Screenwriting : Stage 32 + Color Farm Media Diversity Talent Accelerator Screenwriting Contest -- who submitted? by Pat Alexander

I’ve submitted two scripts to this year’s contest and wanted to share a bit about them.

The first, A Tale of Two Mothers, has received three Double Recommends from Stage 32 and has also been a finalist at PAGE, Austin Film Festival, and Big Break, among other competitions.

It tells the story of Anna, a mother who becomes consumed by her quest for justice after losing her 16-year-old daughter. One night, a man breaks into her neighbor Janet’s house. After knocking him out, they realize he bears a striking resemblance to the police sketch of the man who abducted and murdered Anna’s daughter.

Instead of calling the police, the two women drag him to Anna’s basement, determined to force a confession — setting off a psychological thriller filled with twists you don’t see coming.

The second script, Children of the Second Hour, follows a love story tragically interrupted in 1882, where the characters are reincarnated in modern-day New York with a chance to repair the mistakes of their past lives. It blends romance, destiny, and redemption in a narrative that spans two lifetimes.

Both scripts share elements that are important to me as a writer:

Strong female characters

Afro-American protagonists

Meaningful roles for women 45+

I hope at least one of these stories resonates with the judges and earns me a spot this year. Wishing everyone the best of luck!

Submitted my feature Girlz N’ the Hood.

It follows a young graffiti prodigy from Chicago who turns pain into art — and changes everything in her path.

Good luck to all… but I didn’t come to play.

Girlz N’ the Hood is a coming-of-age survival drama about three girlz trying to stay alive in a Chi-Town ruled by colors. Sky Jones — a quiet graffiti prodigy who paints people as the children they used to be — navigates girl-gang politics, poverty, and first love with her ride-or-die best friend, Summer, while Storm — Sky’s young, struggling mother — fights her own demons in the shadows of the same streets.

Together, they move like three sides of the same broken heart, bound by blood, survival, and the secrets they don’t say out loud. But when one of Sky’s murals exposes a deadly truth, everything spirals — two bodies drop, a police chase erupts through their block, and Sky’s art shifts from expression into evidence.

Desperate to outrun her mother’s mistakes and the streets closing in around her, Sky flees to Atlanta hoping a new city will mean a new beginning. But Atlanta teaches her fast: you can change your location, not your past. And just when you think things can’t get worse, they do.

The Girlz N’ the Hood must decide whether to stay loyal to the streets that shaped them… or break the cycle before the hood buries them — because karma, in their world, always pulls back up on 26s.

I submitted one of one of my scripts, Belle Masquerade, which is a Drama/Thriller. I was beyond excited about the possibility to work with Erika Alexander's and her team. She is one of my favorite actresses. She has such a dynamic, profound style of acting, and I've always wanted to see her in more roles. As a matter of fact, this role would be perfect for her as the lead in Belle Masquerade. Instead of me telling you about my project I thought that I would share.

Belle Masquerade began its life as the novel, Anything For Love" before being adapted into a theatrical play and eventually a television drama.

The inspiration for writing this story came from my personal experiences during a period of homelessness. Throughout this journey, I lived side by side with many women who faced the struggles of mental illness, while living in shelters. These women, often silenced and marginalized by society, had lost their voices and were frequently overlooked and forgotten. Witnessing their struggles deeply affected me and motivated me to become a voice for them through this story. My aim in sharing their stories was to empower these women and ensure that their experiences were acknowledged and remembered. Through "Belle Masquerade" I hope to give these women a sense of dignity and voice, letting them know that they are not alone and that their lives matter. By telling their stories, I strive to challenge societal perceptions and inspire compassion and understanding.

Mone't Weeks , that sounds like a wonderful story to be told.

Hi... I've submitted Saving MLK - "Till meets JFK".

"A young man takes on a job at Ebeneezer Baptist Church while traveling with MLK when on the road making his speeches. Unraveling the plot against his mentor by the FBI's J. Edgar Hoover, Byron MIddleton takes the bullet and changes the world forever - even if momentarily."

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Genre

Drama, Period Drama

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Logline

During the Civil Rights Movement, Byron Middleton gets a job sorting mail for MLK, where he sees all of the incoming threats. This story of dedication and survival between Byron's past and 1977, after MLK's last words, where Byron's being deposed by the US Government.

