Screenwriting

Sure. What you need to do is get John Truby's book "Anatomy of Story". I have never come across a better book for grasping what should be there on the page of a professional salable script. I'm sure you can find it on Amazon or Ebay. You can DM me but I am a complete outsider. I don't know a single contact in the industry and it's possible I'll never write again since I have never gotten an interested reaction after many, many submissions on Stage 32.

hey I'm not looking for contacts I'm just looking for people to connect with who can share ideas and give me insight to things that I have no insight about for years I've wanted to do this but life just didn't have it in the cards for me so I'm 49 years old and I'm getting an opportunity to look at the road not taken I'm basically a 10-year-old who always wanted to be an astronaut but ended up working on an assembly line until he was 49 and then one day just walked onto a space shuttle and said let's go with no knowledge on how to fly the space shuttle on any button on the stud shuttle does he just has a basic idea of thrust and gravity and a basic idea of physics and an absolute love for the seat that he sitting in but still has to be back to work in 3 hours keep supporting his family but he's going up in that shuttle so I just need friends and mentors that have a basic idea and can deal with the fact that most of the time I'm talking to text and I have no grammar in this ability and sometimes the microphone in the semi truck doesn't pick up what I actually say

Understood. I am in that bort too. Get Truby's book. You won't regret it.

Make your own film, Tony. Post it and your writing will improve amazingly. You can do it with a zero budget.

as much as I'd love to do that I have no training on film angle no equipment and absolutely no idea where to start a science fiction Space movie while working 65 hours a week as a truck driver starting at 1:00 a.m. Central and getting home at 3:00 p.m. central I just don't have the skills necessary to make a film as much as I'd love to

I’m treating every day like the general meeting is already on the calendar. My “one step” right now is knowing my story inside and out — rereading the script, tightening the pitch, and living with the characters until I can talk about them from the macro (theme and arc) down to the microscopic (why they choose each action). Basically: breathe, eat, sleep the story so I’m ready when the room opens.

Currently, I'm writing a scene for my biblical, historical script 'All the Way to Damascus '.

Hey, Maurice Vaughan. Thanks for asking. Now, I am polishing The Misstep and waiting for my one-on-one with Mahtub Zare, the Nobody Wants This from Netflix writer, to have notes about the Soul Mated rom-com. My next step will be to jump to pitch sessions :)) And you?

hello Maurice Vaughan

I'm Writing my script "The Silent PFC War"

A big redraft that I am kind of nervious yet hopeful about. I am trying to be less perfectionist as I think I dabbled too much on too many small details in previous scripts and this extended the writing process.

Self produce / self finance your first project. Build some pedigree and go from there.

Thanks, Stephen. jim

You have 6 completed scripts and you've made the finals in several competitions yet you're reluctant to participate in the lounge? As far as advice is concerned, surely you just keep plugging away... says someone who only has one (series) script currently and is unlikely to enter any competitions.If I was younger I might, but I feel more inclined (at my age and stage in my writing career) to hope that strenuous pitching is the best route to production.

Some shorts have 20 million plus views on youtube. That writer/ director will then make a full feature, and distributors will grab him.

Make your own film; write, direct, produce SOMETHING. Prior to SETESH 2025 I had never directed or produced a film. It is a full feature. With a great phone , today, you can make a film. People want to SEE your words on a screen.

If you say you never did it before, I can tell you what to do.

while you await assistance don't be standing still...push forward

Thanks everyone for the lovely comments, I did end up posting the full pilot screenplay. It has a few mistakes in it, but those will be improved :)

You're welcome, Shay Booth.

Shay Booth it's a nice script

Shay Booth You have more confidence than you give yourself credit for since you were brave enough to put yourself out there with this post. that took guts. You are doing a fine job!

Oooh, Korea vibes! Does this story veer into the supernatural? Korean folklore is pretty interesting.

Hey I’m working on a Pilot called WorstLake High. It’s a coming of age teen drama and I wanna see where it can go. I’ll give a little hint it’s like “John Tucker Must Die” mixed with a little “Euphoria”

Welcome, Shay. My keys are still warm from a commissioned script adaptation of a novelist's science-based thriller. Now, I'm just finishing off the last few scripts from writers that need my feedback before I break for the holidays. How about you? What are you working on?

I’m an indie screenwriter from Bangladesh, currently developing a thriller packed with suspense, centered around a psychopathic serial killer. My goal is to craft the screenplay in a way that allows the director to execute it on a limited budget while still achieving the strongest possible cinematic impact for both the director and the producer.”

I just started a drama called Pride involving college students. It hasn't been a very productive year I'm afraid to say.

What are you writing?

Always looking for paid writing work. It is a little slow these days. People are visiting friends and relatives.

....

Luis García im currently developing a short script about a transgendered woman who must grapple with reappearing as her male identity after she learns that hormone treatment will no longer be covered by her insurance. it’s titled TRANSitioned.

I write about unsolved problems, like the Doomsday Clock, health reform, police violence, etc. that are not morally "taboo" but psychologically "taboo" from human denial and tribal silos causing those subjects to be avoided & remain unsolved. So my characters try to deal with them, often blended with dark humor to try to break through denial.

