Screenwriting

where can the contest page be located?

Here's the link, Abram Christian: www.stage32.com/happy-writers/contests/Stage-32-%20-Pathfinder-Film-and-...

Thank you

You're welcome, Abram Christian.

You're welcome, William Holmgren~

Pitching is a completely different type of story telling than film/tv writing. There are experts at pitching who couldn’t write long form if you held a gun to their head (nice premise for a film- you’re welcome).

I recently crossed into the dark side and uploaded a feature script to AI then asked it to write a 2-page pitch. The result arrived in less than 30 seconds and earned mostly 5s and a script request on this very platform. Why would anyone argue against that result? Was I taking money out of a human’s pocket? Maybe, if a human would accept $15 per month to craft as many pitches as I requested. When I have the means to hire a promotion team, you bet I will. Till then…

William Holmgren If what they are saying is contradictory then they simply don't want your script and don't want to tell you why. Most executives will never tell you why; in this business no one wants to come across as mean. But they don't want your script. At the end of the day, YOU have to figure out why. They will not tell you.

Michael David Let me clarify.

They don't contradict themselves in their feedback.

I can handle a "pass" or "no thanks" response; that's not a problem.

From my experience, execs have no problem being honest, good, or bad. It is not personal, it's just business.

What I am trying to convey is that the feedback from one exec to another is contradictory.

One wanted more plot, which I then added, only to have another exec say they wanted less plot.

From the feedback of others, it sounds like this is just how the game plays out.

I see. I don't know, then.

Good morning Nia Jones and yes I do feel the same way I print out my scripts so it’s easier to read I have support from my coworkers but at home I feel lonely because the person I want to read my script it’s not remotely interested in my work. !

Hi Nia Jones I also write alone, but it has become a habit for me. However, I would be happy to discuss films and work with like-minded people in my free time. Unfortunately, cinema isn’t very developed in my city, so I consider myself a “virtual citizen of the world.”

I find the best writer partner or "writing friend" are well written screenplays and excellent movies/shows. They teach you what you need to know and help you along the way.

The writing journey can be incredibly solitary, and that craving for a creative partner or sounding board is completely natural. This community is a great first step for finding those connections.

I definitely feel that. Most of my stuff I'll naturally work on by myself, but I know for one of my bigger projects, Karma Dealers, I definitely can benefit from at least one other co-writer (maybe two).

Hey all! Happy Wednesday, just wanted to update the group only 4 spots remain :) Spencer is excited to get going with your pitches, you can start connecting with him today when you sign up! Email edu@stage32.com with any questions!

Yeah, I think that's fine, Gregory Barone.

had to move some things around.

(Ch5 Pg6 Panel 2 - Medium Panel)

Garerit, with a raised eyebrow, responded to Garna's request with a wry smile. He seems to be giving a moment of pause as if considering the giant's offer. There is a slight sense of amusement in his expression, suggesting that he might have an idea, but it also reflects tactical thinking rather than outright refusal. Garna's large hands continue to rest on the tree; the sheer size of it dwarfs the tiny tailor in comparison.

SB (Garerit - Speaking, Dialogue Bubble): "Hmm... You want me to help you carry this tree?"

SB (Garna - Speaking, Dialogue Bubble): "Why yes, it is far too big for me alone!"

(Ch5 Pg6 Panel 3 - Close-Up Panel)

Garna is confused as he tries to process Garerit's words. His furrowed brow and wide eyes show that he's not sure what the tailor means, and he's eager for clarification. The tree trunk is still between them, emphasizing the disparity in size and strength. The simpler, more direct nature of Garna's character contrasts with Garerit's cleverness and more subtle approach. This moment is a key point of misunderstanding, where the giant believes the tailor must have misunderstood the task.

SB (Garerit - Speaking, Dialogue Bubble): "I'm just a man."

SB (Garna - Speaking, Dialogue Bubble): "True... but you showed that your more than that."

That's better in my opinion, Gregory Barone.

2 pager.

https://www.stage32.com/lounge/screenwriting/the-Giant-Killer-Script-Ch-...

Hello! My name is Shahara Marie Ruth. The stories that I write are always based on my personal experiences and observations. I am a retired English Language Arts and Social Studies educator. I pride myself on creating realistic, relatable characters with complex backgrounds.

