Screenwriting

Most creators focus on the visible parts of their project — the script, the pitch, the logline, the deck.

But there’s a phase before all of that that quietly determines how smooth (or chaotic) the rest of the process becomes.

I call it the pre‑creative upstream.

It’s the part where you’re not writing the script yet — you’re shaping the foundation it will stand on:

- early world notes

- character logic

- continuity decisions

- contribution history

- the small choices that ripple outward

When this layer is clear, the midstream (drafting, revising, packaging) becomes more focused.

And the downstream (pitching, presenting, negotiating) becomes more confident.

It’s been interesting seeing how different creators approach this early phase.

Some formalize it.

Some improvise it.

Some don’t realize they’re doing it at all.

But it’s always there — shaping everything that comes after.

Lunar Window has been challenging me in more ways than one, but one of the main things that’s been tricky is its comedy. It’s always been a social satire at its core, that I recently decided to give a romantic comedy makeover since it lends itself pretty well to it and I’ve been told romantic comedies are in right now. Turns out that most of the comedy is subtle, born of irony rather than jokes, while the romantic part of course comes more naturally… but even then I’m all about drama (is it even one of my works if it doesn’t at least have a love triangle?), so that’s two genres I’m twisting up rofl

Maybe it’s cope, but that’s why I’m calling it umami; rather than the sweetness that’s associated with romcoms, what I’m offering is something much more mature. Something that won’t rot your teeth but rather help cut them. A protagonist whose biggest enemy is herself, and secondarily her love interest. One where you, the reader, might even feel a little attacked on occasion because how dare I break formula like this?

Lol all this to say that intentionally being funny is incredibly difficult and no wonder comedy is the hardest genre to write :p who else has a hard time with it?

A lot of creators think the upstream phase is something extra — another step, another layer, another task to add to the pile.

But the truth is:

most creators are already doing upstream work without realizing it.

Every time you:

- jot down a world detail

- sketch a character’s backstory

- save a random idea in your notes app

- write a scene that won’t make it into the script

- make a decision about tone, theme, or continuity

…you’re shaping the project before the script exists.

That’s upstream.

The real challenge isn’t doing the upstream work — creators do it naturally.

The challenge is organizing it so it actually supports the midstream and downstream phases instead of getting lost in the chaos.

When the upstream is intentional, everything that follows becomes clearer:

- drafts tighten

- revisions get faster

- pitches feel grounded

- the project holds together

Most creators aren’t missing the upstream phase.

They’re just not naming it — yet.

Hi screenwriters!

I wanted to take a moment and wish all of you here a happy holiday, if you celebrate. It's a magical season and I hope each of you are able to feel some of that magic in your life, even if it's in the simplest pleasure, like the heady scent your morning coffee brewing. Or the feel of the breeze in your hair.

No matter where this past year has taken you, we've all come through it to the end. It's been a ride.

On to 2026!

Happy holidays to all of you here.

Happy holidays!

I have three loglines on my profile that I would appreciate some feedback on.

https://www.stage32.com/loglines/69552

https://www.stage32.com/loglines/69553

https://www.stage32.com/loglines/69555

Thanks in advance!

Most creators only think about their script or project once it’s ready to pitch.

But the truth is: your IP starts long before that.

There’s an upstream layer that almost nobody talks about — the part where your ideas, notes, drafts, and early decisions quietly shape the entire downstream path.

Here’s the simple structure I use for my own projects:

Upstream → Midstream → Downstream

- Upstream: clarity, documentation, ownership

- Midstream: development, refinement, packaging

- Downstream: pitching, deals, distribution

Most creators jump straight to downstream and wonder why things feel scattered or overwhelming.

But when the upstream layer is clean, everything else becomes easier — not because the industry changes, but because you’re no longer building on chaos.

I’m curious how other creators think about this.

Do you have your own version of an upstream process, or is this a new way of looking at your work?

A quick look at the upstream structure I use for my own projects — plus an open door if you want clarity on your own.

Not advice — just my personal workflow.

1. Copyright First

I start by registering the core manuscript or treatment.

For me, that includes unpublished works like:

- Margin Cleansing Doctrine

- ADP Deployment Scroll

- CHD Liquidity Scroll

- Founder’s Curriculum

These are all covered under my Group Unpublished Works registration (Reg. No. 1‑15011930801) filed on 09/28/2025.

That gives me a clean reference point for everything that follows.

2. Ownership Clean‑Up

I document which entity holds the rights.

In my case, that meant an internal assignment between:

- EPIC Housing Inc. → Redschild Investments LLC

Keeps the chain of ownership simple and intentional.