I explore some taboo topics as I lean into horror and absolutely dive into extremely dark territory, but there are some I stay away from showing on the page and leave to implication. I think that comes more from an internal reason versus how I feel an audience/reader would react. There's a fine line between exploration and exploitation depending on what topic you're dealing with. If you do deal with something taboo or heavy, it needs to be purposeful and not just to shock. For me, if it doesn't elevate a character or the plot, then it has no place.

Hi Luis García, It's a pleasure to connect with you. I am a Stage 32 moderator in the lounge, and I only want to advise you, if you can, to add a profile picture. That will open more of your networking connections and will make us more engaging to answer your publications. If you can do it, just do it! Like Nike ads :))

I've mentioned before that I am currently watching and enjoying the decade-old series Revenge and the plot twists in that are breathtaking - several per episode - in the context of the series (the first 2 seasons at least; I'm saving the remaining seasons till the New Year while I catch up on a few contemporary shows) it hardly matters that they feel somewhat forced because that's part of the point - I'm just as happy watching a slow European feature with a straight and narrow plot line as long as it's well written and acted

Thank you Sandra Isabel Correia, yes, Finding Elpis is a real milestone indeed, and I had to fight like hell for it to be its own universe because it wanted very badly to be cannibalised by Petal xD (I compromised by echoing some of Petal's strengths like existentialism, the significance of names, duality, its grandness, and just a little bit of its surrealism). One other thing I liked putting in Finding Elpis that I started in Petal was text clues that look like typos but they're not, and it was very tricky finding a way to do it in a screenplay (like "the light" and "The Light" are two completely different things). One more twist I like that I'm not sure I did right in the beginning of BoFS in particular is "one dialogue, two conversations." Those are lots of fun and can lead the audience to go "wait a second, WHAT?" if done well.

You are welcome, Meriem Bouziani :))

Michael Thorn, I love how you frame that; sometimes the joy is in the excess, like Revenge with its relentless twists, and other times it’s in the restraint of a slow European feature that lets the writing and acting breathe. Both approaches have their own kind of satisfaction, and it’s fun to move between them depending on mood. Saving the later seasons for the New Year sounds like the perfect way to savor the ride.

Banafsheh Esmailzadeh, I love how fiercely you protected Finding Elpis as its own universe; that determination shows in the way you’ve echoed Petal’s strengths while still carving out something distinct. The text‑clue device is brilliant; those subtle shifts like “the light” vs. “The Light” can carry so much meaning, and I admire how you’ve found a way to translate that into screenplay form. And “one dialogue, two conversations” is such a clever twist; it’s the kind of technique that makes audiences lean in and question everything. You’re really pushing form in exciting ways.

Congratulations on your script making the Finals and getting offered a Literary Purchase Agreement, GJ Harvey!

I wechat you just now.

Hi, Michael McDermott. I’m a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Acting Lounge to the Screenwriting Lounge since it fits better here. Let me know if you have any questions.

I've been getting script ideas by combining movies.

Thank you. This is day one of what I hope will be a long, enjoyable, and perhaps profitable experience.

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.

Hi. I'm Cecile George from Trinidad and Tobago, and I entered my feature script After 12.

After 12 is a female-driven psychological feature with magic realism and adult situations, sort of Promising Young Woman meets Pan’s Labyrinth. The title comes from a local saying by pedophiles that “after 12 is lunch”, meaning that a female is fair game for sexual advances once she turns 12.

A sexually abused teen summons an African protector deity to help stop her incestuous uncle who’s grooming her naive younger sister for prostitution.

14-year-old AYLANA REESE has been repeatedly raped for almost two years by her mother’s half-brother BLUES, whose bar Aylana reluctantly helps out at under her mother’s orders. Blues tries to reduce in his gambling debts by prostituting her to his creditor who also has an affinity for underage girls. But the MOKO JUMBIE, who is Aylana’s African ancestral spiritual protector, helps her to escape and she vows never to let Blues near her again.

Struggling to overcome her trauma, Aylana rejoins her late father’s indigenous martial arts troupe, now run by AMIT DAS, a concerned former student of her father. Amit turns out to be the only other person who can see Aylana’s Moko, but societal conventions and his own caution restrict what help he can fully offer. Aylana is also desperate to keep her needy pre-teen sister LISETTE away from Blues, afraid that he will start preying on her as well once she turns twelve in a couple of weeks. Like their mother, Lisette adores her Uncle Blues and won’t hear anything against him, even from Aylana.

But when their mother's impending migration requires her to leave the girls in Blues’ guardianship, Aylana has to make some hard decisions. And after a huge fight that drives Lisette into Blues’ clutches, Aylana is forced to again seek the Moko’s help to save her sister.

After 12 was a quarterfinalist in both the 2023 Nicholl Fellowship and the WeScreenplay Labs Competitions, a top 7% discoverable project on the now-defunct Coverfly.com, and has received a double-recommend from Stage32.

I personally know many people who were sexually abused as children. Since I work in Trinidad's heritage industry, I wanted to use local culture and folklore to illustrate the terrible things that can happen when people are consistently denied agency over their own bodies, and how folklore, properly purposed can help our youth battle against the darker aspects of society.

I'm excited about bringing After 12 to the screen because I think it's a film everyone needs to see, especially teenagers. Wishing everyone the best of luck!