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Strengths:

There's so much that's working tremendously well here. In general, the world feels well-realized and these characters feel seamlessly drawn into it. We believe these events, not just because much of the story is real, but because of the detail with which it's depicted. Byron's a tremendously sympathetic character - he's a normal guy in the midst of extraordinary circumstances. His relationship with MLK is one of the most compelling elements of the script. It's nuanced, full of genuine feeling and a specific sense of humor. There have been so many competing depictions of MLK in the last twenty years of film. This script gives us enough to push Byron along on his journey, and stays focused on that. The writer is also keenly aware of how to play with structure, how to deploy flashback, how to continue to drive a narrative forward while including elements from the past. One of the more interesting parts of this is the way that James Earl Ray is depicted - complicated, traumatized, and yet not forgivable in any particular sense. Again, the script eschews an overly sinister portrayal of him because that really isn't its focus. The twist at the end is probably something that will be debated until production, but this particular reader thought it was well-executed. It's simple in its optimism, and respectful.

Prospects:

There's certainly something here. The read itself is an engaging take on the MLK story, one that gives us a window into it that we haven't seen. Whether Byron is real or not doesn't even matter, because the specificity of this world and the interesting role that he has within MLK's life is interesting enough as fiction. With that said, there have been a lot of movies about MLK. The ending is certainly a bold step, but these are historical events that we largely know. All the more reason why it's important that we keep going as deep as possible with our relatable characters. One could see this landing at a certain number of production companies, maybe talent-driven ones or even companies like Imagine that love to do historical work. It's not tremendously expensive, but it's period, which can be tricky commercially, so expect pushback. More than likely this would need serious indie financing or studio/streamer money to get made. That's totally fine, there are so many companies that could get this across the finish line.

Hello all, I'm looking for advice on what to do regarding a literary manager who requested a meeting after reading the first ten pages of a TV pilot I wrote with my writing partner. The Stage 32 Moderator made the introduction via email, but after a week or so of not hearing from the manager, I emailed him and then followed up with two phone calls. but I was never was able to get through to him. When I asked the gatekeeper on my second call if I could leave a voicemail, she informed me that the manager's voicemail was full, but she said she would pass my message on to him, but again no response. It's now been two months since the Stage 32 Moderator made the introduction and I'm really frustrated. Any suggestions?

Hi @David - is this script available to read? It sounds incredibly interesting.

Did you email writerhelp@stage32.com recently about it, Harlan Schneider?

Hi,

I submitted my screenplay, "Fancy":

Logline: In 19th Century New Orleans, a privileged Creole girl learns her lineage affords her advantages. But those come at the cost of providing "special" services.

Genre: Drama (Period Piece)

This script placed previously in two different contests and received positive feedback. My limited pitch deck can be found on LAL Scribes on YouTube.

I really appreciate the opportunity to showcase my talent to Color Farm Media. Thanks, as usual Stage 32!!!

Hello All!

Is love a chemical reaction we can control, or is it a variable we just have to survive? That is the central question in my new script, The Perfect Kisser (genre: Rom-Com).

We’ve all seen the "opposites attract" trope, but I wanted to dig deeper into why we build walls around our hearts. This isn't just a story about a boy meeting a girl; it's about a woman who tries to solve romance like a math problem, and the man who throws out her calculator.

Here is a closer look at the characters, the comedy, and the heart of the story.

The Premise: Can You Automate Chemistry?

The story follows Joey Baker, a 27-year-old cosmetic chemist known in her industry as the "Lip Gloss Goddess". Joey is brilliant, but she’s scared. After witnessing her mother’s heartbreak and growing up without her father, she decided she would never make the same mistakes.

Her solution? The Kiss Criteria.

Joey has developed a data-driven formula to quantify what makes a partner perfect. She believes that if she can control the variables—eye contact, breath sync, the approach—she can guarantee the outcome.

The Heart of the Story

At its core, The Perfect Kisser explores the relationship between Joey and her mother, Sharon. Their strained relationship comes to a head when Sharon admits that her own fear of vulnerability taught Joey to hide behind science.

Ultimately, Joey has to learn what Julian knew all along: You can’t automate chemistry. The "perfect kiss" isn't about scorekeeping or technique; it's about being brave enough to be vulnerable.

Hello,

I’m Artemis.

I am a screenwriter, author and poet.

I submitted my screenplay “The Value of Blood “ which is a Thriller about Simetra Thomas, an office manager at a hospital being accused of murdering her brother. While trying to clear her name she discovers that the hospital which should have been a place to go for help and feel safe, is the most unsafe place in the world.

Simetra’s task is to stay one step ahead of her brother’s killer as she is his next target.

