Screenwriting : What’s Holding You Back Right Now? by Ashley Renée Smith

Hi! I don't write scripts or promote my projects because I don't believe in the possibility of implementing them. I'm not doing anything and I'm happy about it.

I am revising a draft and revisions keep rippling through the script thus demanding more revisions. I really don't think this is a page 1 rewrite (which I have done with another script) so I am pressing on. A recent flu didn't help.

At the moment it is finding a director for a romcom I've written and want to produce.

What's holding me back is the closer nature of this business. I'm me from a corporate background where thing move quick there are clear next steps and there is always a way forward. The difficulty just getting traction is very tough. I have two good projects ready, I can handle the contracting, and I am very willing to collaborate. Just need someone to buy in.

Actually, I have more than one project, but I can't get any support and when I am about to lose hope, I see an e-mail and I wanted to come here and point it out.

Trying to get a Civil War limited TV series greenlighted. Period pieces are a challenge, but many have been successful, eg, The Grey House, Death by Lightening , etc who are the best streaming platforms to pitch to or the best producers...etc

I'm being held back because it is so very hard to find intelligent life on Planet Hollywood. Seriously, over 600 movies are produced every year and only about a dozen are worth watching! As Herman J. Mankiewicz said about Hollywood in 1925, “Millions are to be grabbed out here and your only competition is idiots." This is even more true today.

Mine is time. I’m nearing the end of the first draft but already know I’ll have to redo it. Formatting, fonts, the director coming out in me, and grammar. Sometimes I feel like the dialog is too simple . But then I see where I was totally, and allow me to be biased, brilliant. I’m letting frustrations get to me.

I was working on an animated adult comedy and developing the characters and writing the pitch bible, but it got to be too draining. I let it monopolize my time and I let other things in my life be put on the back burner. I had to stop work on the animated series for now. I needed to focus on my acting and producing responsibilities which need my attention at the moment. I am starting, though, a short film. It’s less arduous for me. I always have to be writing something. So this is keeping me creatively juiced for the moment.

I would say being matched with the right producer and/or manager Ashley Renée Smith. It's a long-haul game with many parts. I believe that what is holding new ideas back is fear and the illusion of a sure thing.

I think what’s holding me back right now is the tension between control and trust.

I have no problem generating ideas or building out story structure—I actually enjoy that part. But when it comes to writing the scenes themselves, I catch myself trying to manage the story instead of letting it breathe. I want it to be clean, intentional, and meaningful… but that sometimes comes at the cost of it feeling alive.

So I’ll slow myself down by overthinking choices, or I’ll smooth out moments that might have been more interesting if I’d just let them stay a little messy.

On the practical side, finishing is still a hurdle too. Not because I don’t know where things go, but because I’m constantly seeing ways to improve what’s already there. It’s easy to stay in that loop instead of pushing forward.

What’s helped recently is separating those phases more intentionally—letting myself write something imperfect first, then coming back later with a more critical eye. It sounds simple, but actually sticking to that has made a difference.

I’m also trying to trust the audience more. Not everything needs to be clarified or shaped into something immediately understandable. Some of the better moments come from leaving space instead of filling it.

Still working through it—but I think that’s the current obstacle: learning when to guide the story, and when to get out of its way.

What's holding me back is so-called Experts denying my creative chops, that's what's holding me back... It's got nothing to do with my work, my writing, or anything like that! I'm on the same camp as Ken close.

Funding and needing to relocate my family, meaning needing to relocate my film shoot possibly!

I have many roadblocks that I never figure things out.

One: Lack of local collaboration or network to help the process of making animation concepts, the only connection is through emails.

Two: Adversity is always a big issue. Because I'm sick and tired of making enemies when I was giving one star because I wasn't sold on some loglines.

Three: Being positive in a negative background. When you're friends or relatives always getting you down, you're starting to lose progress for a day or two.

Four: Lack of resources and help from others. I'm always fed up with not responding or getting feedback from anything because I lack real human figures, AI and creating a brand before you're ready to write a script is not a way to win the management or the executives.

In summary, I feel like these roadblocks are setting me back time after time after time. No matter how I work hard or smarter or tried, I always fail to impress people. There's no solution whatsoever before you have to take it I don't know... five or six years to write a TV Pilot on your own. I mean, I can't do non-pilots on my own either because it's getting overwhelming to some extent to stop doing it. I need anybody to speak to me through a private message to share their emails and screenwriting software that I could be able to feel relief. I know it's dangerous to exploit and expose yourselves to strangers, but I'm getting desperate.

I need Fantasy writers to help write the weird factors through my concepts; comedy/animation writers who can make the best jokes, write expressions, and capitalizing sounds; and sports writers who can help me write baseball talks through the dialogues and actions lines or montages on the action of the sport.

Thank you for my problems.

Hello,

For me right now, I would say the work/life balance and the need to know the things I may not know I need to know if that makes sense. I think this aligns with my short time goal of getting another script submitted for feedback this month.

My obstacle is publishing, I have a mind set of finding a traditional publisher. For the longest time I did not want to do the Indie self publishing because I can not afford it. Makes me delay and put on hold. I can otherwise have prolific stories in my mind and keep writing and finishing drafts and that is abundant rich tapestry with new creative ideas. I keep turning away and turning around from the self publishing. I don't know why my caliber is set on traditional. I wrote the two latest editions of my life in the journey of writing and publishing; a story about my autobiography based on true events and a testimony in the genre of theology and sciences. Computer sciences being one of many sciences I had chosen AI meta as a platform in freestyle interview of myself and the details about the creative writing and publishing journey.

