Screenwriting

Tell me more if this is still going. Thanks.

Great words from RB here! A mantra I often think about when embarking on something new is "opportunities multiply as they are seized".

That's a great mantra, Ewan Dunbar! I'll keep it in mind. Thanks.

Happy new years Mark

watched it - didn't understand a thing, the occasional laugh

My ideas come from trying to learn life lessons from my own experiences, as well as from events in the world around me.

Writers are mostly solitary types who work on their own, by themselves, in their own space (physically and mentally). Although I have writing credits on four different animated series, I never considered myself a writer. I am an animator. To me, being an animator just means being a complete storyteller, from having an idea, to writing a script, to drawing the characters and painting the backgrounds,, to storyboarding, to animating, to editing and everything in between. That's how it was when I started, before computers came along and changed the animation industry.. The point is, when I learned animation, a part of that was learning how to write and tell a story. But animators are not solitary types, so most of my ideas come from interactions with other people, someone says something that sparks an idea, you make a joke about it, the other person laughs, and the next thing you know, you have a complete concept to pitch. Looking at the dozen or so projects I am pitching, all but one are ideas I developed with another person. When it comes time to write the script, I do that on my own. But developing the project, in my case, is most often a collaborative effort. That includes coming up with the idea, developing the characters, creating the universe, coming up with story ideas, plotting out those story ideas and so on. Once all that is done, the actual writing is the easy part.

My concepts tend to come from visions. However, my themes come from deep reflection into my life experiences. The former is abstract while the latter is real.

Hi Robert. As a sci-fi/fantasy guy I think a lot of my ideas for stories spawn from science shows and nature/nature programs. Ideation drives for me can also stem from something as simple as a memory of a childhood Dungeons & Dragons campaign. For short stories I used to think of something and make a note on an electronic device, and now, If I get an idea for a script, I just create a logline, or start a draft in FD and let them marinate in my working projects folder to potentially be harvested for a later date.

Mine comes from constant grinding.

Happy New Year, Javier Cortez! Welcome back. Is your idea a movie or TV show?

Thanks Maurice Vaughan. It could be both.

You're welcome, Javier Cortez. Ok, I suggest making an outline. An outline is where you figure out things about your story, develop the characters, etc.

Here's a webinar about outlining a feature script: www.stage32.com/education/products/outlining-your-feature-screenplay

And here are two blogs about mapping out a multi-season story if you decide to turn your idea into a TV series:

www.stage32.com/blog/the-secrets-to-mapping-out-a-multi-season-story-3924

www.stage32.com/blog/mapping-out-a-multi-season-story-part-2-where-do-yo...

I make the poster first sometimes, Patrick "PK" Koepke. They help me nail down the theme and style too. Sometimes I make different posters for a script.

"I then make that image my background on my tablet and phone so anytime I open them to surf mindlessly, it reminds me I should be working on the screenplay." I like that. Thanks for the idea.

The studio programs are the holy grail of fellowships, so very few people are accepted. I applied this year to a couple. I've never made it to a 2nd round in the TV fellowships, but I have been a participant in/graduated from 2 industry fellowships. I know people who owe their career to these fellowships, and I know people who didn't go anywhere afterwards as well.

On that latter note: I would caution against applying again on a whim. A lot of the program directors talk to each other and they will remember a bad submission. Not to say yours was bad, but besides being a self-described "noob", I can tell from your post that you're a little green. Hey we all start somewhere! Rushing to get material ready for a submission/ putting stuff out there with your name on it when it's not ready is one of the worst things you can do.

I recommend making a list of programs for which you'd like to apply. Those who still ask for specs want it to be from a current airing program. Nickelodeon puts out a qualifying show list every year. If there's any particular program you're considering, feel free to reach out. I might have some insight.

Maurice Vaughan Nice! I feel like you have given the USCO a lot of $$$$ haha.

Joshua Keller Katz Yeah, I have only been in the game for a little over nine months at this juncture, but I have been a writer in other realms for eons. I cranked out the pilot samples for the program submission quickly, yes, but they both aptly demonstrate my ability to craft/structure an original story. I rushed my first three feature scripts for contest entries, but that was before I read actual scripts, and a screenwriting book (cover-to-cover). The difference between that point and seven months later is by the time I entered the program in question I understood the screenplay format much better than when I first opened Final Draft. Ideation will never be an issue for me so the only enemies to progress (besides a xenophobic industry) are time and learning to write stuff for others, not just for myself. So my strategy re: screenwriting is the same it is for other facets of life, i.e. something akin to saturation bombing -- drop enough bombs you will hit something eventually. I harbor no delusional pretenses that any particular step in my screenwriting efforts will launch me into screenplay superstardom (including my planned Nicholl entry for April). So for me, in perpetuity, it's "Retreat? Hell, [I] just got here!"

Haha I have, Mike Childress. It's worth it though.

Several years ago, I got into the WB Drama Writing Program and was part of the Humanitas New Voices Program. All writing programs are worth entering, Mike Childress. I learned a hellova lot in the programs and met some great writers that are to this day my ride-or-die in the Industry.