3. Upstream Packet

Before anything becomes a script or pitch, I organize:

- drafts

- origin notes

- contribution history

- worldbuilding

- timelines

- unpublished manuscripts

This is my “what exists and how it evolved” layer.

4. My UCC‑1 Filing (Public Record)

In my own UCC‑1 — California File No. U250213906423 — I documented the upstream structure of my catalog, including the works above.

This is how I memorialize my own materials.

5. Internal Valuation Context

For my ecosystem, I assign a valuation context based on scope and development depth.

For example, I documented:

- $2,500,000 USD for my IP‑Backed Security Entitlement.

It’s not market pricing — just internal clarity.

6. Why I Do It

It helps me understand:

- what I’ve built

- how it evolved

- where it sits in my ecosystem

It’s simply my upstream clarity layer.

If you want clarity on your own IP structure, feel free to ask — happy to point you in the right direction.

Happy Holidays everyone! I wanted to congratulate our fellow community members who had scripts requested through Stage 32 pitch sessions over the last 2 weeks. We are thrilled for the opportunities for the following writers to have their scripts requested by various producers and managers, Heroes & Villains Entertainment, American High, Veritas Entertainment, Ramo Law, and more! Please join us in congratulating your fellow writers for their accomplishments!

Congrats to:

David Page

DK Sellers

Mark M. Bello

Wayne Burdette Jr

Tom Morgan

Mark Schmitz

Nicholas J. Benson

Richard Gonerko

Richard Kanneh

Laura Harris

Richard Gonerko

Alexander Naffah

Debbie Garrett

Stephen Potts

Mark M. Bello

Cara Reinard

Mike Bencivenga

Ramona Taylor

Donovan Scott

Kimberly Jürgen

Todd Cohen

Casey Watson

Wilson Shaw

Brad Hinton

Branden Scruggs

David H. Fein (D. Hunter Fein)

Steven Statharos

James Jimenez

Susan Lander

Adam Libarkin

Juliana Philippi

scott clemens

Luke Cheney

Jerome Goddard

Rodgers Wilson

Roberto Micheletti

Frank M. Fanella

Sophia Angeles

Kris J L Wilson

Prudent Marcelin

Stephen Ahokas

Rachel Robison

Michele McKnight Baker

Keith Hanson

Ryan "Isreal" Porter

Alejandro Leopardi

Daniel Callaghan

Daniel Eric Finkel

Bryan Read

Dimitrios Vorris

Thomas Lee

James Jimenez

Julie Georgina Shackman

Felipe Perrotta

Johanna Polzin

Wendy Bednarz

Erik Bianco

Jerry Tomassacci

Stan Evans

Monte Albers de Leon

Kristin Francoeur

Rachel Robison

Temitope Ajijola

Tim Kontje

Justin Jackson

Ray Petrolino

Graham White

Rick Fraser

Thomas Lee

John Park

Oscar Sanders

Thadine Quick

Dragan Veselinovic

Gioele Fazzeri

Carol Ann Kennedy

Isabel Williams

Michael Utt

Madeline Smith

Stacy Bannerman

Alexander Naffah

David Page

Joe Putnam

David Page

Stephanie Sourapas

Enza Fangio

Nate Bynum

Daniel Mouyal

Stephanie Sourapas

Criss Gidas

Malik Evans

Elsa Sze

Duke Yang

Julie Korogodon

David Page

David Page

Wendy Bednarz

Daniel Mouyal

Monte Albers de Leon

IRINA VYSOTSKAYA

Jay Cipriani

Liz Montgomery

Corky Arnold

Marc L Ellis

Plus! We had 34 meeting requests from producers for our writers! Congratulations to the following writers!

Todd Cohen

Casey Watson

D A Stenard

Michele McKnight Baker

Ramona Taylor

Negrita Smart

James Jimenez

Desiree Tollis

R Buresly

Rob Lindsay

Steven Statharos

TJ Berry

Sudden Moves

Wendy Bednarz

Kevin P Ryan

Brian Nguyen

Justin Jackson

Susan Lander

Purushothaman Anantha Krishnan

Gaby Purchase

Keith Hanson

Deborah Dennison

scott clemens

Adam Libarkin

Juliana Philippi

Alejandro Leopardi

Johanna Polzin

Stan Evans

Wendy Bednarz

Emily Rose Laochua

Maria Brogna

Erik Bianco

Jerry Tomassacci

Julie Georgina Shackman

Schuman Hoque

David Page

Ritchie Johnston

Malik Evans