Funding opportunities is one of my struggles. Finding the right people to connect with is another one.

Nothing is holding me back. Now that I’m DIVORCED.. YEEEEEEEE-HAAAAAAAAAAA!!

Held back? HA! Onward!

Right now, it's not having any representation or a lot of local connections plus struggling with low energy physically.

What is holding me back is/are interns hired to read scripts by production companies that are too young to know what appeals to an older audience that relates to resilience, challenges, real life sustaining issues. My screenplays are based on real life experiences from living a full life to living an empty life and all the emotions in between. I will go out on a limb and say any manager/producer that reads my work would have a trilogy, series in their future. I am not boasting I am convinced that interns are what is holding a lot of us back. There is that one intern out there that will become a hero when he/she reads my work and gives it the green light and steps on the gas!

Ashley Renee Smith, Screenwriting is my fourth career. I excelled in banking, insurance, writing books, and then I tried screenwriting. I have written three screenplays, two of which have made it to the finals in screenwriting Contests, and I am hoping to sell them. After that, I am done, and will relax and enjoy the fruits of my labour.

Lack of funds are holding me back. Almost every contest I find fitting for me tends to cost money I do not have. To be honest I'm about ready to shelve everything and go back to working 50-60 hours a week. Good luck everyone!

It's implementing the changes I know will make it a better script - I get overwhelmed on how to weave in those changes. For when that day comes that my script does get requested, I want to the best version but I do have a sort of road block trying to figure this out. Time management too!

Can't truly define this challenge as holding me back but a constant is not having enough time in any given day! Still constantly putting one foot forward at a time achieves results. Several months writing the 'Newfound Valley' script and the mere five minutes to email it .... more cool results! Just was awarded Semi-finalist in the Best Script Awards-London -2026. On to the finalist and (both fingers crossed) winner! Stay with it folks...you can do this!

Finances. No matter how professional sounding the faux nuggets of wisdom that come from the majority of those who have or are in the circle of those who have actual funding, this is the ONLY thing holding me back. (Along with countless indie filmmakers I personally know, WITH mad skills) and unless you know or are connected with someone on the "inside" it's virtually impossible to make it. There are a small growing number of non-Hollywood indie filmmakers that are making their mark, but even they have tens of millions of followers in social trending that allow them to EASILY raise funds for at the very least a ULB budget film. (Just sayin)

Right now… I feel writer’s block coming on TT_TT

Right now, my biggest challenge is balancing consistency with scale.

I’m currently developing a long-form project with multiple seasons, so the focus is not just finishing a draft — it’s maintaining narrative cohesion, emotional depth, and visual consistency across the entire story.

What has helped me is treating the process with discipline, like a long-term production, not just inspiration.

It’s less about waiting for the right moment, and more about building it every day.

I'm independent writer from India. In India dollar is too expensive for middle-class people. I want to join call and discussion in Stage 32 but due to charges like 149$, 399$ etc. are not reliable for me. I wrote 4 film and 1 series. But any film companies like Warner Bros, Netflix, Disney+ etc. did not accept unsolicited scripts. These are all boundaries that make me limited and demotivated.

There’s no limits in how far I come or will to bring my project to life.

I would have to say what's standing in my way - wouldn't say "holding my back," is time. I'm writing and not finding enough time to network. I tell myself, one more project and I will pause-ex. Promote a few months and write some more. To some of my fellow writers on this thread, I notice some struggle with their project. I have started a few projects that I scrapped - on purpose. It's a strategy. I've been 30, 40 pages in and I struggle to feel it, to write it, and I scrap it and start another idea. Another thing I do is talk to my boys - get ideas from them that may make a good story. If I can write a strong log line with a opening, middle and close, I got a script. Don't worry about the stuff you scrap. Don't be afraid to scrap it. It makes you stronger as a writer! BTW I see that the stage 32 process works. We have to stay positive and keep working.

Finding the time is my biggest obstacle. But I joined 2 new writers groups this year (one in person and one online) to keep me accountable and that got me going again. Hope to finish a rewritten draft by next month. Good luck everyone! We're all in this together.

Ashley, I’ve stalled on my fourth book - mostly due to lack of time. I have a Radio Leyland role as a volunteer radio presenter for Tuesday morning breakfast 8-9 (can stream online) and getting used to the equipment is taking a while! But - honestly - my effort in trying to achieve a TV drama for my first book (Forgetting Lorna Rose) has taken all of my free time…trawling through the various webinars and pitches, trying to elevate my book for all to see. It has been well received by those who have finished it, saying they couldn’t put it down. It’s part-bio, and mostly fiction - but it’s full of suspense and intrigue. I really want to get back into my fourth book - but then my third book is with Amazon Kindle right now and they keep phoning to make sure I’m happy with its progress. My second book has been with my previous publisher for almost 12 months now - which is way I won’t use them again. They messed up my story during edits (unbelievable) and they are still updating it after I agreed the cover. Its exhausting. TODAY I am determined to catch up with my unfinished fourth book…as I think I have an ending in sight for the series.

Currently seeking:

Producer (ultra-low-budget serialized shorts)

Co-writer (period drama)

Producer (new version of my musical CALYPSO)

Hello Stage32 community,

I’ve tried many of the things mentioned at the beginning — fear, doubt, uncertainty — except for rejection. I haven’t experienced that yet, because I haven’t shared my script or had anyone read my project: I want to have at least the first season completed in script format first.

At the beginning, I only had the idea for my story and didn’t know how to develop it, but thanks to Stage32, its courses, and the support of the Stage32 Education Team, I’ve started to understand how to move forward and what steps to take.