The story is a marriage between “Erin Brockovich”meets “The Fugitive .” It was born from my experience with my brother being left in a coma after a terrible automobile accident. It was a way to let out my feelings about treatments patients receive in hospitals and in long term care facilities when they have no advocate to ensure their care. Also the story sheds light on how easily people accept what is done to them and never look at the bill to see what they are paying for. Only when the insurance company refuses to pay for a treatment do they have a problem.

What I like most about the story is that it’s a possible what if scenario

wrapped up in this fast paced murder mystery.

My strong female lead experiences betrayal and doesn’t know who to trust as she fights for justice and to stay alive.

I submitted a pilot entitled, Specter. Logline: Vincent Specter, the black sheep of a legendary family of private investigators, struggles to live up to his legacy—until he inherits four ghosts that help him become a "Guardian of Goodwill"

The screenplay/script that I submitted is for a series that I believe would fit on either a streaming service or network. ZON is a character-driven, politically charged prestige sci-fi drama built for today’s global audiences series that blends scale, emotion, and cultural depth. The series picks up in the year 2045, Twenty years after the mysterious abductions of 130,000 humans who have return aboard a fleet of alien starships carrying a dire warning: the Dvora, a ruthless and ancient enemy, are coming. Representing the powerful Ylatchee Imperium, Archduke Nathan Kilmer must navigate a fractured Earth splintered by nationalism, corporate dominance, and mistrust to unite humanity before it’s too late.

What begins as a moment of awe quickly becomes a geopolitical struggle for survival. Nations race to interpret the Imperium’s message, control advanced technologies, and claim power. Families are reunited with loved ones who have been changed physically, culturally, and spiritually. As Earth grapples with its own divisions, the abductees must prove they are humanity’s best chance at survival and not its greatest threat.

• Identity, belonging, and cultural hybridity

• The moral cost of power and political ambition

• What it means to be human in an age of transformation

• How we navigate truth in a world drowning in misinformation

It tackles these themes through the lens of spectacle, emotion, and character similar in spirit to The Expanse, Arrival, and House of Cards, but with a deeply personal core.

For me, as a Black LGBT creator who grew up loving science fiction but rarely seeing heroes who reflected my identity, ZON is not just a series it’s a reclamation. It’s a chance to build a universe where representation is not an afterthought, but a foundation.

The Ylatchee Imperium

A powerful interstellar alliance composed of multiple species each with unique cultures, technologies, and politics led by an emperor and a ducal council. This includes:

• Ylatchee – honor-bound reptilian humanoids with advanced tech

• Ukak – engineers who designed the hyper-gates

• Xolden – avian traders and negotiators

• Agi – energy-generating species once enslaved

• Micor – insectoid masters of biotech

• Olani – spiritual healers

• Dvora – breakaway, genocidal predators and the central threat

This lore is meticulously crafted and functions as the mythological and political backbone of the entire franchise.

• Pilot Script — A prestige, high-concept thriller with emotional stakes

Refined through extensive story development, character integration, and worldbuilding.

• Season Bible / Episode Breakdown

Featuring character arcs, cold opens, thematic evolution, and political structures.

• Proof-of-Concept Footage

Shot to capture tone, scale, visual identity, and emotional resonance.

• Concept Art & Pitch Deck

Featuring designs, ship concepts, planetary cultures, and dramatic key frames.

• Two Companion Comic Series

Exploring parallel perspectives within the ZON universe.

• Tabletop Strategy Game — “ZON: Cosmic Warfare”

A deck-building game that expands the lore and deepens audience engagement.

Every piece is designed to position ZON not simply as a TV show, but as a flagship sci-fi franchise with multi-year narrative potential.

With ZON, I’m building the kind of universe I wish I had growing up: inclusive, ambitious, and unapologetically rooted in representation. A universe where the future belongs to all of us.

Under my banner, Draconem Ignem Entertainment, I’ve spent over a decade creating content across TV, film, comics, and music videos. My career in production script to screen, cinematography to post has shaped my understanding of how to craft emotionally grounded, visually compelling stories. ZON is the culmination of that experience.

This isn’t just a pitch.

It’s a calling.

A belief that new worlds can help us better understand our own.

Pat, I turned in a comedy-drama-mystery called "Down to One."

Here's the logline: A single juror's painstaking caution forces her otherwise-preoccupied, totally-entrenched colleagues to carefully consider the evidence for a highly-informed decision in a murder trial in modern-day Charlotte, NC.

If you're an American and you've voted, chances are you've gone to a courthouse and sat on a jury. (My time came in the middle 1990s.)