The script that I submitted is entitled Redemption Song.

Logline

In the racially divided town of Raidersville, Georgia, a shocking trial uncovers hidden truths about love, identity, and the tangled legacies of hate, forcing the community to confront its deepest prejudices. Amidst the chaos, a young interracial couple fights to protect their forbidden love and unborn child from a world determined to tear them apart.

I am excited to submit Redemption Song (A Town Explodes), a gripping and socially resonant drama that explores themes of love, identity, and the painful truths of a racially divided community. Based on true events and inspired by my family’s hidden history, this film weaves courtroom intensity with personal transformation to create a thought-provoking and emotionally charged narrative that exposes the hypocrisy of racism and the courage it takes to confront it.

Set in Raidersville, Georgia—a town where racial tensions are deeply rooted—Redemption Song follows Carter and Tiffany, an interracial teen couple whose love and unborn child become a flashpoint during a high-profile trial. When Bobby Lee Hall, an undercover member of the Ku Klux Klan, is charged with a violent crime, the proceedings unravel generations of hate, culminating in the revelation that the Klan’s leader, Colonel Whitaker, is descended from an African American slave. As secrets surface and the community fractures, Carter and Tiffany must fight to protect each other and the life they’re creating.

This emotionally charged story, reminiscent of To Kill a Mockingbird, A Time to Kill, and Just Mercy, is built around rich character development, layered storytelling, and shocking revelations. It is designed to resonate with audiences who are drawn to stories that challenge societal norms and uplift historically silenced voices.

My own background as a Southerner, DNA researcher, and eyewitness to many of the real-life events depicted gives this story an authenticity and urgency that is both timely and necessary.

I believe Redemption Song (A Town Explodes) is an essential addition to the canon of socially conscious cinema—one that will spark meaningful conversations about race, legacy, and our shared humanity.

My previous work includes collaborations with the late Tommy Ford (Martin) and Charmin Lee (Girlfriends, The Chi) on my feature The Ancestors Live Here.

You can view the sizzle reel for that project here:

https://youtu.be/2Pae_1VfL-A?si=WeEUzptuRH-j8uWB

Thank you for your time and consideration. I look forward to the opportunity to speak further about Redemption Song (A Town Explodes) and its potential to make a lasting impact.

Warm regards,

Shahara M. Ruth, M.Ed.

Hahaha I have a 100 page Tech bible that’s part of my series Bible…

Thank you for this information.

It makes me even more excited about writing my own companion book Michael David

Thank you for sharing your experience.

A hundred pages to explain your tech idea shows how layered and complex it really is.

I’m genuinely curious to know what it’s about Alex Bright

Also, Mary Pope Osbourne wrote companion non-fiction volumes for her fictional Magic Tree House series. I used to get those for my kids.

That's a good example as well. Thank you Michael David

That is fantastic!! Tremendous accomplishment!

You're welcome, Phua Wei En.

Phua Wei En That is so amazing and inspiring, many many many congratulations, and go go go!

congratulations to you

this is just a great accomplishment

Well done Phua Wei En - hope it leads to something even more exciting for you

Thanks, Pat Alexander. The Scriptnotes podcast is incredible! I'm looking forward to reading the book!

A strong, active structure is more important than polish for making a good film, and this is where most writers fail, but the polish might be more important as a sales tool when getting reads and trying to market the script.

DJ Gautam That happened to me, maybe all of us, when we first started, generalized descriptions and connectors as I call them. Don't worry, your voice is still shaping it sounds like. Finish the drafts fully without judgement, and to me, focus on typos and grammar mistakes at first, to be polished in that way, and let your own voice grow and stretch as it sees and feels like it, depending on the story and emotion. Trust your imagination, and focus on proper grammar and spelling, especially in those final drafts. Execs, producers, etc.. really expect that, spelling, grammar, polish, but they want to hear and see you, your world, and your unique point of view. Hope this helps.

CJ Walley great advice and excellent analogies. Reading scripts definitely is one of the best ways to help hone your writing. I remember a writing mentor once told me, "Books are great to learn the rules and frameworks, but to truly understand how to be a great writer, read scripts and watch movies. Read good, great and bad scripts so that you can know what makes them tick or not tick."