The next step makes me a bit anxious, but I know that if I don’t try, I’ll never know if the project will be well-received. There may be rejections or positive feedback, but the most important thing is to keep going, continue writing, improving, and always putting yourself out there.

Just like in stories there are obstacles, in life we face them too — the difference is that we have to choose not to give up.

Ashley, one challenge is balancing the creative process with the many practical steps required to move a project forward. It can sometimes feel overwhelming, but staying consistent and focusing on one step at a time helps maintain progress. Each completed draft builds confidence and clarity for the next stage.

Ashley Renee, if I could find extra time to write...and well before I end up going to bed...that'd be great. (I'm trying!)

These days, I don't get a chance to hit a script of mine until 11:30 PM (US Central time). And this after I've gone through and kept or deleted the 150-160 emails I receive each day...gone through the LinkedIn messages that come my way...reading other writers' scripts...household chores...involvement in a church...and a new business venture an actor named Wil Bowers invited me to look into. (Maybe you saw Wil do a guest spot on "Young Sheldon.")

I enjoy practicing music (three hours a day for three days a week)...don't want to give that up.

Writing around 8:00 PM would be great, though.

Don't worry...I keep all my Stage 32 emails!

@Arthur, There’s something to be said for being at peace with where you are and not forcing yourself into something that doesn’t feel aligned right now. Not everyone needs to be in constant output mode, and taking that pressure off can actually be really healthy.

At the same time, I’m curious about what’s behind that feeling of not believing in the possibility of your work being implemented. Sometimes that comes from the industry feeling overwhelming, or from not knowing what the next step looks like, or even from past experiences that didn’t go the way you hoped.

You don’t have to have everything figured out or be actively promoting your work for it to have value.

@Michael, this is such a relatable place to be in the process.

Revisions really do have that ripple effect. You fix one thing, and suddenly it reveals three more areas that need attention. It can feel never-ending, but honestly, that usually means you’re getting closer to something stronger and more cohesive.

@David, that’s a really exciting place to be, having a script ready and thinking about production is a big step. I’d definitely recommend spending some time being active in the Filmmaking Lounge here on Stage 32. It’s a great space to start conversations, share a bit about your project, and connect with directors who are actively looking for material and collaborators:

https://www.stage32.com/lounge/directing

You might be surprised how many strong creative partnerships start just from engaging in those discussions.

I’d also encourage you to reach out to our Success Team at Success@Stage32.com. If you share more about your project and what you’re looking for in a director, they can help point you toward the right resources and even suggest ways to connect with the right people.

Out of curiosity, what kind of tone or style are you envisioning for the romcom?

@Aaron, I hear you, and this is one of the biggest adjustments for people coming from more structured industries.

In corporate environments, there’s usually a clear path, clear timelines, and defined next steps. In this industry, it can feel like everything is happening behind closed doors, and progress isn’t always visible or linear. That lack of traction can be incredibly frustrating, especially when you know you have strong material and the ability to execute. The good news is, there are ways to start creating that traction, even if they don’t look like traditional pipelines. Consistent visibility, building relationships, and putting yourself into conversations where collaboration happens can make a big difference over time. Being active in these Stage 32 Lounges is a great way to do that.

I’d also encourage you to reach out to our Success Team at Success@Stage32.com. If you share your goals and the stage your projects are in, they can help guide you toward the right next steps, whether that’s pitching opportunities or connecting with executives who are actively looking for material.

You already have a lot of the pieces in place. Sometimes the shift is less about what you have, and more about where and how often you’re showing up.

What kind of projects are you working on right now?

Orhan, I’m really glad you came here and shared this. But the fact that you didn’t fully step away, that you saw that email and chose to show up here instead, that matters more than you might think. Sometimes momentum starts with small moments like that.

This is exactly why spaces like Stage 32 exist, so you don’t have to navigate this alone. I’d really encourage you to stay active here in the community lounges so that you can keep this support system close.

What kind of projects are you working on?

What's holding me back is not the writing or ideas for stories, but actually the ability to make them. There's only so much I can do without a budget and the current feature Pure Vortex, whit which I'm currently in post is probably the limit of what you can do with no financing, only resources and good will of people coming together and making something.

@Frank, you’re absolutely right, period pieces, especially something like a Civil War limited series, come with a unique set of challenges. Budget, scale, and authenticity all raise the bar. But like you said, there’s also a proven appetite for them when the story and execution are strong.

Where things tend to shift with projects like this is how they’re positioned. Streamers and buyers are usually looking for a clear angle, something that makes it feel urgent, relevant, or distinct from what’s come before. That could be a unique POV, a specific character lens, or a thematic hook that connects to today’s audience. They're also often looking for members of your creative team to have experience and success in handling projects that will require larger budgets like that. That said, before even worrying about which platform, the most important step is continuing to build relationships and visibility around the project so that you can find that kind of experienced partner.

There are a lot of writers, producers, and industry professionals having conversations around development, packaging, and pitching that could really help you refine your approach and make the right connections here in the Screenwriting Lounge, but also in the Stage 32 Producing Lounge:

https://www.stage32.com/lounge/screenwriting

https://www.stage32.com/lounge/producing

Out of curiosity, what’s your angle into the Civil War story? What makes your series feel different from others in that space?

@Ken, The industry can absolutely feel overwhelming, noisy, and inconsistent. When you’re putting real thought and care into your work, it can be tough to look around and wonder how certain projects get made while others struggle to find a path forward.

