Screenwriting

Hi, Tony Sterago. What I do is develop the A Story, then the B Story (the love story, a broken relationship, etc.) and the Subplot(s) stem from the A Story.

Hi Tony! Have you signed up for the writer's room yet? You can sign up the first month for free.

https://www.stage32.com/writers-room/portal

If you're comfortable sharing a bit about your world and characters in the lounge for the writers room, maybe we could bounce some ideas around.

Elle no I haven't i didn't know i could. I am still learning this site and all it's stuff. you have to pay for the access to that room?

I’ve always found it interesting when people assume that art is a direct reflection of the artist. It can be true to an extent, but as writers we often build worlds far removed from our own lives. We don’t have to live something in order to explore it.

Vince Gilligan isn’t a ruthless killer, yet he wrote Breaking Bad.

Cormac McCarthy didn’t need to be a warlord to write Blood Meridian.

Sometimes we write what we fear, what fascinates us, or what we’re trying to understand.

Curiosity can be just as powerful as experience.

How do your personal experiences influence your writing? Do you stick close to what you’ve lived, or do you gravitate toward worlds completely different from your own?

Leonardo Ramirez 2 yea, it's like every two years when he's in between movies, some article or soundbite comes out with anonymous studio sources or even worse a podcaster quoting anonymous studio sources bashing the fact that his movies "don't make money" for the studios. it's happened like 4-5 times in the last decade. and while a valid criticism, because the majority of his movies are in the red for the studios, they are still literally some of the most popular and talked about movies every year he releases one. thus, it's one battle after another for the guy. he makes great movies and has become a beloved director, but still has to squabble with studio heads because they aren't automatic profit machines

Both Luis García. "The Jupiter Chronicles" is a steampunk space-opera. It's a setting I haven't (obviously) lived. The poverty and single-parent setting that the protagonist's story starts out in is one that I have. In "Haven of Dante", the protagonist is an heir to an ancient legacy of fighting an "Aristocracy" of evil embedded in all levels of society. In the story, she is assaulted by a member of that society. The latter part of that story I took from a similar incident that my wife experienced as a way to inspire hope in others. People that meet my wife all say the same thing, her positivity is infectious - you'd never know she experienced such a horrific ordeal. Writing what we fear is putting ourselves into our writing and that's the heart of what I was getting at. Hope this helps friend.

Gotta love those anonymous sources Pat Alexander. It adds to that belief that repeating a lie over and over makes it a truth.

This is a great thread Leonardo Ramirez 2 I write sci-fi/fantasy, and for something completely different recently completed a psychological thriller. I always look for the light and the joy that can come from surviving difficult experiences. I'm sure there's a part of me in every character I write, but they are mostly composites of people I know, have met, even briefly, and character traits I admire, or despise. My observations of how people behave and relate to each other in different environments also feeds in to building a rounded character.

My thriller, Darke Manor, was a different experience as it was inspired by my own life, growing up with a narcissistic mother who groomed me from childhood to do exactly what she wanted. After her death early last year, writing the script was cathartic as it helped me process what had happened to me and to think about how to move forward to become the writer I've always wanted to be!

I don't think I've written about taboo subjects, Luis García. Thanks for the idea.

Thanks for your comment!

Even if it hasn’t shown up in your work yet, I’d be interested to know what kind of themes you would explore if you ever decided to push into uncomfortable territory.

You're welcome, Luis García. I'll give it some thought.

You're welcome, Shayla Booth. Great job again! I hope you sell this script!

First, congratulations on finishing your very first screenplay, that is a massive accomplishment in itself, and being proud of it is the most important part. The fear of sharing is completely normal, especially with a first script. Remember, feedback is a tool for growth, not a judgment of you or your voice.

First of all, congratulations on completing your first script that’s truly an amazing achievement and I really admire you for it. It did take me some time to read since English isn’t my first language, but the dialogue genuinely captivated me, which really shows the strength of your writing. I truly wish you all the success and the best of luck in your journey

Hi Shayla! Congratulations on finishing your screenplay! Great job on that AND for posting this up for people to see, despite being nervous. That's a big step, I know.

