Neil Jaye's Lounge Discussions

Hey Tatiana Tierney it's just a thing some companies do. I'm not really sure the firm reasoning for it, but my guess would be so the reader has absolutely no bias against the writer based on their name or location. Idk, I never liked having to submit to a contest without a title page because it meant I had to make a new, separate draft for it (ik very lazy lol). Feels a little outdated to do these days. For Stage 32 contests, having a title page is encouraged! We want to connect writers with opportunities and having your name and info on the title page only helps that process of making people aware of YOU.

Pat Alexander Thank you Pat for your reply.

It's mainly done to avoid potential or perceived bias. If your script advances, they really want to avoid any chance, as slight as it may be, that someone's work advanced because a reader or judge knew the writer. I don't think there's more to it than that.

Just be sure you read the rules carefully and follow them. Some contests may not refund the entry fees if you submit work improperly.

Good luck!

Neil Jaye Thank you Neil. I was thinking about it (bias) and tried to understand but I couldn't. I am a new writer and nobody knows me or if even some reader knows of me then that reader should recuse themselves from judging my script, but not asking to remove my name from my work.

What about workshops and other close work with editors and mentors who know you and yet have to tell you how good or not your script.

And what about films submitted to the festivals where we know many actors and some producers and screenwriters and yet these films are judged ignoring the rule on bias.

Some FF companies don't ask about it and some actually saying to keep your name on the title page, so it's not a hard and fast rule. It's just sad to see how many FF companies do that using 'bias'...

I am personally just decided not to submit my work to the companies with the rule "remove your name" as I see it is disrespectful to the writer.

Don't look at it as disrespecting the writer. In fact, not having your name on the script puts the focus on the writer's work itself.

Screenplay competitions are very different from film festivals. Film festivals, especially the bigger ones, aren't primarily about establishing writers, producers, or actors. They are more focused on distribution deals and industry recognition. Screenwriting contests, on the other hand, are more about discovering new writers. Also, it's kind of hard not to see who's in a movie.

In short, don't get too caught up in not having your name on the title page. That’s only for the readers and judges. If your work is good and advances, everyone will know who you are. And hypothetically, if your work is awful and your reader happens to be a studio rep or with an agency, you wouldn’t want to be labeled down the road. Haha.

Let me know if you need any more tweaks!

I've found that the sweet spot is 90 -110 pages -- very few scripts at 120 pages read well, unless they have a lot of "white space" - minimal stage directions. If you get a bunch of actor friends to do a table read (or living room read), you can hear the pacing and that can really help you know where to make cuts.

90.

William Joseph Hill is correct. However, that being said, it is not the length, but the quality. If the script is tight and it takes a 142 pages to tell a great story, then so be it. People say that readers/producers don't want to read more than the standard 90-110, but I have a 123 page script that people that have read it, can't put it down. They enjoy it to end. No one has come forward and bought it. It also has over 20 top ten finishes in screenplay competitions around the world so It isn't just stroking me. Most production companies want the complete (pitch) package. Director, stars, etc. attached. The more complete the better. Heck, they love it when you walk in with the money. Used to be the producer's job to put together the package. Not any more, seems like it is the writers job.

The Page Awards puts out the Logline newsletter and the most recent edition has one of its writers declare that 90-100 is the new sweet spot regarding length. I think there's more tolerance for longer works based on genre, e.g., period dramas.

Exactly Eric Christopherson

Hey Susanne. Welcome, your in the past place to go after your passion and career. I'm also new to screenwriting, we can connect and maybe even improve our skill together.

Congratulations on the Double Recommend! That's a huge accomplishment. Would you mind sharing what your story is about?

Welcome to the world of false hope. Don't mean this to be negative. Being a screenwriter is full of rejections. Nevertheless, it takes a strong backbone to be a writer and press on believing in your work.

I would suggest entering appropriate screenplay competitions. FilmFreeway is a good source. Would not hurt to have a couple of them provide feedback (at a cost). Also, start networking as you are doing here to try and find A) representation or B) a production company interested in your screenplay.

One last suggestion is to get a script beat down. That is where you get four or five acquaintances/friends that know something about writing to beat you up. By that I mean be brutally honest with their notes. Then, DO NOT LISTEN to them. That's right, do not listen to them. I have had some say they love the beginning and hate the end and others say they hate the beginning and love the end. But if all five say "Don't kill Grandma" then perhaps you should go back and rewrite.

The key is to not get discouraged and press on. If you need someone for that beat down, I would be happy to be one of your readers.

Hi Susanne Jonsson! I’m Ashley, Head of Community here at Stage 32. Welcome, and huge congratulations on the double recommend! That’s such a major accomplishment, especially on your very first screenplay. It speaks volumes about your talent, dedication, and the strength of your story. A double recommendation is a big deal!

I’d recommend reaching out to our Success Team at Success@Stage32.com—they can walk you through exactly what this means for your path forward and help connect you with more execs who might be looking for material like yours.

Also, if you haven’t yet, definitely join the conversation in the Screenwriting Lounge: https://www.stage32.com/lounge/screenwriting

You’ll find an amazing community of writers who are also navigating feedback, pitching, and breaking into the industry.

We’re so excited to have you here and can’t wait to see where your writing takes you next!

Hi Susanne Jonsson, be sure to check out the screenwriting lounge and/or start a free Writers' Room membership here: https://www.stage32.com/writers-room !

That's great that you read scripts, Neil Jaye. I didn't read scripts when I started writing, and that was a big mistake! One of the things I struggled with back then and years later was writing action lines. Reading scripts helped me get better at it.

I watched it, after watching The Disaster Artist. I agree with you… brilliant in its own terrible way!

Maurice Vaughan I think reading scripts that were good enough to be made into films is vital.

Congratulations, Neil Jaye! Hope you win!

Hello Neil Jaye nice to meet you ! I am also new to this community, looking forward to connect with everyone, for a better life! of course, in shades of gray....

Welcome to the community, Neil Jaye! Huge congratulations on joining us and hitting the ground running with such a fantastic victory! That’s an incredible way to start your journey here, and I can’t wait to see what you do next.

Neil Jaye Yes indeed it makes for better story telling. I love movies where i end up feeling conflicted because i have some sympathy/empathy for the 'bad' guy/girl. I look forward to hearing more about the "Instrument's Days" or seeing it in on screen some day :)

Hey there Neil Jaye! It's interesting, I was just talking about this very notion of morally complicated characters recently, with the passing of Gene Hackman. I had always admired the film Unforgiven, for which Hackman won an Academy Award of course, as a study in shades of gray characters, in that the sheriff is the villain and the outlaw the hero of the film. Often times that makes for more interesting storytelling!

That's a great choice, Nick Phillips. So many layers to those characters. Just a tremendous film.