At the same time, one thing I’ve seen over and over is that there are a lot of incredibly smart, thoughtful, and talented people out there… they’re just not always easy to find in one place. That’s part of why building your own circle, your own collaborators, your own “team” over time becomes so important. And I’ll also say this, the fact that you have a strong opinion about quality and what’s worth watching is actually a strength. It means you have a point of view. The next step is finding the people who align with that and channeling it into projects that reflect it. Spaces like Stage 32 can actually be a great way to filter for that. When you engage consistently in the lounges, especially Screenwriting and Producing, you start to recognize the people who share your standards, your taste, and your mindset.

Out of curiosity, what kind of stories or films do you feel are worth watching right now?

@Linda, Being near the end of a first draft while already seeing what needs to be improved is not a problem, it’s actually a really good sign. It means your creative instincts are working.

But I want to gently challenge one thing you said, you don’t need to solve formatting, polish, grammar, and perfect dialogue right now. Right now, your only job is to finish the draft.

That urge to fix everything as you go, especially when the “director brain” kicks in, is one of the biggest things that slows writers down. It pulls you out of forward momentum and into perfection mode before the story is fully on the page. And I love that you caught yourself noticing both sides, the frustration and the moments where you feel proud of what you wrote. That balance is important. Those “this is actually really good” moments are what you build on in the next draft. You’re not behind. You’re not doing it wrong. You’re just in the messy middle of finishing something meaningful.

Once the draft is finished, you can really dive in and polish everything with a second pass. And if you need help, Stage 32 offers proofreading services to help you catch things you may have missed: https://www.stage32.com/scriptservices/proofreading

When you think about what’s left, do you have a clear path to the ending, or are you still figuring out how it all lands?

Cheryl Chase, I really respect this decision, and honestly, it shows a lot of self-awareness. It’s so easy to get pulled into a project, especially something as expansive as an animated series, and let it take over everything. But recognizing when something is draining you instead of fueling you, and giving yourself permission to step back, that’s a strength, not a setback. And balancing that with your acting and producing work, that’s you honoring where your energy is needed right now.

Do you feel like working on the short is giving you a different kind of creative satisfaction compared to the series?

@Leonardo, this is such a thoughtful perspective, and I think you’re hitting on two really important truths at the same time. Finding the right producer or manager can absolutely be a game-changer. It’s not just about getting someone attached, it’s about alignment, someone who understands your voice, sees the potential in your work, and knows how to help move it forward strategically. And like you said, that takes time.

So many ideas stall out because people are waiting for the “perfect” moment, the guaranteed path, or the right conditions to move forward. And the truth is, that rarely exists in this industry. At some point, you have to take the leap without knowing exactly how it’s all going to play out. I'm always impressed by how you jump into things here on Stage 32, challenge yourself to learn new things, and put yourself out there.

@Mitchell, That tension between control and trust is real. Wanting the work to feel intentional and meaningful is a strength, but like you said, it can start to smooth out the very things that make a scene feel alive. I also love that you called out the difference between managing the story and letting it breathe. It sounds like you’re not stuck, you’re refining your process.

Do you find that there are certain types of scenes where it’s harder for you to let go and trust the moment, like emotional beats versus plot-driven ones?

@Roberto, I hear the frustration in this, and you’re definitely not alone in feeling that way at times. Taste and talent can be incredibly subjective in this industry. What one person doesn’t connect with, another might champion completely. That’s part of what makes this space both exciting and, at times, frustrating.

But one thing that isn’t subjective is how this industry functions as a business. At a certain point, it becomes less about whether someone personally likes your work and more about how that work is positioned. Who is the audience? Where does it fit in the market? How can it be packaged or framed in a way that makes it easier for a buyer to say yes?

And that’s where feedback, even when it’s frustrating, can become useful. It’s just as limiting to take every note as gospel as it is to reject every note outright. The goal is to widen the lens a bit and ask yourself, does this note actually make sense? Would it strengthen my story or characters? Could it help the project connect more clearly with an audience or buyer?

Stage 32 CEO RB always says, if you hear a note once, consider it. If you hear it twice, take a serious look at why it’s coming up. If you hear it three or more times, something’s not landing and it’s worth addressing.

That doesn’t mean compromising your voice. It means making sure your intention is actually coming through the way you want it to. You clearly care about your work, and that matters. The next step is making sure the industry can see what you see in it.

What kind of feedback are you hearing most often right now?

@Libby, that’s a big one, and you’re juggling two major life and production decisions at the same time. Funding alone can be a challenge, but when it’s tied to relocation, it adds a whole other layer of logistics, timing, and emotional weight. That’s a lot to carry.

I know when we last spoke, you told me that you didn't think you'd have to move. Has that changed more recently? Or are you just keeping things open in case it does?

Chase Carmichael, it sounds like you’re carrying a lot all at once. When it starts to feel like everything is a roadblock, sometimes the most helpful thing you can do is actually pull back a bit. Not to give up, but to reclassify your goals and take things one step at a time instead of trying to solve everything at once.

What might help is narrowing your focus for this year into just a few clear, achievable goals. For example:

Connecting with one potential co-writer or collaborator

Building a relationship with someone working in animation so you can learn more about the process

Getting more comfortable giving and receiving feedback

I also want to touch on what you said about feedback, because that’s a big one. Learning how to give feedback without creating tension is a skill, and it takes practice. One thing that can really help is thinking about how you would want to receive notes.

A simple approach is the “compliment sandwich”: Start with something you genuinely like, then share your notes clearly and constructively, and end with another positive observation, even if it’s just the core idea or concept that you enjoy. That way, you’re being honest, but not dismissive or discouraging.

Remember, you don’t have to solve everything today. You just need to take the next step. If you had to choose just one thing to focus on first, what feels like the most important step for you right now?