Back in high school, the English Lit book our sophomore class read (1970-71) had Reginald Rose's "Twelve Angry Men" teleplay in it. Man, was I impressed!

Years later, I saw a rerun of the 1954 teleplay (originally on CBS' "Studio One") and the 1957 theatrical movie when TCM ran it. And when I first got into screenwriting and TV writing, I wanted to cook up a spoof.

And I wanted that spoof to feature an America that really looks like America.

A couple of years ago, I found out when North Carolina's Mecklenburg County decided to build a new courthouse, county officials turned to rank-and-file citizens for answers on how to get more people there fired up to serve on juries.

One major result: If you serve on a jury in the Charlotte area, they treat you to...free popcorn.

With all of that in mind, I set out to write something that can be described as "'Twelve Angry Men' meets 'Airplane!'"

I hope "Down to One" gets the job done...I had a ball writing it and submitting it. (Erika, I hope you enjoyed reading it!)

Hello!

My name is Shahara Marie Ruth.

I am a retired English Language Arts and Social Studies Educator. My work is a reflection of past and present experiences and observations regarding the complications of race and ethnicity in the United States Deep South and family connections.

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.

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.

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. I would be honored to explore how this project can be brought to the screen in collaboration with your team.

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=HeSh1sirjnJf43j8

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.

Hi. I'm Cecile George from Trinidad and Tobago, and I entered my feature script After 12.

After 12 is a female-driven psychological feature with magic realism and adult situations, sort of Promising Young Woman meets Pan’s Labyrinth. The title comes from a local saying by pedophiles that “after 12 is lunch”, meaning that a female is fair game for sexual advances once she turns 12.

A sexually abused teen summons an African protector deity to help stop her incestuous uncle who’s grooming her naive younger sister for prostitution.

14-year-old AYLANA REESE has been repeatedly raped for almost two years by her mother’s half-brother BLUES, whose bar Aylana reluctantly helps out at under her mother’s orders. Blues tries to reduce in his gambling debts by prostituting her to his creditor who also has an affinity for underage girls. But the MOKO JUMBIE, who is Aylana’s African ancestral spiritual protector, helps her to escape and she vows never to let Blues near her again.

Struggling to overcome her trauma, Aylana rejoins her late father’s indigenous martial arts troupe, now run by AMIT DAS, a concerned former student of her father. Amit turns out to be the only other person who can see Aylana’s Moko, but societal conventions and his own caution restrict what help he can fully offer. Aylana is also desperate to keep her needy pre-teen sister LISETTE away from Blues, afraid that he will start preying on her as well once she turns twelve in a couple of weeks. Like their mother, Lisette adores her Uncle Blues and won’t hear anything against him, even from Aylana.

But when their mother's impending migration requires her to leave the girls in Blues’ guardianship, Aylana has to make some hard decisions. And after a huge fight that drives Lisette into Blues’ clutches, Aylana is forced to again seek the Moko’s help to save her sister.

After 12 was a quarterfinalist in both the 2023 Nicholl Fellowship and the WeScreenplay Labs Competitions, a top 7% discoverable project on the now-defunct Coverfly.com, and has received a double-recommend from Stage32.

I personally know many people who were sexually abused as children. Since I work in Trinidad's heritage industry, I wanted to use local culture and folklore to illustrate the terrible things that can happen when people are consistently denied agency over their own bodies, and how folklore, properly purposed can help our youth battle against the darker aspects of society.

I'm excited about bringing After 12 to the screen because I think it's a film everyone needs to see, especially teenagers. Wishing everyone the best of luck!

Hey it's JVMWRITERS The Plot Twist Prince. I submitted two scripts

Undoc'D

Miguel... An aspiring screenwriter chasing his mother’s unfinished dream finds himself caught between a winning lottery ticket, deportation, a murder, and a September 11th deadline that forces him to question where he belongs, and who he truly is.

and

Sing For The Money

Truth... A gifted underground rapper in Oakland, pours her soul into her music while caring for her cancer-stricken mother, Nevaeh. Alongside her best friend and manager, Sage, she hustles to break into the industry.

Submitted my feature "Motherland".

A single transphobic mother, a major in the Russian police, travels to the Netherlands to investigate the death of her transgender refugee daughter and after that bury the remains in the motherland. Steeped in Russian state propaganda, she plunges into the complex and contradictory reality of Europe, only to discover that her daughter had taken her own life. Eventually, in order to go on living herself, she will have to acknowledge her responsibility for her daughter’s death, embark on the path of repentance, and accept her child after death as she was in life.