Maurice Vaughan It's funny, now that the USCO offers the ten unpublished works for one application fee it motivates me to write more, more quickly!

Francisco Castro That's very cool. It would be great if there were more writing programs for rookies with zero staff writing experience, but it is what it is.

You've highlighted this very important moment in an artist's journey where they stard to self validate. Yes, you've had those five-star reviews, but what's important is you've processed them in a way that emboldens you, rather than dismissing them. This should then become an upward cycle where you feel more motivated, show more confidence, and get a continued positive response.

Good for you. It's an essential transformation in my opinion.

I'm at the point now where I couldn't care less about negative/critical feedback. I've proven myself now. I'm only interested in alignment.

Congratulations, Ryu Reeves! Glad to hear the hard work has paid off! I know about half vacations. I'm taking the day off from writing, and I'm still thinking of ideas for my projects.

"So, if anyone tells you that you're not good...don't waste your time arguing with them on social media because you'll never win that battle. Spend that time perfecting your craft." You're right. That's something I wish I knew when I was a new writer. I treat trolls and negative people like TV now. I switch the channel (move on to the next comment or thing).

Like this guy's candor and asked for an add.

Excellent attitude and post, Ryu Reeves! Keep up the hard work. If you keep at it the success will come and the sacrifices will be worth it. Lucky breaks happen to those who put themselves in the right position. Feel free to reach out to me at success@stage32.com if you're ever looking for additional help or guidance.

Ryu, thanks so DOGGONE much for posting...and here's wishing you more and more success (not only here in 2025, but beyond)!

THE DANGERS OF UNREGULATED OPERA

EXT NY AREA ALBANIAN-OWNED EUROPEAN MARKET-DAY

VALENTINA FERRANTE, dressed as a down-and-out crack head/wino, drags a shopping cart filled with clothes, empty bottles and assorted bizarrely collected trash down the sidewalk and parks it in front of the market. She mutters to herself in an unknown language, makes odd gestures, tries to straighten out her wild, unkempt hair, and tries to pull together her extremely oversized coat, which has many large pockets.

She opens the door, shuts it, and enters the store.

INT NY AREA ALBANIAN-OWNED EUROPEAN MARKET-DAY

The OWNER, an Albanian, looks askance at her strange mannerisms and incomprehensible gibberish as she wanders up and down the aisles. Valentina fingers one store offering after another, shakes her head, puts it back and keens a weird noise like a bird while she shakes her head in rejection.

OWNER (worried)

Look, lady, you want to buy something or not? It’s all the best quality, I can assure you…but please don’t handle it if you don’t want it, ok?

Suddenly GENE DINAPOLI, dressed as an opera star, with a black suit, white ruffled shirt, white tie, black homburg hat and a red flower in his boutonniere, bangs open the door, and stands in front of it, arms outstretched. He begins to sing the tune of NESSUM DORMA from Turandot, with new Italian words, and advances towards Valentina, who shrieks like a banshee and retreats backwards down the aisle. He follows her around the store, as she begins to take objects from the store shelves and throw them at him. He is unfazed and continues his pursuit.

The owner stands frozen behind the counter, with mouth agape, as the aria continues, with English subtitles.

GENE DINAPOLI

Nessun dorma! Nessun dorma!

Tu pure, o Principessa,

nella tua fredda stanza,

guardi le stelle

che tremano d'amore, e di speranza! None shall sleep! None shall sleep!

Not even you, oh Princess,

in your cold bedroom,

watching the stars

that tremble with love, and with hope!

Ma il mio mistero è chiuso in me;

il nome mio nessun saprà!

No, No! Sulla tua bocca,

lo dirò quando la luce splenderà! But my secret is hidden within me;

no one will know my name!

No, no! On your mouth,

I will say it when the light shines!

Ed il mio bacio scioglierà

il silenzio che ti fa mia! And my kiss will dissolve

the silence that makes you mine!

The owner grabs his cell phone, runs out of the store, and slams the door.

EXT NY AREA ALBANIAN-OWNED EUROPEAN MARKET-DAY

The owner dials 911. The POV is on his shaky hands as he attempts many times to dial, and finally succeeds, all while he looks frantically around the street for aid from someone, anyone.

As he gibbers his complaint in a shaky voice, the sounds of the aria continue from inside, accompanied by ever more hysterical screams from Valentina. She arrives at the shut door, seen from outside face to the glass, nose squished against the surface, and bangs wildly on it as she moans in an unknown language.

OWNER (panicked, stutters)

911? They’se crazy people in my store, singing…the European Market? You got the address? So…

911 OPERATOR (bored, slow, V.O.))

911. What is your emergency, please?

The phone disconnects into a burst of static as the owner stares at it in disbelief, and redials, all the more panicked.

INT NY AREA ALBANIAN-OWNED EUROPEAN MARKET-DAY

Gene appears next to Valentina; he kneels and stretches his arms out as he belts out more of the tune, now with new Italian words. She shrieks again in an odd mix of gibberish, evades him, runs behind the counter and grabs a large, thin French bread roll and a similarly-shaped sausage, returns to the door, and starts to beat him with both objects on his back and head. He continues to sing, passionately, as he rises and spread his arms in a gesture like an embrace.