Areale Hanks, that makes complete sense, and honestly, those two things are more connected than they seem. Balancing work and life while also feeling like there’s a whole layer of “unknown unknowns” can make it hard to know where to focus your energy. It’s easy to feel like you should be doing more or learning more before taking the next step.

What stage is the script in right now, are you polishing, or still working through revisions?

@Kevin, wanting a traditional publisher isn’t a bad thing at all. That’s a completely valid goal. But where it can become an obstacle is when it turns into an all-or-nothing mindset that slows you down or keeps your work from moving forward. You can continue pursuing traditional publishing, querying, researching agents, refining your submissions, while also staying open to other paths if and when they make sense for you. It’s true that some routes can be expensive, but it doesn’t have to be. There are ways to approach it in a more phased, budget-conscious way over time. More importantly, it’s not about lowering your caliber, it’s about choosing the path that best serves your goals and timeline.

I’d highly recommend spending regular time in the Authoring & Playwriting Lounge here on Stage 32. There are ongoing conversations about traditional publishing, self-publishing, hybrid approaches, and how different writers are navigating those paths:

https://www.stage32.com/lounge/playwriting

It’s a great place to hear real experiences, ask questions, and get a clearer sense of what might work best for you.

Ernest Sandefer funding and finding the right people to connect with often go hand in hand. A lot of opportunities don’t come from one big break, but from relationships that build over time.

I’d really encourage you to spend some consistent time in the Producing and Financing Lounges here on Stage 32. There are a lot of ongoing conversations around funding strategies, partnerships, and how people are actually getting projects moving right now:

https://www.stage32.com/lounge/producing

https://www.stage32.com/lounge/fundraising

The more you engage, not just sharing your own needs, but jumping into other conversations, offering insight, asking questions, the more visible you become to the right people.

I’d also recommend reaching out to our Success Team at Success@Stage32.com. If you share what stage your project is in and what you’re looking for, they can help guide you toward resources, pitch opportunities, or connections that align with your goals.

You don’t have to solve both of these at once. Sometimes the first step is just starting one meaningful conversation that leads to the next.

What kind of project are you currently trying to get funded?

@John Royan, I love that attitude!

Ashley Renée Smith Thank you so much for the advice and council. I did get the first 10 pages done for the next time that class is available. I know getting the story down is the first thing then build from there. I do have the clear picture of where these characters are going and how it ends. You will laugh but I can see the outtakes that would roll with the credits . I do have one scene I need to write that I skipped. I skipped it on purpose. In my story, a character’s fiance dies. She is there and so on and so forth. I had started to write it but my daughter passed away in July suddenly. I wasn’t there. I tried and tried to write that part but couldn’t. I decided I would write what I know, losing a loved one and not being there. That will be the last scene I write because I still can’t capture all the emotion that scene will have. I appreciate all the words of wisdom and the tools you guys offer. I’m hoping one day to shout out to Stage 32 when my film is a success.

@Jeffrey, not having representation or a strong network can make things feel like they’re moving slowly, and when your energy is low on top of that, it can feel even more overwhelming. So the goal right now isn’t to do everything, it’s to take a few strategic, manageable steps that can help move things forward without burning you out.

One of the best next steps I’d recommend is reaching out to our Success Team at Success@Stage32.com. If you share where you’re at, what you’re working on, and what you’re hoping to achieve, they can help guide you toward the right opportunities, whether that’s pitch sessions, script services, or ways to connect with industry professionals.

Also, make sure your Stage 32 profile is working for you by uploading a profile photo. It may seem small, but it makes a big difference in how people engage with you and helps build trust when you’re starting to make connections.

What kind of projects are you currently focused on?

Sandra Bolton, I really hear where you’re coming from, and that frustration is something a lot of writers feel at different points in their journey. One thing that can help shift momentum is thinking about how your material is being positioned before it even gets to that reader. Interns and readers are often looking for a quick understanding of tone, audience, and why this story matters right now.

That doesn’t mean changing your voice, it means learning as much as you can about how to position your work for success in the market and making sure the value of your story is clear from the very first impression, whether that’s your logline, synopsis, or pitch framing. Your perspective and life experience are strengths.

I’d also really encourage you to reach out to our Success Team at Success@Stage32.com. If you share more about your projects and the themes you’re exploring, they can help guide you toward the right avenues, including executives or opportunities that align more closely with your audience and material.

Brenda Mohammed First of all, making it to the finals in screenwriting contests is no small achievement. That’s real validation that your work is connecting and standing out. At this stage, it might be helpful to think about how you can leverage those contest placements as part of your outreach. They can be a strong tool when connecting with managers, producers, or executives, because they signal that your work has already been vetted and recognized.

It’s fear, but I took a deep breath and did it anyway. No matter how it goes, I’m happy to take the risk and live this exciting journey.

Charity Pleasant, I’m really glad you shared this, because so many writers are navigating the same challenge right now.

Before you make the decision to shelve everything, I’d really encourage you to take a step back and look at what you can do that doesn’t require that kind of financial investment right away. Contests can absolutely be a valuable part of the process, but they don’t have to be the first. You can do a lot while you work toward setting aside funds for those opportunities and then pursue them at the right time.

In the meantime, staying active here in the lounges on a regular basis can make a big difference. You’ll start to build relationships with other creatives who can offer feedback, share advice, and help keep you motivated. It’s also a great way to stay visible to professionals who also spend time here.

Checking in with the Stage 32 blog regularly is a free resource and a great way to stay informed about industry trends, opportunities, and different ways to position yourself and your work. I’d also strongly recommend reaching out to our Success Team at Success@Stage32.com. Let them know exactly where you’re at. They can help you prioritize where your time and energy will have the most impact.

