Screenwriting

Shemar James You might be asking the wrong guy that question since I once had the audacity to write a 6.5 hour script and get it read by some of the biggest producers and directors in Hollywood at the time! Now, in my case, I broke it up into a trilogy, which you can't do at 2.5 hours.

My first thought is that you can probably cut half an hour out of it, even if you think you can't. But if you really, really can't... I don't know. That's an awkward length. If it's BRILLIANTLY written, maybe you can get away with it. But it's going to have two strikes against it going in and you need to understand that. A limited series needs to be at least 5 hours, I would think. Can you double its length and still keep it interesting and well-paced?

Another approach might be to turn it into a vertical microdrama. Those are all the rage right now. Would it work if it were broken up into 100 1.5 minute episodes? And could it be produced for around $100K?

As for live action vs. animation, the material should tell you itself. But there are a lot more live action features made every year than animated ones, so live action will have a bigger market.

Thunder Levin Thank you this is very helpful! Wow, 6.5 hour script that's amazing! I have two more features written after the first one that are between 2.5-3 hours each so I suppose I could make a season out of features 1-2 or 1-3. It is originally intended to be a fantasy, action/adventure PG animation and I believe it would be more budget-friendly that way because with live action I know it can get pricey with all the special effects it would need. Thanks so much again for the insight!

As someone who writes to direct, how (or what) do you think about AI as a development resource—whether for brainstorming, stress-testing story structure, or punching up drafts? Is it a tool, a threat, or something you haven't had reason to engage with yet?

Thunder Levin I had cancer and was rushing to get my affairs in order before life threatening surgery. I will say this right now I am an educator I also coach filmmakers, writers and recording artists, so this is a teaching moment... for you. #1 Don't presume. #2. Be kind to others. #3. The Four Agreements, a book by Ruiz, read the chapter, Don't Make Assumptions. #4. Leave arrogance behind you. #5. Treat others with respect. Start here: https://www.thefouragreements.com/dont-make-assumptions/

Michelle L. De La Garza I think computers and automation are supposed to relieve us of the drudgery of mundane, repetitive, and dangerous tasks so that we can concentrate on the things that make us most human, like art. Using AI the way you describe is the very antithesis of being human. About the only way I will use AI in the writing process is for the first draft of a synopsis of a script I've already written. I HATE writing synopses, so if it can relieve me of that drudgery, okay. But that's not part of the creative process, it's part of the sales process. If AI is going to be involved in the writing process, I'm not sure what the point of being a writer would be.

But from a larger perspective, I'm opposed to AI in general. Science fiction writers have clearly laid out the perils of advanced, learning AI for a good 70 years now. It will, really it MUST, inevitably lead to our destruction. I'd rather not contribute to humanity's downfall.

Great info, thanks! The best feedback I received was to trim down my action lines. I was bringing too much of my short story narration into the script, trying to describe details that weren't important. Keep it short. Establish tone. Be subtle. My scripts aren't such a chore to read now. Hopefully ...

I did the collaboration for the short drama film titled "The Lovely Realization of a Dandelion."

Logline: The story follows lens Sara, a kind but vulnerable 17 years old girl who is diagnosed with bipolar disorder as she navigates the challenge with Robert, her father who's condescending and abuser.

My experience as a script editor, I was helping with the filmmaker who lives in Boston, Massachusetts, after I networked with her through Discord. When I read her script, it's unclear, confusing, and doesn't make sense while still

So, I took time to help her edit her script one scenes at the time, and we drafted 6 or 7 times to see how much the scripts have been improved and polished. The best part is that the writer and director handed me the script because sje trusted me on how I write.

From a writing perspective, Blue Moon and Train Dreams. Either should win best screenplay.

Melhor Roteiro eu estou em dúvida, mas de melhor Fotografia eu estou acreditando em Frankenstein, e melhor animação Guerreiras do K-pop,

Best Original will go to SINNERS ; Best Adapted to ONE BATTLE (should be BUGONIA).

I'm no expert but I don't know what SENTIMENTAL VALUE is doing among these. I found it bland, devoid of conflict and commentary on the human condition.

Since I went to see both "Sinners" and "One Battle After Another" in 2025, I guess I'll go with Sinners because it's have a cool and fun concepts with Vampires elements while the story takes place in 1930s during Jim Crow Law.

I make frequent use of a surrogate character—the character based directly on me. It’s usually, though not always, the protagonist. I pour myself into that character until they become my avatar, my portal into the story. They think and act the way I would if I were in their situation.

