Screenwriting

Congratulations on winning, Tony! Congratulations, everyone who entered and everyone who placed!

Congratulations, Tony Yancey II for your winning screenplay!

You were right up there James Tuverson ! Congrats to you as well!

Congrats Tony!

congratulations Tony Yancey.

Thanks for sharing this, Ehsan Rahimpour. I love writing the Climax. It's the funnest part of a script. Sometimes I'm not 100% sure about the opening scene or ending when I start the script, but I make sure I know the Climax before starting the script.

You're welcome, Maurice Vaughan. That’s such a great approach. The climax is where all the tension and payoff meet, it’s pure storytelling magic.

Thank you very much Aparna Pasalkar it’s absolutely a global emergency.

You're welcome Marie and if you need any help/assistance with global content for this subject do let me know

Love the true spark in the middle of the night. One never knows when inspiration will hit, usually at the most unlikely, unguarded times. Congratulations on your breakthrough.

Thank you so much Aparna Pasalkar

That’s true Jack Binder . I actually dismissed it the first time but knew better the second time .

Hello @johnbranagan - My suggestion would be to take the win and keep moving forward. There are too many reasons a project might not be picked-up beyond your control: company finances, strict criteria for acquisitions, personal choices, etc. A bench of positive affirmations for your work and pitch is good justification to persevere - the heart and soul of this business. Best of luck in your endeavors.

Hey John - if it's any consolation, I pitched 2 weeks ago, and still haven't heard back hah! The wait is killing me, but it is what it is!

For me, a win is when an executive asks to read my screenplay. Then I know the pitch really worked despite the score and I get feedback on what really counts, the screenplay itself.

So many planets need to align for a studio to take on a project. It almost needs to be no brainer with prior success, all the rights, funding, politics and most importantly, need for a project.

In the meantime well done for getting your foot in the door and getting to pitch! I'm still working on that step.

Your bio says your firm looks for "bold voices and incendiary material." What do you mean by "incendiary material"?

Yan Ju Zeng If you're looking to star in it, that will make it significantly more difficult when it comes to packaging. Indie films rely on star power to get financing. That said, if you want to star in your own work, go shoot it yourself and put it on YouTube a la BROAD CITY. There is no barrier to entry anymore. Go shoot it low budget or even as a proof of concept.

Tania Cárdenas Paulsen You don't need a "portfolio" necessarily. You really just need at least two scripts that are finished, rewritten, polished, and ready to go.

Banafsheh Esmailzadeh When you read all day long, everything kind of blends together after a while. The same kinds of stories are told over and over. By "incendiary" I mean things that stand out and are memorable and not boring!

Jon Hersh thank you, happy Thanksgiving.

Here are some of my top education recommendations for screenwriters:

How to Write and Pitch Your TV Animation Script: https://www.stage32.com/education/products/stage-32-2-part-class-how-to-...

The Secrets to Becoming a Pitching Ace: https://www.stage32.com/education/products/the-secrets-to-becoming-a-pit...

How To Write A Query Letter That Gets You Past The Gatekeepers: https://www.stage32.com/education/products/how-to-write-a-query-letter-t...

How to Write the Perfect Plot Twist: Thriller Screenwriting Essentials:

https://www.stage32.com/education/products/how-to-write-the-perfect-plot...

Learn How to Develop Your "Brand" As a Screenwriter: https://www.stage32.com/education/products/4-part-class-how-to-develop-y...

How To Break Story Using A.I.: https://www.stage32.com/education/products/how-to-break-story-using-a-i

How to Write Subtext in Your Screenplay + 3 Writing Exercises: https://www.stage32.com/education/products/stage-32-4-part-screenwriting...

Screenwriting Class: How to Rewrite Your 30 Minute TV Pilot:

https://www.stage32.com/education/products/stage-32-4-part-screenwriting...

Hi, Pam Traynor. I don't think a script is ever perfect. I suggest rewriting your first script until it's in great shape though, and I suggest getting feedback on it. Stage 32 has feedback services (www.stage32.com/scriptservices).