Totally agree Juliana Philippi focus on finishing and ensuring grammar and spelling are polished first. Many reviewers have said, when the grammar, spelling or format is off, it makes it hard to read which messes up the pacing for them and almost always automatically fails the script, because they have been so pulled out of the story, that they cannot focus on what the film is trying to say.

Thank you everyone for the guidance, yeah, it means a lot. and oh my god love these people, how much they support people like me, thank you so much again. lots love and respect to every single one. wish you a very good day.

Thank you very much, Maurice Vaughan. I will do exactly that. I hope it works out.

Enormously interesting. A great period. Very popular. You'll need an episode breakdown/full synopsis. You'll be able to write a great pitch. I think it's a winner when you find the right person to pitch it at. There are good adverts around for historicals.

You're welcome, Olga Burkova. I hope so too!

Reach out to the Success Team at success@stage32.com. Geoff and his team can help you connect with producers, executives, and more.

Something I do to pitch my scripts is post pages in Stage 32's Your Stage Lounge (www.stage32.com/lounge/promotion), on Twitter/X, and on Instagram, like First Page Friday, Third Page Thursday, and Sneak Peek Sunday. I post loglines and script posters with the pages. And sometimes I post short pitches (like two-word pitches and three-word pitches) on social media.

Thank you very much. I already have both the short and extended synopses, but the breakdown into episodes will come later, once I finish translating the full text.

You're welcome, Olga Burkova.

I think the idea could be about a digital game winner.

The game could be soccer played in a different atmosphere,

or maybe a game where players compete to gain something special.

The hamster could be the winning animal friend, or maybe even part of the game itself.

TITLE: Cloak & Swagger

LOGLINE: a stage magician hired by the CIA to infiltrate an underworld syndicate finds out he's not the only playing with illusions.

Starring: Jim Carrey

ROLEX

LOGLINE : A sly magician who leaves everyone stunned with his mind games.”

TITLE: Winner Takes All

In a world where you're only as good as the bets you make, an eccentric man decides to risk it all in order to outplay the Devil and collect all the riches of the world.

Hi there,

Thanks for sharing your concept — Guilty Camera has a strong emotional foundation, and the combination of a war setting with an intimate, romantic storyline definitely has cinematic potential.

The core idea is intriguing, but you might consider sharpening the dramatic stakes. What specific conflict pulls the photographer and the woman together? What risk or moral dilemma defines their connection?

The blend of war and romance can be powerful, especially if the emotional arc mirrors the external chaos.

Overall, it sounds like the beginning of a compelling, character-driven story.

Although many features of this concept already exist across various industries, I would suggest keeping the main theme of the story intact while trying to make the screenplay truly out-of-the-box. The goal is for the audience to watch your story and feel that they’ve never seen anything like it before.

Hey, Kadir Demir. GUILTY CAMERA sounds interesting. The title caught my attention. It's a unique love story.

I think your logline needs some work. Here’s a logline template that might help: After/when ______ (the inciting incident/event that sets the plot in motion), a _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s job/career/role*) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes).

The inciting incident can also be at the end of the logline: A _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s job/career/role) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes) after/when ______ (the inciting incident/event that sets the plot in motion).

Loglines are one or two sentences. A one-sentence logline sounds better, and it takes less time for a producer, director, etc. to read it. Try to keep your logline to 35 words or less. Long loglines can make producers, directors, etc. pass on a project.

Avoid using “must” in loglines. “Must” usually means the protagonist is forced to do whatever they need to do in the story instead of doing it willingly. You might need to use “must” in a logline though, like when the protagonist is forced by another character to do something. Using “must” to choose between two options is fine.

Names in loglines are usually for biopics, well-known stories, and franchises (like Mission: Impossible).

Sometimes I put the location and date that the story takes place in instead of the inciting incident if it’s a Period Piece script.

All stories don’t follow this logline template. Biopics, documentaries, and Experimental scripts might not follow the template. The series logline for a TV show can follow this template, but the pilot logline and episode loglines for the show might not.

Good title!

Hoş geldin, kardeşim. Izmir is one of my favourite places.