Because of that, I feel everything they feel. When my character weeps, I weep. When they fall in love, I do too. By pouring myself into them, I’m able to draw on my own personality, skills, struggles, and life experiences. That’s ultimately how I breathe life into my characters, because it’s my own life I’m breathing into them.

Jason Howell I really felt this. I think that’s what makes characters come alive — when you pour real parts of yourself into them, even parts of you that you didn’t know existed until a certain character pulls them out.

Sharda Crawford I feel the same way when creating characters but as others have mentioned, I like to inject some of myself into the characters as it helps me position the other characters in response. I'm sure we all have a little bit of us in our characters. I like to write horror fiction and I'm a disabled vet so embracing one makes the other better for me. It helps me immerse into my characters and try to amplify the horror.

John Fife I hear you. And I love how you connected that to horror — you can feel when it’s coming from something real. I really love the fact that I’m not alone.

Sharda Crawford Yeah, I like how you write your characters differently than mine.

Me for example, my characters were inspired by people who I met them in the past based from my personal experience.

Each individual I spoke to has different personalities, opinions, flaws, struggles, and depths that make them who they are. It could be my family, friends, acquaintances, schoolmates, colleagues, parents, or online friends I sometimes talk to.

For my characters, I put my effort and patience into making them multidimensional by showing their relatability, vulnerabilities, and imperfections in my movies.

Hi Sammy, my idea for my novels was borne when a huge turning point in my life, meant that I was suddenly living alone over 20 years ago - and had plenty of time to write the passion and frustration I felt, with just a ballpoint and some foolscap. My stories were based on erotic passion - and it wasn’t easy to bring them back into the daylight, all these years later, and adapt them as part of my first published novel, Forgetting Lorna Rose. I have applied for a TV drama and am busy writing a script, but have a series of four novels, so far. My days are spent bringing my characters to life - my study has become the favourite room in the house!

Brock’s Zesty Secret Sauce: Play close attention to Life and the human experience. LISTEN……EAVESDROP on conversations, mentally jot down dialogue that REALLY POPS! Transport them directly into appropriate scenes. I’m currently writing my 9th and final feature screenplay.

I worked hard to develop a unique story that has strong coverage as a prestige thriller. The characters are reflections of people who I encountered over a lifetime. Some didn’t make it as far as I have, so their appearance in the action is an homage to integrity and strength of character. Now it’s time to run the gauntlet, and see if a strong first draft can attract a creative team and attached talent to bring Lexi Balestra to life.

sometimes the story, maybe the inciting incident, is secondary to the journey.

I think it comes down to the story. I read a lot of produced scripts and some are written poorly but the story is really good. When I'm writing, I try to lock the story down first and then find the perfect protagonist to fit the story. Might be a mailman or an executive at a bank but it all hinges on the story.

Congratulations, everyone!

Congratulations to all the writers mentioned! It's always inspiring to see scripts getting requested and moving forward. Wishing you all continued success and many more opportunities ahead.

Congratulations everyone!

CONGRATULATIONS TO ALL OF YOU. THIS IS AMAZING !

CAN’T WAIT TO CATCH UP

Congratulations! A great milestone.

Thanks, CJ Walley. Could you give a little more detail about how you networked and how that led to assignments? I'm good at writing, but social skills are my Achilles heel.

If you Google me, you'll find loads of blog posts and even a book detailing a lot about how I broke in. It's too much to put into a post comment.

Will do. Thanks.

Hey Scott Evans the best screenwriting contests are the ones where you can connect with working execs if you win them. That way you are able to grow your professional network and start building real relationships as the prize, like ours here at Stage 32. In the past year we've partnered with companies like Zero Gravity Management, Pathfinder Media, Mammoth Pictures, Color Farm Media, Dramabox, and Evoke Entertainment to help our contest winners make those real connections.

In terms of being in LA, it's not as big of a deal these days when you're starting out. On a Zoom a few months ago with Manager Andrew Kersey, he mentioned that because of Zoom and the ability to teleconference with anyone anywhere anytime, it's less important to have to be in a big film hub to do what we do best - write scripts!

Thanks, Pat.

Mazeltov.

Those who have braved the strong winds of tough negotiations for music licensing rights, successfully produced or read thousands of scripts have real understanding over those to whom it is merely theory.

E Langley agreed 100%. I will statistically likely never brave those choppy seas, it's why Pat A's comment was a much needed reminder I thanked him for. My responses to your original comment were just respectful differences on the idea that a musical cue was indictive of a script in need of help. That seemed a bit over reaching from my immature and limited experience. However, despite my immaturity and inexperience, I am already way familiar with the business expectations and marketing realities. It's been throw in my face many times during script reviews haha.

