerablemente. Mi consejo sería que los guionistas se concentren en su arte y confíen en los productores para manejar los aspectos logísticos, incluyendo el presupuesto. Es clave encontrar buenos productores que entiendan tu visión y se encarguen de los detalles prácticos.

Hi Liliana Granados, I appreciate your replies to me. Thank you for your kindness. You clarify me, and to resume the first question, I know I will find my producer soulmate; I only need to keep looking and be myself! Thank you for sharing with us your dream and what you want to achieve: making a difference in our world and making it beautiful. Bringing joy to every day and everyone during the creative process isn't easy, but it's something that you can make to happen. Your dreams will come true, because you work with love and passion and that is the perfect drive. Let me tell you this: you are one of my favorite Stage 32 producers, so this AMA has been an honor. Thank you so much. Gracias/Obrigada

Glocal. I like that, Liliana Granados! Thanks for the answer! It's helpful!

I love your responses Liliana Granados. Muchisimas gracias por ellas y por los consejos. And yes, character first!

Thank you, Liliana, for sharing your insight and perspective. I truly appreciate your thoughtful response and the encouragement it brings. The rich, untapped history of the Southwest is something I am deeply passionate about, and I’m committed to bringing these stories to life with authenticity and heart. Your words reinforce my determination to make it happen!

Thank you, Liliana Granados - I so appreciate your detailed response. You rock!