The Stage 32 Lounge

You might sight NASA as the overall Government Agency but create your own project group to cover your fictional group.

A fictional department within an existing agency. For example the IMF from the Mission Impossible series is based out of Langley, Virginia which is the headquarters of the real CIA. In the first MI film, that is even one of the key settings.

Also, James Bond works for MI6, but as far as I know the good guys in the "00" section and "Q Branch" are as fictional as bad guys in Spectre.

The titular department in The X-Files also started as a quirky fictional department within the real FBI. In fact, in season 1, episode 1 it had 1 member, Mulder. Scully joins him in the pilot.

My Vietnam wartime script, "Nobody's Heroes" was a 2nd rounder in 2023. I'll spare you and our readers with all the blow-by-blow details in my rewrite. I didn't go through a review by anyone. I've come to the conclusion that a lot of so-called experts are anything but. Still, the rewrite was good enough to reach the semi-finals in 2024. Best of luck to you at this year's AFF.

i would love to collaborate with you

Hi Tajudeen, thank you for reaching out! I'm thrilled that you're interested in my IP slate. I'd love to discuss potential collaborations further. Let's stay in touch!"

Great session today, really enjoying learning through the clips and discussions Evan and all. Ironically realising how much I either haven’t seen in terms of animation, need to catch up on or have forgotten in what I have seen! So glad to have signed up and go on this adventure. And SO very impressed by everyone’s awesome creativity, food for thought, and take aways from these sessions. Looking forward to the next.

Some craft books I have come across that I wanted to share in case anyone would find them helpful. The Emotional Wound Thesaurus A Writers Guide to Psychological Trauma by Angela Ackerman and Becca Puglisi, The Negative Trait Thesaurus A Writers Guide to Character Flaws (same authors) and The Conflict Thesaurus A Writers Guide to Obstacles, Adversaries, and Inner Struggles volume 1 (same authors). Also The Ultimate RPG character Backstory Guide Expanded Genres Edition by James D'Amato

Thanks, Sarah for the "North of North" reference. I checked out some of the trailers and it looks about like I imagined for both my settings and for Sedy, my main character. Now i'll have to atch the series. - John

Amy. Thank-you for your offer of help with Zoom. I'm a very inexperienced Zoomer. I've just been looking into why I'm so behind the pack with seeing videos etc, and worked out I was on some half way zoom window. I couldn't even view the "Chat" panel. And that was where Evan was posting links sometimes. I think I've got that sorted now. And I THINK I may be more up-to-speed this time, but I'd still love to have a test session with someone before the next meeting.

The way it's been so far, I've been wasting time for the class. Evan has been forced to make a work-around by emailing me the links but the email takes so long to arrive, you're all ready to move on before I've seen half the clip. I really have to get it sorted.

While we're developing characters, I suppose most of you already know about this but in case you haven't, these questionnaire's have really helped me understand the characters in my novels and apply just as much to film characters. They're here:

https://www.writingclasses.com/toolbox/character-questionnaire/gotham

Cedric Sanders Welcome, great to have you here.

I like that you’re working across multiple areas of storytelling. That kind of on-set and cross-discipline experience really shapes how you see a story, especially when it comes to performance and tone.

I’m a director–writer, currently developing a feature called Pie & Coffee, and I’ve been in a phase where I’m focusing a lot on emotional clarity and subtext in the material.

Would be interesting to hear how your acting background influences the way you approach your writing especially in terms of character behavior and dialogue.

sure

I think this concept could create a valuable prize package for Movie short competitions

Great question this is exactly where strategy makes all the difference.

Getting your films onto streaming platforms typically involves either going through aggregators, film festivals for exposure, or connecting with distributors who already have platform relationships.

The key is not just having a great film, but packaging it properly strong logline, polished pitch deck, and clear audience positioning.

I work closely with creators on refining their projects and positioning them for opportunities like this, including outreach strategies and industry connections. If you’d like, I’d be happy to take a look at your work and explore how we can get it in front of the right people. Feel free to reach out I’d love to help you move this forward.

Alex Silverscript

Thank you very much for your helpful insights — they are truly excellent. I understand your points very well. As you mentioned, creating a strong logline and preparing a proper proposal can be time-consuming, and it really helps to have someone alongside you to guide the process.

The industry is complex, and sometimes it feels like even if you create something, you may not achieve real success

Find a sales agent, who can sell your content. You need a good poster and trailer and a solid film. Even then, there is no guarantee you'll make $$. Festivals are great to build relationships. In the meantime, while you are waiting on a break, find other ways to generate income, then self-finance projects you are passionate about. This stuff takes time. There is no magic, get lucky route. Just persistence. Best wishes to you!

@muhammadabedbaryal Good question. There are numerous tutorials, courses, blogs, and further information available on Stage 32 with answers to your questions. Head to the Education section as a starter. Real industry pros have contributed hours and hours to these questions. There is nothing like this in the industry. Dive in is my suggestion. https://www.stage32.com/education

Good to know Amanda Toney. Thank you! Come on Wisconsin!

I agree, being a newbie who nonetheless came out swinging (call it that overconfidence that's endemic to newbies), I've now learned to significantly cool my jets lol. I'm focusing entirely on getting as much stuff written down as possible, whether novels or comics or screenplays, without worrying about any of them getting released anytime soon. Basically enjoying my writing as an old partner suggested, reducing the stress of wanting something made right now.

Also I think it's great for creatives to be aware of all the different elements that go into building a career. It's not just about writing a script (which is the best it can possibly be). It's also about learning about the industry. Networking. Making connections and finding collaborators. Creating buzz and momentum about yourself and your work and then building on that. You have to be prepared that things aren't always (or usually!) linear, and that often you won't go in a straight line from the A to B you imagined, and that's ok.

Totally agree with all of this; some really great feedback here. I often tell new screenwriters/producers/directors that actually MAKING ANYTHING is a win. The process of creating and then putting that creation up on its feet is the most valuable learning experience one can have. An added bonus is: you have an asset for your portfolio at the end of the lesson! So, if you're just starting out, don't start fundraising for a TV pilot or an indie feature. Start with a 2-minute short film that you can make for under $500. And then, once you do that short...do another one. When you feel like you've made something you're proud of, move to the next level...and fundraise for a couple of 5-7 minute shorts at $1.5k...and so on, and so forth. By the time you're looking to raise more money, you'll be deserving of that money, because you'll have cut your teeth and gone through the necessary paces.

Great advice Michael Fitzer, Mfa. Get your feet wet, just shoot a project to get the feel for it. Definitely direct a short if you haven't.

Hi Mikhail,

I’m a book editor by profession. I spend most of my time working with writing that already has something working in it, but isn’t fully translating on the page yet. That tends to show up in scripts too, especially in how scenes turn and what they leave behind.

I’m not reaching out to offer anything. I just pay attention when something is this close, and I respect the kind of work that goes into it.

Are you in the middle of something right now or taking time between projects?

Arlane Whitmore

Hello, Arlane!

Thank you for your comment.

I'm currently working on a new project. If I have any questions, I'd be happy to send you a private message