Screenwriting

Hey all,

I'm going over some of the scripts I've written over the years and just realized that I couldn't have done any of it without a good screenwriting software program.

This year, I also used it to write manuscripts for my novels.

Early on, I developed habits that centered around using software so I didn't get caught adjusting the margins. The investment paid off.

Question: Who out there uses screenwriting software and which one do you use?

I have noticed that in the series Andor, evasive techniques are used very actively. Evasive techniques are speech strategies employed to avoid giving a direct answer to a question, to dodge the topic, or to hide information. Here are a few examples.

1. Dodging the Question / Ignoring

This technique involves simply ignoring the question — either by saying nothing, or by shifting the conversation in a different direction.

 Example 1:

 Cassian’s question: “Who are you?”

 Luthen’s answer: “I know all about you.”

 Luthen completely ignores the question about himself and immediately shifts the focus to Cassian.

 Example 2:

 Cassian’s question: “Who is he?” — about Luthen.

 Vel’s answer: “He is something we will never discuss.”

 Vel flatly refuses to answer and sets a rule.

2. Reframing / Changing Context

 Here, the speaker changes the context or frame of the discussion, in order to redirect the conversation in a way that’s advantageous to them.

Example:

 Cassian: “I haven’t agreed to do anything but save my skin.”

 Luthen: “Seems to me you have two choices. Either I drop you somewhere and you start running—or you come with me and help with something important.”

 Luthen changes the frame from “saving your skin” to “choosing between running and an important mission.”

3. Deflection / Redirecting

 This technique is similar to reframing, but is often more direct and aggressive — responding to a question with another question, or shifting the blame / focus onto the interlocutor.

Example:

 Vel: “We’ve been eating roots and sleeping on rocks for this rebellion and now you’ve got a mercenary on board?”

 Luthen: “You're wasting energy. You know I'm right.”

 He avoids the moral / ideological question; instead of answering, Luthen asserts his correctness and shifts the conversation to practical necessity.

Friends, writers — what do you think of this idea? Share your thoughts!

So, this is just a little something fun that came to my mind — a concept for a feature film, a comedy–courtroom drama that I might write later.

Legally, in almost any country, a person can leave their property to anyone in a will, but their debts are transferred by law. But what if we flip this into a criminal–procedural comedy: a man, before his death, leaves all his assets to his family and loved ones… and all his debts to his enemies?

His enemies refuse to accept this and take the case to court, arguing that they don’t agree with the will and don’t want his debts. But his lawyer defends the will, arguing that the man had the full legal right to do this — and therefore all the debts legally pass to them.

The whole story plays as a comedy, while the audience waits to see what verdict the court will deliver. And yes, I’d have to study the law and find the right loopholes, but I think it might be possible to prove that debts can be “willed” too — at least in the world of a movie.

What do you think of this idea? I’d love to hear your opinions!

I’ve realized recently that my writing journey has been completely chaotic in the best possible way. Nothing about it has been strategic or linear or “here are the exact steps to break into Hollywood.” My entire method has basically been: see an opportunity, say “screw it,” shoot my shot, then Google who I just talked to, have a minor heart attack, and keep going anyway. I call it “Chaos Is My Way,” and weirdly… it’s been working.

In the last three and a half months, I’ve gotten a Double Recommend and entered the Lookbook, taken meetings with execs I didn’t realize were that high-level until later, connected with a former Navy Commander who works for a CBS showrunner, gotten a call from a former Navy pilot who did PR for Top Gun: Maverick, had an actress from The Color Purple ask to read my feature, started consultations with execs who develop actual franchises, and accidentally built a tiny corner of TikTok where people somehow are interested in what I have to say. All of this happened while I’m stationed on a NATO base in Sicily.

It didn’t happen because I’m special, or because I knew the rules, or because I had the right connections. It happened because I took action before fear had time to talk me out of it. I said this in one of my videos, and it truly sums up my entire break-in so far: “Ignorance is bliss… until Google almost kills you.” But honestly, that ignorance kept me from getting intimidated. It let me be human, it let me be myself, and it let me try.

So here’s my unsolicited Stage 32 advice as someone who’s still very much climbing: don’t wait until you “feel ready,” don’t wait until you “know enough,” and don’t wait until everything is perfect. Move toward the thing you want the second it appears in front of you. If you shoot your shot and learn who you talked to later, well… same. Welcome to the Chaos Method. It’s messy, authentic, terrifying—and sometimes incredibly effective.

If anyone else has their own version of chaos they use to navigate this industry, I’d genuinely love to hear it. We’re all figuring it out as we go.

In the process of developing multiple screenplays over the past several months, I found myself repeatedly returning to a single, uncomfortable realisation: first drafts are comforting not because they are good, but because they do not demand honesty. They offer a creative safety net. They allow a writer to participate in the act of making something without yet confronting the full responsibility of shaping it. As long as a project remains in its first-draft form, it exists in a state of infinite potential, immune to criticism, structural rigour, or thematic clarity.

This realisation may sound counterintuitive, especially within writing communities I have been to, where “finish your first draft at all costs” is a recurring chant. While finishing is important, the assumed significance of the first draft often overshadows its true role: it is merely the beginning, a placeholder for the work that actually matters. The comforting nature of the first draft lies in the psychological shelter it provides. A writer can rationalise every weakness with the convenient phrase, “It’s just a draft.”