GENE (English subtitles)

Ti ho amato dal primo momento in cui ti ho visto! Non rifiutarmi, o principessa del marciapiede con il carrello della spesa e gli occhi gloriosi!

I've loved you since the first moment I saw you! Don't reject me, O pavement princess with the shopping cart and glorious eyes!

EXT NY AREA ALBANIAN-OWNED EUROPEAN MARKET-DAY

The owner succeeds in his reconnection to 911. He takes a deep breath, all while he looks at Gene who continues to sing, while he tries to corner the French bread and sausage-wielding Valentina, who continues to beat him off and scream like a banshee.

SECOND 911 OPERATOR (bored, slower, V.O.))

911. What is your emergency, please?

OWNER

Some crazy guy is in here singing and trying to molest a dirty woman who is my customer who is beating him with my Genoa sausage, the high end brand!

Silence for four seconds.

SECOND 911 OPERATOR (giggles, V.O.)

911. What is your emergency, please? Can you repeat that, please? Is anyone hurt …or are you in danger? Do you need an ambulance?

OWNER (frustrated)

No! It’s just a SAUSAGE she is hitting him with! And a French bread! He isn’t even noticing it!

SECOND 911 OPERATOR (giggles, V.O.)

Ok, then, no ambulance? Are there any weapons being displayed? Are you in danger?

OWNER (yells)

Just SAUSAGE!

SECOND 911 OPERATOR ( hysterically, V.O.)

Ok, then, we will send an officer from the vicinity…stand by…do not try to interfere with the two …combatants. Don’t approach them!

The operator disconnects.

The owner stares as Valentina runs out of the store and slams the door. Her coat flaps wildly and seems more bulky than before. She grabs the shopping cart and runs with it down the street at full speed.

Gene leaves the store after her and holds his hands wide, while he stands and sings, interspersed with his fingers that clean the French bread crumbs off his shoulders

More than a page-I coudnt resist-have a good laugh!

You're welcome, Wal Friman.

This is hilarious, Jon Shallit! Fantastic job on the comedic tone in your scenes!

Maybe change “NY AREA ALBANIAN-OWNED EUROPEAN MARKET” to “NY AREA EUROPEAN MARKET” in the scene headings and put “ALBANIAN-OWNED” in an action line.

I suggest breaking up the paragraph that starts with “Suddenly GENE DINAPOLI….” and the paragraph starting with “Gene appears next to Valentina; he kneels and stretches his arms out” so they aren’t so long. Also, you could take out “Suddenly” and start with “GENE.”

You could change “He begins to sing the tune of NESSUM DORMA” to “He sings the tune of NESSUM DORMA.” Things like “begins” and “suddenly” take up space in a script.

I think it’d be funny if the owner called the police in the store and tried to tell them what’s going on, but Gene sings loudly and dances toward the owner like Gene advanced toward Valentina, so the owner – scared – rushes outside to finish the call. But even if you don’t add this, your scenes are hilarious!

Thanks, Maurice.

It reads better with the proper line spacing.

You're welcome, Tony S. You're right. It reads better with the proper line spacing. And it saves space. I like your style!

Gregory, Good Luck with the stories. What is the log line for your giant killer script, please?

Jed Power A brave tailor uses his wit and guile rather than swords and spears to rid the land of menacing giants and gets the king into giving him half his kingdom and his daughter’s hand in marriage. you are free to look at my longlines on my profile here.

thank you Dan MaxXx , T.L. Davis , CJ Walley, Stephen Folker, I've had a lot of things that I hoped would be great and make me money only to have it fail and not do anything. I find and make one thing, and I show it to one guy here, and he makes it sound like I have lighting in a bottle, being it covers fantasy and an underdog character.

Hey Gregory Barone - I am the Writer Consultant for Stage 32. You are welcome to email me at success@stage32.com and I can also give some suggestions for Stage 32 resources you can use and opportunities to send your giant killer script to professionals. I will look for your email!

Thanks, Jason Mirch I'll keep you in mind, but my friend Maurice Vaughan here on Stage 32 gave me some links and ideas that might help me. I still need to write the script here.

Congratulations on winning, Tim! Congratulations to everyone who entered and everyone who placed! Happy New Year! Hope you all have an incredible year!

Anthony, nice. Seems to whittle it down even further. I'm going to play around with this set up, see if I can work on the tone/add a detail or two. Thanks for taking the time to give it a go!

As an adoptee, I like that premise, but that challenge, in addition to the music business struggles feels like there are 2 stories. I would pick1 of the 2 and would go with that.

Jed, thanks and yes, I probably bit off too much for my first screenplay, ha. The two storylines are intertwined and push each other forward, so it seems to have worked. Next step will be to have a few people read it and tell we what sucks about it. A sharp learning curve that maybe skipped a few steps, but...here I am. :)

Logline has Lots going on. Maybe combine the father & music publisher as one character. And how does song from dead mom change the music career of daughter drummer- stakes? Anyways GL

dan, good call. in the screenplay her father and the people stealing the song are connected, so maybe there is a way to show that without getting too long winded.