Authoring & Playwriting

So, since I started my writing journey various people have assumed I’d like to write screenplays based on my books.

Honestly, the idea doesn’t appeal to me at all! I feel too ‘close’ to the work, and I’m unbothered by the idea of someone dissecting my work and adapting it in ways they see fit. Case in point - my favourite film is ‘The Shining’. Quite.

I can just about imagine working in collaboration with somebody else, but think I’d get in a state if I tried it alone.

How do you feel about other creatives taking on your work and reinterpreting it?

Are you excited, or horrified, by the prospect?!

Hi everyone!

I’m a writer and illustrator working on a near-future sci-fi drama centered on emotion and human connection.

I’m currently exploring how to keep a strong emotional core while developing a high-concept world.

How do you personally balance character intimacy with larger thematic or societal elements in your stories?

I’d love to hear your approaches.

Hello everyone.

I’m currently working on my screenplay “The Diary and the Watch”. It’s a historical drama about a British industrialist, with the story unfolding against the backdrop of the Titanic disaster and the First World War. My aim is to build a fictional narrative on top of real historical events, and along the way I’ve often run into moments where an idea simply couldn’t be executed because it didn’t fit the logic or the actual history. I’ve had to rethink situations, adjust the plot and find solutions to those narrative challenges — especially anything connected to the war and the front. As a result, the early draft is very different from what the story is becoming now. That didn’t upset me — quite the opposite. It’s genuinely fascinating to revisit certain characters and their actions: at first you judge one of them, and then you realise he couldn’t have acted any other way.

Alongside this, you end up exploring the inner life of your protagonist and the way various historical events shape him — the sinking of the Titanic and the war. How all of this affects his life and the choices he must make between personal feelings and duty. Who he was at the beginning and who he becomes by the end. It’s almost like writing two different versions of the same man. An important part of the research for me has also been understanding public attitudes towards homosexuality in early 20th-century Britain, and how those social norms restricted the protagonist’s personal life and the choices available to him.

I’d be really interested to hear whether you’ve written books or screenplays based on real historical events, especially wartime stories. How did you shape your idea to fit the actual history? Have you ever had to change plot points or adjust the chronology so you wouldn’t break historical logic? And how did real events transform your characters? And how did you experience those moments with your characters?

Hey, Writers!

If you enjoy thinking about how you write just as much as the writing itself, this first video from Brandon Sanderson’s 2025 lecture series is a fantastic kickoff. It’s an introductory talk, but it quickly becomes a deeper exploration of what it means to approach your craft with a professional mindset.

Watch the lecture here: https://www.youtube.com/watch?v=MEUh_y1IFZY&list=PLSH_xM-KC3ZvzkfVo_Dls0...

In the lecture, Sanderson breaks down:

• His philosophy for teaching writing

• The difference between discovery writing and outlining (and why neither makes you more or less of a “real” writer)

• How to understand your natural process so you can support it rather than fight it

• What it actually means to write with the long-term goal of becoming a working professional

• The mindset shifts that matter far more than genre, background, or education

One of the most helpful parts is how he frames the idea of professionalism — not as publishing credits or sales numbers, but as how you treat your work, manage your time, and refine your process. It’s a grounded, approachable way to think about leveling up.

Even if you don’t write sci-fi or fantasy, the core ideas apply to any writer building discipline, clarity, and momentum.

Drop one key takeaway in the comments below!

I'm a retired traditionally published non-fiction author (and current full-time artist) so I know the publishing business, but I've written a children's book that I'd also like to illustrate. I'm aware that the LONG held rule was that agents/publishers don't want to see illustrations from the author - just the text. I'm wondering if anyone knows if that restriction might have loosened, or if there are kids' books agents/publishers happy to look at both text and art. Thanks in advance for any input.

I’m always curious how other writers navigate this time of year — some people slow down, some ramp up, and some use the season to reset for the new year.

Do you try to keep your usual writing routine through November/December?

Or do you intentionally step back, refill the creative well, and come back fresh in January?

Would love to hear how you handle it.

Hi everyone!

I’m currently developing a psychological thriller called The Voice of Silence.

The concept is already well developed, but before I move deeper into outlining and refining the structure, I’d love to gather some craft-related insight from writers experienced in character-driven thrillers.

The story centers on a burned-out detective who investigates what appears to be an accidental death, only to discover a strange mark on the victim. He soon finds the same mark in other cases, leading him toward something darker — and possibly supernatural.

Without going into the full storyline here, I’m looking for advice on:

• maintaining tension and emotional stakes in a grounded thriller

• integrating subtle supernatural elements without breaking realism

• portraying a psychological descent in a nuanced, non-cliché way

• structuring reveals and turning points so they feel earned rather than forced

If you have experience with similar stories, or references you find especially strong, I’d truly appreciate your insights.

Thanks so much!

We’re kicking off December with a brand-new batch of targeted Open Writing Assignments (OWAs) for 2025. These opportunities come directly from a powerhouse group of producers, showrunners, and executives looking for the next Palm Springs, Parasite, or Beyond the Lights.

With a direct line to top-tier talent and companies, this is your chance to get your work onto high-level desks. But the window is short—submissions close Wednesday, December 18th.

Here’s what the industry is actively seeking:

1. For Your Sharp, Theatrical Comedies

A Producer & Showrunner is seeking comedy scripts in the vein of Palm Springs, Someone Great, and Punch-Drunk Love.

2. For Grounded Genre with a Major Twist

A Manager of Development is looking for grounded genre projects with unique twists and a strong POV. Think the bold originality of Parasite, Everything Everywhere All at Once, and Eternal Sunshine of the Spotless Mind.