Avoiding Honesty in First Drafts

The lack of accountability embedded in first drafts is deceptively appealing. Weak character motivations can be dismissed as temporary. Illogical plot developments can be excused as placeholders. Even messy, overwritten dialogue can be justified as a necessary step in the “process.” Writers often protect their ego through these caveats.

For example, when a character abruptly changes their decision mid-scene with no dramatic justification, the writer can reassure themselves that this inconsistency will be resolved “later.” Similarly, a plot twist that appears unearned or an antagonist whose motivations feel generic can remain unexamined because the writer has permitted themselves to avoid difficult decisions until revision.

In this sense, the first draft serves as a shield. It lets the writer believe they are making progress without confronting the reality of what the story actually needs.

Second Draft as the Confrontation Draft

The second draft, however, removes these protections. It demands precision, coherence, and emotional truth. This is why I refer to it as the confrontation draft, the moment where the writer must face the story without excuses.

During the second draft, structural cracks become visible. A character who seemed dynamic in the first draft may suddenly reveal a lack of psychological depth. Plot points that felt thrilling during the initial writing pass may no longer hold up under logical scrutiny. Themes that the writer assumed were clear may appear superficial or even absent.

This stage forces writers to interrogate their choices. Why does a character behave in a particular way? What is the causal chain that drives the narrative forward? Are the emotional beats earned or simply inserted for dramatic effect?

Character Motivation Under the Microscope

One of the most striking challenges that emerges in the second draft (I faced) is the re-evaluation of character motivation. In the first draft, characters often function as vessels to move the plot forward. Their actions serve the outline, not their psychology.

For instance, a protagonist might agree to investigate a dangerous mystery “because the story requires it,” rather than because of a clear internal or external motivation. In revision, such shortcuts become impossible to ignore. The writer must articulate what drives the character's decision. Fear? Guilt? Curiosity? Desperation? Without a concrete answer, the story begins to collapse.

This is also where secondary characters reveal their weaknesses. A side character who existed merely to deliver information or push the protagonist toward a specific revelation may become unconvincing. In the confrontation draft, such characters must either be developed fully or removed entirely. This forces the writer to address whether each character serves the narrative meaningfully or simply clutters it.

Plot Logic and Structural Integrity

Plot logic often appears coherent in the mind of the writer during the first draft because they understand the intended trajectory. However, when revisiting the draft objectively, logical inconsistencies become evident.

For example, a sudden coincidence that enables the protagonist’s escape or an antagonist’s decision that contradicts earlier behaviour may go unnoticed during initial writing. But in revision, these moments disrupt narrative flow and raise questions about credibility.

The second draft demands structural integrity. This involves evaluating transitions, pacing, the progression of stakes, and the cause-and-effect chain that governs the story. A weak midpoint, an unclear climax, or an ending that resolves too easily all become visible. Revision forces the writer to build a coherent architecture rather than relying on instinctual writing alone.

Rewriting as the Space Where Writers Evolve

Rewriting is where writing matures. It shifts the task from merely generating material to shaping it with intention and precision. Revision demands a higher level of critical thinking, technical skill, and emotional honesty than drafting. It pushes the writer to confront their weaknesses and refine their strengths.

This is why the second draft feels like a battlefield, as it requires discipline and resilience. But it is also where the writer develops the most. The transformation of a rough idea into a coherent, compelling narrative happens not during the initial act of creation but in the iterative process of refinement.

It’s time consuming but I’ve created a master list of companies and managers I’d like to reach, which script/s they’d resonate with and why, notable films, 2 line personalised email hook, contacts - that last part is the grind. If I contact/meet them I add it there to keep on track. Anyone I come across in trades (top 10 producers etc) I’ll add to that list of there’s fit. ChatGPT (boo hiss) is fabulous doing this kind of research. Yes you have to fact check but it gives you a place to start. Comment if you want me prompts. Re staying focused when it’s slow: that’s a Work In Progress. I’m getting more into directing shorts to build my skills. I’m at a stage where other emerging producers/editors etc ask if we can collaborate on shorts. It keeps the relationships and writing brain developing. Note: I wish I was more focused!

Who's joining us for the Ethan Erwin Q&A on November 19th at 11am PT?

Producer behind Sherlock Holmes, The Nice Guys, and Book of Eli ($1.5B+ box office) is breaking down how projects get made—and taking YOUR questions live.

Bring your best questions. This is your chance to learn from someone who's actually done it.

Register free: https://www.stage32.com/education/products/from-script-to-screen-how-pro...

Hello all! In the spirit of collaboration and community outreach, what are your pitching preferences? What do you use to make pitch decks? Do you pitch stories with yourself attached as an actor/actress? How does that experience differ from stories with no talent attached? How do you present the budget side of things? What’s something you know you need to work on- Pitch Wise? Etc.

I hope everyone feels free to share what has worked for them. Personally: I really like Canva for PowerPoint design, but I’m on the shyer side for talking so I know I need to ramble less- since it’s a nervous habit.