I had an incomplete period piece screenplay in the drawer for a long time, then I heard a rendition of the old hymn 'Stars in my Crown' sung in family harmony and instantly knew it was what was needed to set the last act off on its exciting climactic journey after the traumas in act two.

Eu já escrevi um roteiro musical (se alguém ter interesse), sempre que eu iria compor uma música para colocar no roteiro, eu escutava outra música para me inspirar, teve vezes que eram músicas aleatórias, mas eu escutava, me inspirava muito.

Mas eu gosto de filmes musicais, mesmo não sendo típico aqui no Brasil, em que o pessoal prefere mas fazer outros tipos de Roteiros Audiovisuais, mas é legal escrever Roteiro Musical, recomendo.

Mazeltov.

I think that AI can turn into a huge problem for writers, especially if companies like Disney want to use AI for IP projects. A lot of writers get their jobs by working on IPs, and if that's taken away, that means fewer jobs for writers. When it comes to writing, I think AI is considered cheating and fraudulent. There is no real human emotion in AI, and writing is all about a person's human emotion.

I've always wanted to work in a writer's room and be involved with television production. And after reading the article and learning that television writers have it worst off because not only do they have to do rewrites that the producers demand, but they're held to one pilot without being able to find more work while the companies are taking their time. I think that television writers should get more protection and be better paid.

AI is going ot be the hot button topic, but I still think we are in the infancy on how our industry is going to adapt and embrace AI. Here's to hoping these negotiations go smoothly.

I find TV shows have more scenes per 30 minutes or 60 minutes but are more dialogue heavy and move quicker. When I've written for TV I always have to prepare more "stuff" to happen in fewer pages.

Producer here. It really does depend on the type of show you're writing but you need to build in a series arc as well as an arc for each episode. You can have an episode that has major scope, then the following is a bottle episode meant to save money, but you can get incredible character (think of moments where two characters talk across an interrogation table for an entire episode in a procedural vs the previous show that had stunts, action, a chase). You have more time with characters in television and you want to make them so believable that people want them hanging out in their living room. WIth film, since you write film you know, there are tight rules almost like poetics, so story is more condensed and faster to tie up. I like to say, if you have a guy with a problem to solve, you have a film. If you have characters you want to hang out with, try a show concept.

hey Gaye Hirsch, that makes a lot of sense, especially the point about needing to sustain multiple seasons.

knowing the long-term direction of the story seems crucial for building a strong narrative engine rather than just a compelling pilot.

hey Lisa Zambri, That makes sense and also a great way to frame it, especially the distinction between having a problem to solve for a film versus characters audiences want to spend time with for a series.

The ideal of balancing larger episodes with more intimate character moments makes a lot of sense in terms of sustaining a show over multiple seasons.

hey Michael David, that's a really interesting point about TV having more scenes and needing more stuff happening in fewer pages.

Very well written - it draws the reader in, waiting for the consequence. Yes, I like this very much. Well done.

Beverly Thompson Thank you so much! I really appreciate your feedback.

Brat Amalia Interesting concept! The blend of psychological tension with a romantic dynamic can create a very compelling emotional atmosphere, especially when the audience isn’t sure whether the danger is coming from the relationship itself or from the protagonist’s internal state.

The logline sets up an intriguing premise — love mixed with manipulation and identity questions. That kind of psychological ambiguity can work really well if the story slowly reveals whether Elias is truly dangerous or if the protagonist’s perception is shifting.

In the excerpt, the tone feels intimate and introspective, which fits the psychological angle. The ballet studio setting and mirrors are also a strong visual metaphor for identity and fractured perception. One suggestion might be to gradually escalate the tension between tenderness and menace so the reader feels that emotional push and pull even more strongly.

Overall, it feels like a story that could lean heavily into atmosphere and character psychology. If you continue strengthening the emotional stakes and the mystery around Elias, the concept could become very gripping. Best of luck with the project!

Abhijeet Aade Thank you very much for your opinion and for the thoughtful feedback! It really helps me a lot and gives me the confidence to continue the story. I truly appreciate your advice and will definitely take it into consideration. All the best!☺️

Brat Amalia You're very welcome! I'm glad my feedback was helpful. Your concept has a really intriguing psychological tone, and I’m excited to see how the story develops. Wishing you the best as you continue writing!