And just to say this, working 50–60 hours a week doesn’t mean you have to give up on your writing. It might change your pace, but it doesn’t have to stop your progress.

Even small, consistent steps matter. Most contests are annual, so you can be strategic and work toward submitting your material for the next available round when the timing is right for you.

@Xochi, Start with the biggest, most impactful layer first. You don’t have to solve everything in one pass. Trying to do that is usually what creates that overwhelmed feeling. And I hear you on time management too. When time is limited, having that clarity going in makes it so much easier to use the time you do have effectively.

If you had to pick one change that would make the biggest difference right now, what would it be?

Catherine Cole, I love this perspective so much. You’re absolutely right, one foot in front of the other adds up. Also, huge congratulations on being a Semi-finalist for the Best Script Awards-London 2026. That’s an incredible achievement and a testament to the work you’ve been putting in.

Mike Fox I hear you, and you’re not wrong that financing is one of the biggest barriers across the board. But there are also a lot of filmmakers building momentum in other ways, smaller partnerships, proof-of-concept pieces, grants, co-productions, and gradually scaling projects over time. It’s not easy, and it’s rarely fast, but there are multiple entry points.

For instance, Stage 32 put together a really helpful webinar on alternative funding routes, including how to tap into donor-advised funds for your film:

https://www.stage32.com/education/products/alternative-fundraising-strat...

That kind of approach isn’t always talked about as much, but it can open up new avenues beyond traditional financing or relying on a massive following.

Banafsheh Esmailzadeh, that may just mean that you need to rest and let your brain wander a bit. You've been doing a lot lately and I know you've been battling being sick. The writer's block could just be a product of feeling worn out.

That's a perfect way to look at it and build momentum, Ana Rodrigues! Do you find that having a structured system, like outlines, bibles, or tracking character arcs, is helping you maintain that cohesion as the story expands?

Sumit Gupta What you’re feeling is completely valid, and you’re navigating challenges that a lot of international writers face. It’s true that major studios and larger production companies usually don’t accept unsolicited material. That’s a standard part of how the industry operates. Because of that, it may be helpful to shift your focus toward finding a manager or agent who can represent you and help get your work into the right hands.

Another strong path to consider is creating something you can control. Putting together a short film that you write and produce can serve as a proof of concept. It gives you a tangible piece of work to showcase your voice, and it can help you get into the festival circuit, where you can start building relationships and getting your work seen.

While you’re saving funds for opportunities to connect with executives, you can absolutely keep building momentum. Staying active here in the Stage 32 Lounges is a great way to connect with other creatives, share your work, and learn from others:

https://www.stage32.com/lounge/screenwriting

https://www.stage32.com/lounge/directing

You can also continue learning through free resources like the Stage 32 blog and community discussions, so you’re growing your skill set and understanding of the industry over time.

You don’t need to solve everything at once.

That's a great attitude to have, Nicholas P!

Devon Callahan I really like how you framed this, especially the distinction between something “standing in your way” versus holding you back. What I’d maybe suggest, since you’re already disciplined with your writing, is experimenting with small, consistent pockets of networking instead of a full pause. Even just a few minutes a day or a couple of conversations a week here in the lounges can help you build relationships over time without disrupting your creative flow.

And I love that you’re pulling inspiration from conversations with your boys too. That’s such a great, organic way to generate ideas and keep things fresh.

Breyanna Tolbert Time is a challenge for so many writers, but what you did here, building in accountability, is one of the smartest ways to work through it. Joining both an in-person and an online writers group gives you structure, support, and that extra push to keep going even on the days when it’s tough. I also love the mindset of “we’re all in this together.” That sense of community really does make the process feel less isolating and more sustainable. Thank you for sharing!

Beverly Thompson, you have so much happening right now, and honestly, it sounds less like you’ve stalled and more like you’re being pulled in multiple directions at once. One thing that might help is giving yourself permission to narrow your focus, even temporarily. Instead of trying to juggle everything at once, what if today, and maybe a few days after, is just about reconnecting with Book 4 and getting that ending down while it’s fresh? Everything else will still be there. But that creative window, that clarity, is something worth protecting when it shows up. And just to say this, the fact that readers are telling you they couldn’t put your work down speaks volumes. You’re clearly doing something right.

Michael Hanian I love how clear and specific you are about what you’re looking for. I’m curious, what have you been doing on a routine basis to work toward those goals and start building those connections? Are you actively reaching out, sharing your projects, or engaging in conversations where producers and writers are spending time? Sometimes it’s less about one big ask and more about consistent visibility and relationship-building over time. Where have you been focusing most of your outreach so far?

Grace Balistreri I love that you’ve taken the time to learn, develop your idea, and build out your season. That foundation is going to serve you really well. At the same time, you don’t necessarily have to wait until everything is complete to start sharing. Even sharing a logline, a concept, or the first episode can start opening doors and helping you refine the project in ways you might not see on your own.

And what you said at the end really says it all. Obstacles are part of the journey, both in stories and in life. The difference is choosing to keep going anyway. What do you feel like would be the easiest first step for you in sharing your work, something that feels just a little outside your comfort zone, but still manageable?

Charmane Wedderburn what a grounded way to look at things! It’s not just progress on the page, it’s progress in how you understand your own process and your story. It sounds like you’ve found a rhythm that works for you.