So excited to teach this lab again and dive into different worlds in time and space! Death by Lightning debuted on Netflix as the #1 show globally and top 10 most binged in the US. The Gilded Age continues to be one of HBO's most successful series, getting 5 million US views for the season 3 finale. Boots, set in the recent but not-too-recent past is hugely popular with a young audience. The industry is turning around, but you need to start working on your series NOW if you want to be ready when the pendulum swings!

Anna, we’re so lucky to have you host us! Thank you as always for your insight. Email me at edu@stage32.com to sign up or learn more. The lab is 20% off today for our Black Friday sale, discount already applied!

Learn more about the lab here: https://www.stage32.com/education/products/stage-32-8-part-screenwriting...

Bravo!

Hi, Georgette Skolnick. I'm about to check out your logline.

I would love a couple of rewrite labs. Especially if you're building on a script that's gotten looked at or been asked for- it would be great to have labs where you can then bring it to the next level.

Hi, Priya! This is awesome, Thank you so much for sharing this! I really appreciate your thoughtful approach. I’m adding your suggestions to my list, it’s a great way to streamline the rewriting process and save time while keeping everything structured and polished.

Hi, Cynna! Thank you so much for sharing your idea! I’m adding it to my list, it’s such a great suggestion. I love the idea of rewrites that help writers bring their scripts to the next level. That kind of support can make such a difference in helping a project grow and shine.

I'd actually like to see labs deep diving into the unwritten parts of the script - subtext, tension, rhythm as a means to drive emotion, tone, atmosphere. Utilizing language in emotional and psychological rhythms for emotional clarity. I'd like to see material that elevates writing beyond correctness into greatness.

Hi, Elle! This is awesome! Love the idea...bringing this up to the team to see how we can incorporate labs that dive into subtext, tension, rhythm, and the emotional and psychological layers of storytelling. Appreciate you sharing this thoughtful insight!

Hi, Salisu Abdullahi. I’m a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Introduce Yourself Lounge to the Screenwriting Lounge since it's about screenwriting. You can talk about this in your introduction post, but you need to introduce/reintroduce yourself to the community. You could check out other posts in the Introduce Yourself Lounge to get ideas for your introduction post. Let me know if you have any questions.

Phone Booth is one of my favorite Contained Thrillers. It's a unique Contained Thriller because it's in a phone booth and everyone's watching the protagonist.

"At what point does a limited setting stop serving the story and start feeling repetitive or claustrophobic for the audience?" A Contained Thriller can start feeling repetitive and bore the reader/audience. I like to add exterior shots of the location and add exterior scenes so the story doesn't feel repetitive. I also like to have the protagonist/characters leave the house, building, etc. to go outside sometimes, like at the midpoint of the script.

"What's the smallest space you've successfully used for a full feature-length script, and how did you keep the visual variety and tension high?" I've set a script in a room (can't remember if it was a bedroom or living room). I keep the visual variety high by using objects and giving the monster/antagonist an unique appearance and outfit. I keep the tension high by adding conflict, dilemmas, stakes, a ticking clock, and twists.

Good question. Just watched 'The Long Walk' which translated into 'The Long Watch'. At some point - the walking and talking go to be too much for me. Perhaps aim for 75 pages and find a few side locations to mix it up!

"Hi Stephen,

That is a great point about The Long Watch (or The Long Walk). You nailed it—that feeling of the setting becoming repetitive is exactly what I'm trying to avoid with The Venice Glass House.

I absolutely agree that the solution is to aim for a tighter page count and find those strategic side locations to maintain variety. I'm taking your advice to heart!

I noticed you have fantastic credits, especially on thrillers like October Burn and your production work on A&E and PBS. As a writer/producer with a discerning eye for story and production, I'd love to hear your thoughts on my specific logline for The Venice Glass House—it's a contained thriller that I've designed for the micro-budget space, keeping production logistics in mind.

Would you be open to a quick Direct Message exchange or an email to see if there's any creative synergy between what I'm writing and the kind of high-impact, independent work you produce?"

I know this is a little off-topic, but ep. 5 of All Her Fault, which I saw last night, is an example of how a screenwriter can use the midpoint of a series to really confine the action and concentrate on character dynamics - has anyone seen it? - it's intense! - and the screenwriting (Megan Gallagher?)—in this episode especially—is top class...