Screenwriting : What Would You Ask a Studio-Level Producer About Your Script? by Ashley Renee Smith

Great idea, Ashley Renee Smith! I'd ask a studio-level producer what's the biggest mistakes they see writers make so I could avoid them and let other writers know.

Would I need development money, actors attached and distribution in place? Why is there such an emphasis on writers to have everything packaged in order for a producer to take interest?

Thank you for this, Ashley Renee Smith!

If I could ask a studio-level producer one question, it would be this: In a market full of high-concept ideas and genre expectations, how much do producers truly value the emotional core of a script?

For me, writing isn’t only about structure or plot, it’s about making people feel, love, grief, tenderness, healing.

I try to write films that carry both intimacy and scope, where the audience can recognize themselves in small human moments, even inside larger, sometimes surreal worlds.

So I’d love to know: what convinces a producer that a script’s emotional truth is strong enough to stand out and be worth championing?

Thanks, Ashley Renee Smith. As someone who’s still new to screenwriting, I’d love to know — when a producer first reads a script from an unknown writer, what’s the very first thing they’re hoping to see on the page that makes them keep reading

Ashley Renee, I'd like to take a crack at it...here's my question for this or that producer:

"How did 'Oppenheimer' and 'Sinners' get greenlighted in an age where America's producers usually shun period pieces?"

Great question, Maurice Vaughan!

Phil Savage, that's a great question! The more you bring to the table, the more you de-risk the project from the producer’s perspective. Many studio-level producers are juggling dozens of projects at once, so if you’ve already done some of the heavy lifting, like attaching talent, securing soft commitments, or showing market viability, it signals that you’re not just a writer, but a creative partner who understands the business. This can make you more exciting to producers who want to work with a writer who is well-informed and will be a true collaborator. That said, a well-crafted script with a clear vision can still be the spark that gets the right producer excited.

That’s such a powerful and thoughtful question, Koby Nguyen, thank you for sharing it.

I think you’ve touched on something that many great producers are actually desperately seeking: emotional authenticity. High-concept hooks might open the door, but it’s the emotional truth that lingers, and that’s what makes a project feel worth fighting for, especially in a market oversaturated with spectacle.

When a script makes them feel something, when a character’s journey rings so true it echoes in their own experience, that’s often what convinces a producer it’s worth championing. I’d definitely bring this exact question to a script consultation or pitch call, because hearing how a specific producer approaches that balance between marketability and emotional depth could give you huge insight into how your unique storytelling voice fits into today’s landscape.

Keep writing those scripts with heart. The industry needs them.

Absolutely! That’s such a great question, Abdullahi Ismail, and one that so many writers wonder about.

From what I’ve learned in conversations with execs, one of the first things a producer looks for is confidence in the voice. That doesn’t mean flashy writing; it means clarity, control, and a clear sense of purpose. They want to feel that they’re in good hands from page one.

That might show up as a strong opening image, a compelling first line of dialogue, or a scene that immediately draws them into the world. But above all, they’re hoping to feel hooked, emotionally or conceptually, enough to trust that the next 90+ pages are worth their time.

If you’re hoping to get clear feedback on how your first few pages are landing, I’d recommend trying a First 10 Pages Review with an Executive (https://www.stage32.com/scriptservices/coverage/buy?id=20). It’s a great way to get focused, actionable notes from someone who reads hundreds of scripts a year and can help you understand what stands out, and what might need work

Afraid Jay hit the nail on the head with that one, Jim Boston. Both Christopher Nolan and Ryan Coogler have proven to studios that their films can be critical and commercial successes. Their proven track records mean that concerns like the high budget involved with period pieces don't have the same impact on a greenlight. Their names alone will draw a-list talent and sell tickets.

Nothing. Do you see the majority of films and television that are greenlit today? Automatically it tells you someone isn’t allocating their production solely on the merit of quality. So there’s no need in asking too many questions I feel is bound in dignity other than ‘Are they interested in a script’ ? If so hear it is, then leave. I really feel as a writer your mission is to make the best work you can, put it out as best as you can, amongst those like you, and if your really as good as you say. Your work will find its place as it’s suppose. Nothing more.

Great discussion, Ashley Renee Smith!

I have many questions, but I’d like to focus on something related to the author rather than the script: are there any red flags in the writer’s behavior while pitching? Too shy, too cocky, too uncertain as even he/she doesn't really believe in the project...?

I'm afraid that sometimes writers focus only on the script, forgetting that they're speaking to another person, and they're not only pitching the story, but also "selling" themselves.

Hi! I would ask the producer what kind of story he wants to tell people. What topics excite him, what mistakes and dangers does he want to warn the audience about? And also, which heroes does he want to glorify?

Marketing...marketing. Sell yourself. What's your brand? You know what the producers said about Fred Astaire at his start? "Balding. Can dance a little."

Pass.

I had one producer who wanted the whole movie to be people texting each other.

The audience was supposed to read the texts and watch the expressions on the faces. People watch movies so they DON'T have to read. It's VISUAL.

But he had money, so any idea he had was automatically great...

Love this question Ashley Renee Smith - I would first ask them what they are looking for in a writing partner. What works best for them as far as notes, communication, work ethic, priorities, expectations, etc. I have a story to tell but I'd also like to know if that producer has one - what makes them want to produce? After that, then go into asking what they're looking for and what means the most to them.