For one thing, the story is interesting and the characters have such rapport between them.

The story there about the dog splashing in the water made me smile.

I can see a touch of exposition and deep internal thoughts that read more novelistic than screenplay, but that happens a lot in first drafts anyway. However, for this to be the first screenplay you have written ever, even that isn't as heavy as it could be. So I wanted to point out the good job on that. You'll catch those bits that crept in on you during rewrites and edits.

Your dialogue is good. Each character has their own "sound" while still keeping that familial similarity that makes it both readable and believable. I feel like the dialogue here is your biggest strength on the page.

All in all, this is a good start! Is there more?

What is Nari barking at outside? I need to know.

Hey! I just finished reading your script, and first of all I want to say this: you clearly understand the fundamentals of screenwriting. The formatting, pacing, scene descriptions, and transitions show that you’ve already got a solid grasp of the craft — especially considering this is your first screenplay.

That alone is something to be proud of.

As for the story itself, I’ll be honest in a friendly way: this isn’t the type of genre or tone I usually write, so I’m seeing it from an outside perspective. Because of that, I found it a bit hard to understand exactly what emotional tone or thematic direction you’re aiming for in the long run.

Right now, the family dynamic feels warm and wholesome, but the characters’ personalities aren’t fully defined yet — they feel a bit neutral, like they're waiting to show who they really are. That’s not necessarily a bad thing, especially in an early draft; it just means there’s a lot of room to deepen them and make their voices more distinct.

But again, the foundation is definitely there. You have structure, atmosphere, clear action, and you build tension effectively — that moment where everything goes quiet after the bang works really well. I genuinely think you’re off to a strong start, especially for a first script.

If you ever want to exchange loglines, concepts, or even pages later on, I’d be happy to. No pressure at all — just good writer-to-writer conversation. : )

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.

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.

I do, Geoffroy Faugerolas! I'm excited about this contest!

Yes!

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.

Adam, this is how to make a pitch resonate. Clearly you know your subject and can expound on its entertainment value. With such an engaging opener, "What Stories Owe Us," I can't imagine why it would not capture the attention of creative management (especially in your genre), as well as creative minds open to entertainment’s changing landscape. Seems I’m right, your enlightening views sparked lots of feedback.

Zarya do you have a character preference from Red Dwarf?

Thanks to everyone who answered my question. I just created a Word fact sheet with the help of AI about characters and stories new to me. Let me know if you want me to share. I tossed in a few that we all know too.

As a previous development exec, I spent years training myself to watch as many on-air shows as possible, and now it’s such a habit that I can’t break the routine even if I try. Part of the job was making sure I always knew what was already out there, what audiences were responding to or rejecting, and, maybe most importantly, having my own thoughts on why something worked or didn’t work. That awareness often helped me position our projects for buyers, spot shifts in audience trends, and keep an eye on rising writers, directors, and actors who might be perfect for something we were developing.

I also make myself watch across genres, even when something isn’t naturally my taste. Prestige dramas, procedurals, sitcoms, YA, limited series, absurd comedies, genre pieces, thrillers, international projects, animation, anime, even unscripted, I try to study all of it. And even when I don’t like something, or I’m not the obvious audience for it, I still look for what does work and why it resonates for so many people. That mindset has ended up being one of the most valuable parts of my toolkit.

Because of that, I’ve collected a long list of favorites over the years. Some of the shows I think are exceptionally well written include: Buffy the Vampire Slayer, Band of Brothers, The OA, Orphan Black, Arcane: League of Legends, Attack on Titan, Dark, Battlestar Galactica (2000s remake), The Haunting of Hill House, Halt and Catch Fire, Lost, Money Heist, Silo, From, Watchmen, Hannibal, Dark Matter, For All Mankind, Never Have I Ever, The Marvelous Mrs. Maisel, Outer Banks, Malcolm in the Middle, and Boy Meets World.

That's a great question, and Black Sails is a perfect example of stellar writing. It's impossible to watch everything, but studying a few shows for their specific strengths is incredibly valuable.

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