Thank you Ashley Renée Smith and I he best thing I can encourage all my fellow writers is to go the extra distance and make your next step

Jim Boston, finding the time to write is a struggle that I think we can all relate to. And I love that you’re not looking to give things up, especially music. That’s clearly something that fuels you. If 8:00 PM is the ideal window, maybe it’s less about adding time and more about shifting priorities slightly within what you’re already doing. For example, could even one or two nights a week be designated as “writing-first” nights, where emails, LinkedIn, or script reading happen after you’ve written instead of before?

Vital Butinar you’re already making things and pushing projects through production and into post. That puts you ahead of a lot of people who are still trying to get started. A finished project, especially one that demonstrates what you can achieve with limited resources, becomes a tool. It shows potential collaborators, producers, and investors what you’re capable of when you do have support.

What’s your plan once Pure Vortex is fully finished, are you thinking festivals, online release, or both?

Meriem Bouziani, this is exactly what makes your journey so inspiring. The fact that you’re acknowledging your fear and choosing to move forward anyway. That’s where real growth happens.

What's holding me back? Getting the time actually to write. It seems I have too many obstacles in the way, and I'm retired!! I'm working on adapting a friend's true story into a screenplay, and I'm not sure how much I'm allowed to make up. I told her that "based on a true story" doesn't necessarily mean it's the exact true story. I'm having to imagine and implant dialogue and additional scenes to make the screenplay flow. How much can I get away with? In the end, it will be her story, but it isn't possible to tell it exactly how it happened.

Thank you Ashley Renée Smith, yes, it's true. I've been expending a ton of energy into Lunar Window's final edits (especially trying to figure out how to address repeated notes without compromising my intent) and being sick, luckily both are over so the writer's block will be filled with fun stuff to recharge~ I'm definitely enjoying rediscovering Harry Potter lol

Thank you very much for your encouragement Ashley Renée Smith .

It’s not just courage—these ideas refuse to leave me alone, haha.

The most important step is to create a foundation for my animation concept. Like world-setting, the premise, and even making it more fun and enjoyable.

Ashley Renée Smith well for me, it’s money and my health.

For me, it's a lack of connections and money and resources. I am hoping someone will take mercy on me. It's not easy for me as I have Asperger Syndrome and MS.

Banafsheh Esmailzadeh expending lots of energy into perfecting the craft and into a project is relatable. Not to mention balancing work and life That’s definitely where I’m at right now. Sheesh. The way I feel about scriptwriting and being attentive with projects/slate buildout and networking with the right people I really wish this was my career so I could devote more time to doing what I enjoy without experiencing so much fatigue or having to compromise my time across things like my workout regimen, my back end business endeavors, my current job really has a lifestyle that requires a lot of my time.

I recently had a break through (uncovering my protagonist's flaw) but my main struggle is overthinking constantly which is really me not trusting myself. My head is too caught up with what I don't know when the learning is in the doing. Two weeks of the flu has not helped either.

@Ashley Renée Smith.

The fact is that I am a very uncommunicative person. I can't bring myself to make connections and engage in networking, I don't have the strength and ability to promote my projects according to the rules of the film industry. It's easier for me to be alone and scroll through different versions of scenes in my mind than to write a script, edit it, and then seek feedback, make edits, and then promote. There are many other empty activities in life that bring pleasure. I believe that screenwriting is not for the poor, and I'm just poor. In the film business, a person's status is very important. No one cares how good a script is, it's important whether it has a budget for filming. Common sense dictates that no one will look for a budget for the poor. Try to find money for food from strangers first, if you don't believe me.I couldn't sell the script in Russia, and I'm not cool enough to try to do it in America. Moreover, due to the sanctions against Russia, I do not have the opportunity to pay for feedback and participation in competitions. I can't even get into the writers' room on this site. There are no legal ways to transfer money from Russia to America, Visa and MasterCard cards do not work for us.

And after writing all this, I realized that in the past I wanted to succeed in Russia. I don't want to succeed in America or anywhere else abroad.

I’m currently working on a crime-thriller project, and my biggest challenge is reaching the right audience and industry connections. I'm actively improving my storytelling and networking to overcome this."

What’s holding me back right now is translating the speed and emotional retention of serialized audio storytelling into highly visual, cinematic scripts for screen and vertical drama.

I come from a background of writing long-form episodic stories with cliffhangers, emotional reveals, and strong “next episode” momentum. That instinct has helped me build story worlds audiences stay with for dozens of episodes.

The challenge now is evolving that same retention energy into:

- sharper scene construction

- more visual storytelling

- stronger screenplay formatting discipline

- faster character revelation through action rather than narration

- adapting long-form arcs into short, bingeable screen moments

I know the storytelling engine is there.

The real growth point for me is learning how to make every beat feel cinematic, visual, and instantly watchable.

What keeps me moving forward is that the future of storytelling is shifting toward mobile-first drama, vertical shorts, and streaming-native serialized content, which aligns naturally with the way I already build hooks and cliffhangers.

So I’d say what’s holding me back is less about creativity and more about refining the craft bridge between story retention and screen execution.

That’s exactly why I’m here: to learn, collaborate, and grow into the strongest version of that writer.

This really resonates with me. I’m also working on a crime-thriller story, and I’ve realized that translating strong narrative ideas into visual storytelling is a big challenge. Especially making scenes feel impactful without relying too much on dialogue. I think focusing on character actions and tension helps bridge that gap. Really interesting perspective on evolving storytelling for modern formats.

I feel that, Areale Hanks. Between work and working out and just general life things, it’s definitely not easy to build my career up. I only have so much focus and energy in a day ^^; nonetheless there’s lots of silent learning I have to do too so imma try to do that while I’m resting my creative muscles.

