Authoring & Playwriting

This webinar was incredible, Sarah Lucas! Thanks for taking the time to host the webinar and answer our questions!

This is going to be epic!!

The recording is up! If anyone missed the webinar or want to rewatch it, here's the link: www.stage32.com/education/products/filming-adolescence-how-the-ad-team-m...

Thank you Maurice Vaughan

My pleasure, Sandra Isabel Correia.

Definitely Chiara Torrisi. I like the idea behind fictional settings so I changed the setting for "Haven of Dante" from Chicago to "Charity Vane". The idea was that the city was a character all its own that prided itself in being good but with a hidden population of the forgotten, that pride had caused the city to deceive itself into thinking it was good.

Oh I like the idea to turn the city into a character, @Leonardo Ramirez! And it suits perfectly your story, since Dante's poetry is full of allegories. Great idea

Thanks so much Chiara Torrisi !

I see, Maurice Vaughan, sometimes real places just feel too limiting. I think it applies especially to stories where mood and atmosphere are fundamental, like horror and mystery.

You're right, Chiara Torrisi. Sometimes real places feel too limiting. Yeah, it applies especially to stories where mood and atmosphere are fundamental, like Horror and Mystery. Sci-Fi, Fantasy, and Adventure too. It's also fun to come up with my own towns, places, companies, products, etc.

Maurice Vaughan How is that going? I am helping an author finish their book and revamping my websites. Tomorrow . . . I shall take the day off :D

Debra Holland Good luck!!

Xochi Blymyer How's that going?

Trying to keep the thumbs busy on a video game script. It is the most difficult things you can imagine. Now at 62500 words (3 full features length). And you have to be creative in showing scene changes as the player needs to SEE the scenes he or she is not in while doing something ELSE! This is only thing I have ever written that reequires constant rewrites. Jonathan Millett (stage 32) is an excellent game player and has made this project possible. I am aiming for something as complex as RED DEAD REDEMPTION so the player wants to play it over and over. Then you have to write a bible that lists every thing the computer programmer must create for each scene. ARGGHHHHHH!

It's going great, Kat Spencer. I'm thinking of exciting ideas for my script. Looking forward to seeing your revamped websites.

Leonardo Ramirez, You know a love for pie is something we share, my friend! I think there’s something powerful about pairing that celebratory moment with giving yourself a bit of space before diving back in. Editing can feel like such a grind, but small rituals like that (and finding a rhythm that works for you) make a big difference.

You know it my friend Ashley Renee Smith!

Good question, Ashley Renee Smith. While editing, I've never suggested a whole rewrite because I edit only ready stories. Before taking a job, I offer a free sample: this way, the author sees how I work, and I understand if the story is ready for editing.

If not, there will be a manuscript evaluation: in this case, I don't work directly on the text, but I create a detailed analysis with strengths and weaknesses, with practical suggestions on how to fix the issues.

I edit and flesh out as I go, so when I'm finished with the book I'm basically done. I have a final edit where the computer reads the book to me. Then it's off to the developmental editor. After those edits, I send it to the line editor. Then a final edit where the computer reads to me. Somewhere in the process, I have my aunt do a read through. I used to have my mom, too. But she has dementia now and isn't able to.

Debra Holland Is there a program that you use for the computer to read back to you? So sorry to hear about your mom. Mine has dementia and my dad passed from Alzheimer’s.

Chiara Torrisi This is such a fun tool, thank you for sharing it! Prompts like these are great creative jumpstarts, especially on days when the ideas aren’t flowing as easily.

That's true, it's a funny way to practise, Ashley Renee Smith! Also on the go, on the subway or during a short flight.

Hi, Geoff Hall. One of my takeaways/reminders is "Lewis was so precise on the page, there was never a question about what he was talking about or who he was talking to." I remember times when I thought things were clear in my scripts, but readers were confused. That's why I do a Visualize rewrite for each script. It's where I go through the script, visualizing the action and dialogue. It helps me see if anything is confusing, and it helps me think of ideas, scenes, etc. and catch story issues.

