Oli Veyn: Screenwriter, translator and author in Utrecht, Netherlands.

Hi Oli. Yes, let's connect and talk about your fiction work. Great to meet a fellow Dutchie through here! Shoot me a message with your contact information and we'll make it happen!

Christiane Lange, I love Vangelis' introduction! One trick I like when dropping a string of character details on the page, if they are significant, of course, is to include them in the action, like this:

"A chubby guy walks into the room, smiling contentedly. He's no Brad Pitt, but he's well-groomed, wrapped in a thick bathrobe. He heads for the kitchen, and his phone rings. As he picks up, we see a large gold signet ring. He looks at his manicured nails and scratches his balls."

It helps break down long, tedious enumerations of adjectives and kicks up the action in a wistful style. As for your disillusioned cop, there is no mention of this. Maybe a simple word or two would give an idea:

"A couple of junkies is breaking into a car. Panos eyes them with a jaded cop look that has seen it all before. He pulls out his phone to dial, changes his mind, and walks on."

Just my 2 cents. :)

Lewis Martin Soucy When Panos is introduced, you don't know yet that he is a cop. It becomes evident a page later.

Christiane Lange got it! ;)

I recently watched the series Emerald city at Amazon Prime. The lack of character development of the protagonist is where I stopped watching. There is a romance, risking both their lives to safe one and the other, but then at a certain point she is offered to return home and she does not hesitate for a second to take the chance (ofcourse she doesn't), but this felt really unnatural to me and took me right out of the story. If you don't have authentic characters, if their actions or motives are not in line with the previous scenes I am lost. So for this example it was the screenplay, but also the scenery felt a little bit weird as everybody knew it was shot in Barcelona. It did not feel authentic, as too much involvement was made to make it a succestory. For the man in the high castle it was the speed, it took too slow to tell the story and I left, because I had the feeling that a story that would fit in a movie was told in many episodes and seasons. I didn''t have the patience for that. So this is again screenplay. More examples are, wrong casting (City of Bones), too much diverting from original plot (Insurgent/Allegant), too many infodumps, but most of the time it is the screenplay/plot/dialogue.

HOLY COW! *Please know that I actually curse like a sailor, so I'm keeping it PG for the sake of professionalism.

Now THIS is a lengthy discussion! Give me a minute to read and respond LOL!

Hi, Karen. It’s been a while since I’ve had a chance to watch a Roundtable so thank you so much for sharing. :) Well, according to those who are sitting at that table, the overall, broad-stroke, quick answer to “where does a bad movie go wrong” is the screenwriting and/or the story, the marketing, and/or too much of a rush to finish a project. For me as an audience member, it’s the marketing. I love film and I’m always interested in the filmmaker’s creative intent, far more so than any imposed outside expectation or interpretation or opinion. So, bad marketing that sets up a false expectation or a false representation or a skewed notion of what the film is or what it really is about is very damaging. With the thousands of decisions that are made in the making of a film and the many hands involved working on it—all the things that could go wrong—it’s amazing movies get made at all! ;)

So true, so much greatness to soak up! Thank you for your gratitude! Let us know what you think of the scripts once you have read them!

It's wonderful to have a collection of inspiring screenplays, to keep me going. Thanks very much, Taylor at Stage 32 !!!

Of course K Kalyanaraman, so happy to help! Thank you to Stage 32-er Alan C. Baird for finding all of these great scripts!

Don't walk with the crowd, think different, act different and be the exception. I believe everything is possible if you truly believe in it, work hard for it and put your heart and soul in it. Good luck.

Rod - I'm retired...I don't do that sorta stuff no more and if I did; I'm pretty sure you couldn't afford me. There are others - here on S32 and elsewhere - who are quite capable of providing you quality, professional feedback/notes.

Yes, Rod, you can sell a script without an agent, but there are fewer doors open than writers who have them. Don't let that stop you! Find the producers/production companies which accept "unsolicited" submissions. I know Zero Gravity Productions does, and many others. Also, you can do the Pitch Sessions here on S32. To find those and reserve a spot to pitch your script (in writing or via Skype) just look under the Script Services drop down menu. Yes, each pitch costs $35, but you'll be getting your work in front of producers who you'd otherwise not have access to without an agent and who will give you feedback on your pitch! Best of luck!!

Congratulations Oli!

Congratulations!!!

Yess, how awesome would that be. Still learning the skills of screenwriting, so I think it takes a few years to transform the novel into a script. Maybe I'm lucky and find a screenwriter to work with ;) Never stop dreaming.

Dear Madeline, nice to meet you too. No scripts, only books. Still in the learning proces of screenwriting. It is totally different from novel writing. And you?

Hi Marc, greetings back from The Netherlands