I can relate to this. Balancing daily life and creative work is definitely challenging. I’ve noticed that even during breaks, the mind keeps working in the background, and sometimes that’s where new ideas start forming. Taking time to recharge can actually strengthen creativity in the long run.

Ashley Renée Smith yes actually. Pure Vortex is going after a few festivals, but it's a bit too early to talk about them. More should be know soon. But we intend to premiere it at a festival hopefully and then see how things go.

Right now my highest priority is get it finished, the color grade has been done, the dialogs have been edited. We still need two additional shots that will be shot this week and then integrated. I'm also waiting for some ADR to be done. Then the music scoring and final sound mix and we'll be good to go.

It's true and I agree as far as execution goes, I've done a lot of film project. But like I said, I honestly thing that Pure Vortex is the limit of what can be done with really limited budget or no budget in this case. The biggest problem I see is time, you need more time to make something better and if you need more time then the cast and crew needs to have more time, with everyone trying to make a living time becomes the number one problem in a project becoming better.

That’s very insightful. It really shows how much effort goes into completing a project, especially with limited resources. Time truly becomes the biggest challenge when balancing quality and real-life commitments. Wishing you the best for finishing Pure Vortex and its festival run.

Banafsheh Esmailzadeh Indeed. For sure you’re right.

Hey Ashley Renée Smith . first of all I'm a huge procrastinator. And honestly, I have writer's block about 80% of the time. But here's the thing — I put stories together like a puzzle. If I can't see the final image, the ending of the film, then I don't know where to put the pieces. The scenes just sit there. So I spend most of my time trying to find the message in the story. The big takeaway at the end. Once I have that, I can spend the other 20% actually writing and putting everything together. That's the part that moves fast. It's the figuring-it-out part that takes forever.

Thanks for initiating this thread, Ashley! My wife and I are developing a pilot for a limited series -- dramatic bio along the lines of The Crown and Queen's Gambit. We have a strong pilot script (placed in UCLA writing program competition), a pitch deck, a bible, and passion! We don't have representation. And, honestly, we're figuring out our way forward--how to get this in front of the right people. This is uncharted territory for us and we might be overthinking. Any suggestions are warmly welcomed!

And cheers to everyone here posting about their projects!

I can relate to this. Finding the core message or the ending really shapes how everything else fits together.

Without that clarity, it’s difficult to know where each scene belongs. But once the direction is clear, the writing process becomes much smoother.

Great way of looking at storytelling as a puzzle.

That “figuring it out” phase really seems like the foundation of the entire story.

That’s a great position to be in—having a strong pilot, pitch deck, and bible already puts you ahead of many writers.

From what I’ve seen, connecting with the right people through networking platforms and industry communities can really help in getting the project in front of the right eyes.

Wishing you the best in finding the right path forward—it sounds like a very promising projec

Ashley, thanks so much for your kind words!

Confidence, courage, and persistence have been my biggest hurdles these past months. Life has been stressful. Although it has not dimmed my light for writing, or my enthusiasm for my projects and scripts. But some days, I have to give myself a pep talk. I said F it. Booked some pitches and am going to do it. Going to keep giving it my best shot!

Ashley Renée Smith we're now moving for "happy circumstances" instead of medical crisis- YAY! Hoping perhaps we can keep the film location here in Louisiana since the script is written here and it's such a great tax benefit. We'll keep a footprint in our hometown- so I think it's possible. Just trying to keep pace with shifting priorities :)

That’s great to hear—happy circumstances always make the journey better.

Wishing you the best with the project, and keeping the location in Louisiana sounds like a fantastic choice.

I really respect this mindset. It’s not easy to push through self-doubt and keep going, especially during stressful times.

Taking action and putting yourself out there takes real courage. Wishing you the best with your pitches—hope it leads to great opportunities.

Thank you Sachin Yadav. Yeah it is a lot of work and of course there are other projects also on the roster., which is challenging.

If you'd like to learn more about Pure Vortex, I wrote a couple of blogs about it, the links are on my profile.

Thank you, I’ll definitely check out your blogs. It sounds like a very interesting project, and I’m curious to learn more about your process and approach.

For me, it's a mixture of a lot of things. Sometimes I feel like time has passed me by in my writing career. I waited until towards the end of my military career, serving 24 years in the Navy, before I decided to follow my dream to become a writer, and generations have passed. I feel my writing style and what I write about are things of the past.

Thank you for sharing your journey, John.

It’s never too late to follow your dream—experience from life, even from different fields, adds depth and perspective to your writing.

Every generation has unique stories, and your voice is just as relevant as ever.

@Ashley Renée Smith

Thank you, I really appreciate your perspective.

I think I’ve been approaching this with the idea that I needed to complete the entire project before sharing it, but I’m starting to understand that this might actually slow down my progress.

At the moment, I have a full synopsis of my first episode, so I think a good and manageable first step would be to start by sharing that. It feels like the right way to step slightly out of my comfort zone while beginning to open the project up to feedback.

From there, I’d feel more confident gradually sharing more of the work.

Thank you again for the encouragement — it really helps.

Great point, Grace! I'm also working on a crime series right now, and I've realized that opening up for feedback early on actually helps refine the story's direction. Taking that first step out of the comfort zone is where the real progress happens. Best wishes

Time Management. I plan nights that I’ll stay up to work on projects for 2-3 hours but really wish I had more time overall.

Ashley Renee, a "writing first" night or two isn't a bad idea at all...and in fact, I tried that a couple of days ago. (Can't wait to get back to that.)

Thanks so very much for the tip!

I can relate to this. Managing time alongside creative work is definitely challenging. I’ve found that even small, consistent sessions can make a big difference over time, especially when working on long-form stories.