3. For Character-Driven Thrillers & Horror

An Acquisitions Executive seeks character-driven thrillers and horror with budgets under $10M, comparable to the intensity of The Girl with the Dragon Tattoo, Revenge, or Drive.

4. For Faith-Based & True Stories

A Manager/Producer is looking for faith-based features, preferably under $5M and based on or inspired by true events, in the spirit of I Can Only Imagine and Miracles from Heaven.

5. For Gripping Political Dramas

A Producer and Director is actively seeking political stories with the high-stakes drama of The Post, The Ides of March, or Political Animals.

6. For Music-Centered Projects (Scripted & Unscripted)

A Producer & Showrunner seeks both scripted and unscripted projects centered on music, inspired by hits like Beyond the Lights, The Idol, and Rhythm + Flow.

If your script aligns with these comps and visions, this is your direct pathway to submission.

Ready to submit? Go here! https://www.stage32.com/writers-room

Hey Authors and Playwrights,

What is an ISBN?

An ISBN (International Standard Book Number) is a unique 13-digit identifier used worldwide to track and catalogue your book. Think of it as your book’s digital fingerprint. No two are the same.

Why ISBNs Matter

Distribution: Retailers, libraries, and wholesalers rely on ISBNs to order and track books.

Professionalism: Having one signals your book is part of the formal book-publishing ecosystem.

Metadata: ISBNs connect to all the important book info. Title, author, format, edition, publisher, and more.

One Book = Multiple ISBNs

Each format gets its own ISBN:

Paperback

Hardcover

eBook (some platforms don’t require their own, but professionally it’s best practice)

Audiobook

If the format changes, or you release a new edition, you’ll need a new ISBN.

ISBN vs. Barcode

They are not the same.

An ISBN is the number.

A barcode is a visual representation of that number used by retail scanners.

Some services include both; others don’t.

Who Provides ISBNs?

Every country has its own agency.

Australia: Thorpe-Bowker (myidentifiers.com.au)

US: Bowker (myidentifiers.com)

UK: Nielsen

Self-publishing platforms like KDP and IngramSpark can provide free ISBNs, but there are pros and cons.

Should You Use a Free ISBN?

Pros:

Saves money (ISBNs can be expensive).

Easy and instant.

Cons:

The platform becomes the “publisher of record.”

Harder to switch distributors later.

Limits how “independent” your imprint appears.

Most authors aiming for a professional indie career prefer to buy and own their ISBNs so the publishing identity stays with them.

ISBNs Don’t Affect Copyright

Owning an ISBN doesn’t give you copyright.

Copyright is automatically yours when you create the work.

The ISBN is strictly for identification and distribution.

Bottom Line

If you plan to publish multiple books, build an author brand, or distribute beyond one platform, owning your ISBNs gives you control and flexibility. But if you’re testing the waters or distributing only through Amazon, a free ISBN is totally fine.

I hope you found this information useful - Happy writing!

If you’ve ever felt like you’re “doing writing wrong,” this video might be exactly what you need.

Watch it here: https://www.youtube.com/watch?v=7xCFIgTgv6o

Author Sarra Cannon breaks down nine different writing process archetypes, far beyond the usual plotter, pantser, or somewhere-in-between. She explores the strengths and pitfalls of each type, how to recognize your own tendencies, and why so much frustration comes from trying to force yourself into a process that doesn’t fit the way your brain works.

Some highlights from the video include:

• Why most writers get stuck for process reasons, not talent

• The pros and cons of plotters, scholars, pantsers, puzzlers, sculptors, polishers, bingers, multitaskers, and hybrids

• How to build routines and guardrails based on the way you naturally create

• Why your process is allowed to evolve — and why that evolution often leads to breakthroughs

• How honoring your real creative rhythm can help you finish more work with less guilt

It’s an encouraging reminder that there is no single “right way” to write a book. There’s only the way that works for you.

Which writing archetype do you resonate with most?

Are you one type, a hybrid, or something entirely different?

Hey there, Authors and Playwrights!

Just hopped into the Education thread and now I’m convinced 2026 is going to be the year we all level up so hard we’ll need seatbelts.

Writers, what’s on your wish list? A masterclass? A miracle? A class on how to summon miracles?

Drop your ideas - the team is listening, and this is our chance to shape what we want to learn next.

Hey Authors and Playwrights,

Short answer: yes - but how much they can change depends entirely on what you’ve agreed to in writing.

I’ve seen this question pop up a bit lately with authors I know, so here’s a quick breakdown for anyone heading into the publishing world:

What publishers can usually change:

Minor edits: spelling, punctuation, grammar, formatting - anything that brings the manuscript in line with the publisher’s style guide.

The “extras”: titles, covers, taglines, and blurbs are often under the publisher’s control unless the contract says otherwise.

What they shouldn’t change without you:

Major content: rewriting scenes, cutting chapters, altering characters, or fundamentally shifting your story.

These are considered significant editorial changes, and the author should have final sign-off - but again, only if the contract protects that right.

How to protect your work:

Read the contract carefully. Clauses about editing and revision are critical.

Negotiate if needed. You can request a clause that requires your approval on major content changes.

Communicate with your editor. Most editors want collaboration, not conflict - but if the contract gives them final say, they can legally make the call.

Expect some changes. Especially around titles and covers - these are often marketing decisions.

If in doubt, get a lawyer to review the contract.

Publishing is a partnership, but it’s one where clarity on paper matters more than good vibes.

Hope this helps someone navigating the process! Happy writing everyone!