Maurice Vaughan thanks, Maurice. I tend to do the visualising when I’m writing the scene. Especially action sequences; they have to make sense on the page for it to make sense on the screen.

You're welcome, Geoff Hall. You're right. Jason Hellerman said in the article, "The ask to be plain and concrete is not an excuse to be boring. You still need to be interesting on the page. Engage the reader's senses. Instead of relying heavily on adjectives, paint pictures with words, using sensory details, motion, and contrast." That reminds me of how I used to write action lines. I used to be so concerned with having a lot of white space in scripts (for faster reads) that I held back on describing things in action lines and writing exciting/gripping action lines, and it hurt my scripts because my action lines were confusing and bland.

Geoff Hall, I love this! His advice is refreshingly straightforward but incredibly relevant, even now.

"On Writing" influenced a lot of writers, I think Eli Huggins

Chiara Torrisi, it definitely did! The first book I read on writing was also On Writing by Stephen King. I picked it up in high school thinking it would just be about horror, but it obviously surprised me. His voice was so conversational and honest, it made the whole process feel less intimidating. It didn’t give me a roadmap for story structure like Field’s book did later, but it lit the fire.

That's so important, Ashley Renee Smith

Not the first book, but one book that really opened my mind on process was CJ Walley's "Turn and Burn." There's a chapter called "My Mistakes with Happiness & Creativity" that truly is a gift to any writer, new or experienced. It is passionate and emotional and dangerous and important. In addition, there are many sections of the book that help with organization of a writing project and the simplicity of the character sheets was helpful. The book is all about heart and dedication to getting it done with a high level of craft. This book is on my list of top 5 writing books. Fresh in many ways with a mix of practical advice and passionate ideas. Write on!

Thanks for the suggestion, Pat Alexander: I'll add it to my wishlist! It seems an amazing reading. I love it when technical tips are mixed with emotional storytelling.

Maurice Vaughan thank you, Maurice. That is greatly appreciated.

You're welcome, Geoff Hall.

Chiara Torrisi hi Chiara. My morning practice is 20 minutes silent meditation. Exercises followed by a 30 meditation walk, when I attempt to close off internal traffic and any external stimuli. If I hear music I’ll just end up singing it to myself and not concentrating when I sit down to write. Each of us has a different method and if it works for you. Do it!

What mind of music do you listen to?

For me, the best music is movie soundtracks, Geoff Hall: they usually don't have lyrics, and I can pick the tracks according to the mood of the piece I'm writing (or editing). It's perfect for brainstorming!

Yet, I'm totally unable to write while listening to music. It distracts me and I can't focus on what I'm doing.

Chiara Torrisi that’s a great way of not having lyrics buzzing around your head, so I’ll work on that - otherwise my characters may start quoting Radiohead!

Thanks for the advice, Chiara Torrisi. I haven't written that many Historical stories. This will come in handy when I write another one.

You're welcome, Maurice Vaughan

Chiara Torrisi, this is such a great point! Two that come to mind for me are Shōgun by James Clavell and Outlander by Diana Gabaldon. They’re incredibly different in tone and scope, but both use exposition as a powerful tool to immerse readers in vastly different eras and cultures. Shōgun unfolds through the eyes of an outsider, so the exposition reflects both cultural dissonance and discovery, while Outlander leans heavily into its protagonist’s 20th-century perspective contrasted against 18th-century Scotland, anchoring the reader through voice and contextual reflection.

Both show how voice and narrative perspective can turn exposition into a time machine without overwhelming the reader.

Great examples, Ashley Renee Smith! I still must read Shōgun; it interests me also because the screen adaptation seems to be excellent.

And you're right: exposition helps a lot to convey mood and details about the past without info dumping. When it works, readers almost don't notice that they're learning about the context.