Chiara Torrisi, this is such a fantastic question, and you’re absolutely right. Writers often focus so much on getting the script “perfect” that they forget producers are also evaluating who they’ll be working with. Confidence, clarity, and self-awareness can make a huge difference in a pitch.

Jermar Jerome Smith, I hear where you’re coming from, and I think a lot of writers have felt that same frustration watching what gets greenlit and wondering where quality fits into the equation. You’re absolutely right that our first job is to write the strongest, most authentic work we can and get it out into the world.

That said, I do think having insight into the business side of the industry can still be incredibly valuable. Being a successful screenwriter today often means being as strong of a collaborative partner as you are a writer. Producers and execs aren’t just investing in a script—they’re investing in the relationship that comes with it.

Learning how to read the notes behind the notes, when to revise, when to stand your ground, how to pitch with clarity, or how to frame your story in a way that connects with what buyers are looking for. Those are all skills that elevate your ability to stay in the room. And conversations with experienced producers can offer a real window into that part of the process.

Ultimately, yes, talent and persistence matter. But so does strategy, adaptability, and industry fluency.

That’s a fantastic approach, Arthur Charpentier, thank you for sharing this! So often, we focus on what we want to say as writers that we forget to ask what kind of stories producers are passionate about telling. Understanding their personal motivations, values, and even the kinds of heroes they’re drawn to can really shape a meaningful collaboration. It turns the conversation into something more human and connected, rather than transactional.

Jon Shallit That’s such a powerful reminder of how subjective and sometimes frustrating the development process can be. You’re absolutely right: not every note makes sense from a storytelling or audience experience standpoint, but it’s often the person holding the checkbook who calls the shots. That's why it's so important to not just find any producer or partner, but to find the right one.

Your Fred Astaire example is spot on. There are so many stories in this industry of brilliant artists being dismissed early on, until the right person saw the value others missed. It’s why knowing your own voice, vision, and limits is so important. Collaboration doesn’t mean compromise at all costs. The more we understand how to navigate these conversations, when to bend, when to push back, the more likely we are to protect the soul of our stories while still getting them made.

What level is acceptable with submitting. I sat in the zoom yesterday with Regina Lee and knowing that changes can be made after the first meeting, how much do I obsess over getting that 'double recommend' I've always wanted. So far I've managed to get a couple of 'double considers' so is that good enough knowing now that a producer could make changes any way? I guess - long story short - when do you know your work is good enough? Regina has already told me her advice on this one but I'm curious what everyone else has to say. Great post Ashley Renee Smith

That’s such a grounded and collaborative approach, Leonardo Ramirez 2! I love that you’re thinking beyond just selling a script and focusing on building a working relationship. Asking what they’re looking for in a writing partner opens the door for real creative alignment, which is so often the key to long-term success.

That’s such a thoughtful question, Lauren Hackney, and a really relatable one. First off, congrats on those double considers! That’s a strong signal that your voice and concept are resonating, which is a major win.

It’s true that changes will almost always be made once a producer or executive gets involved, often many changes, across multiple phases. So you’re right to ask: How good is good enough to start putting it out there?

Right now, you’re in the “grab a producer’s attention” phase. That means your goal is to make the strongest possible impression with a script that showcases your voice, your story sense, and your ability to execute. You don’t have to be “done”, you just need to be compelling enough for someone to want to collaborate with you. That often takes a few rounds of feedback and revision before you hit that tipping point where 8 out of 10 producers are asking for more.

I also recommend checking out this blog I wrote on the development process. It might give you some helpful context on what Regina was likely referring to and how to think about next steps:

https://www.stage32.com/blog/understanding-the-development-process-what-...

Where would I be without you Ashley Renee Smith - you are loaded with information and I am so grateful you are willing to share. I'm going to check out that blog post - thank you for pointing me in the right direction. How long did it take you to 'find your feet' with getting to your next steps?

Ashley Renee and Jay, I fully understand where you're coming from about how "Sinners" and "Oppenheimer" were greenlighted!

Fun discussion. Could somebody please make a list with the answers studio execs and similar persons give to those questions which screenwriters ask them most often?

What would I like to myself ask a powerful person in the fiim industry? I don't know any longer. I once had the opportunity to talk with the woman who at that time was head of Sweden's public service television. Total budget a few hundred million dollars per year, out of which a few million dollars per year are used for film production. I said the wrong thing. So my advice to everyone. Don't try the elevator pitch if you meet such people. Repeat, avoid the elevator pitch if you meet such persons.

"I think you’ve touched on something that many great producers are actually desperately seeking emotional authenticity. High-concept hooks might open the door, but it’s the emotional truth that lingers, and that’s what makes a project feel worth fighting for, especially in a market oversaturated with spectacle.

" Wow! Ashley Renee Smith this whole paragraph is profound! This is the very thought and premise of all of my work. To tell my stories with emotional authenticity and for others to connect and desire to take the journey along with this dimensional and complex characters. Our greatest asset and wealth as storytellers is our content. Telling stories from our prospective and experiences.

Thanks once again Ashley your invaluable sentiment is as always, a jolt of much needed energy and strength.

I'd just want to know if I'm wasting my time with a certain story

I would ask if they have any experience with English Historical drama.