Neil Geisler: Filmmaker and screenwriter in Los Angeles, California.

Hi everyone, I'm Salma Hassaballa, an Egyptian novelist with 14 published books across genres (thriller, romance, social, and philosophical). Two of my novels have been optioned by producers, and I'm now developing Alter Ego, a psychological thriller that bridges the U.S. and Egypt, exploring identity, trauma, and the thin line between dreams and reality.

I’m excited to connect with creatives, producers, and screenwriters worldwide. Feel free to say hi — always happy to talk stories, experiences, adaptations, or cross-cultural narratives.

Hey guys, the name’s Bryson. I’m a story writer, and a very creative person. I’m looking for help with writing a TV show, so if anyone has any questions please let me know. It’s called Shared Space, it’s a comedy. If anyone can help, I would greatly appreciate it. I have all the scripts done, it might need to be polished up, but it’s ready for someone to look at. Thanks

Hello! I am an aspiring screenwriter, and I would love to connect with anyone and everyone who can help me learn more about the craft, and the business in general. I realize that there are A LOT of different people who fit together like a puzzle to create a film, and would love to learn from all of them so I can see things in a more evolved way!

Thank you!

Hi, @Neil. I'm a Stage 32 Lounge Moderator. I wanted to let you know I deleted your comments from the posts in the Lounges. Stage 32 doesn't want members spamming posts. Let me know if you have any questions.

I really liked what Story Farm wrote today - sober my lifetime in the movie business I’ve found this to be true. Here’s some parts of the piece - @We don’t get hired only because of a badge on an online profile. We don’t get work because miracles fall into our lap. We get hired because someone who knows us trusts our voice. We build a career not by being declared the winner, but by becoming part of the community.

Look at any working writer today, and you’ll find a trail of friendships and relationships, not just “networking” in the business card sense, but real, authentic, invested human connections. Because this is a people business. It always has been. Look at what you’re attempting to do with your writing. You’re attempting to allow audiences to connect with not just a story, but the characters within your story. Don’t you think you should do the same thing in your own life and career? Connect with people. Make friendships, and/or utilize the current friendships you already have.

In other words: your success will not simply descend upon you from the heavens as if a bag full of success and money will just arrive at your doorstep.

It will show up in the form of other people; writers, mentors, reps, friends, collaborators. People who see you, support you, and want to help you succeed. And you will do the same for them.

The industry is built on people who trust each other.

Be seen. Show up. Invest in yourself and your people. Form real relationships. Actively pursue forming new connections…and I don’t care where you live. I have writers/clients who live all over the world, and they are continually finding their own tribes and friends wherever they are…while ALSO working online in communities that support them. In the meantime, they are also actively reaching out to managers, reps, producers, and then some. They don’t always get an answer. They don’t always find success when querying. But so what. It isn’t stopping them from pushing on.

So please remember: you don’t need a trophy or a contest win to matter. But you do need someone who believes in you. And more than anything?

You need to become someone who believes in others AND yourself.

That’s how this whole thing works. Relationships are everything.”

I have a short movie idea with strong vision.

At the beggining, the main character is picked up by a car on a dirt road.

My question is, how do I shoot such a scene?

I already have a plan, but I wonder if it's appropriate:

I'm not going to shooting a scene where the car is already visible behind my character.

This avoids an accident or a complicated reversal when I ask for another take.

Only parking next to the character will be filmed.

Is my plan good?

ok folks, so this i think is my most challenging work, it could be a complete disaster or a masterpiece, i try to evaluate my own work from an audience lens i feel this can be very big but then again opinions matter so please leave a feedback would upload the screenplay soon . here is the log-line : A celebrated illusionist rises to fame in 1980's , while a curious young woman, enchanted by his act, finds herself drawn into a world where beauty, mystery, and longing hide something far more profound behind the curtain.

Huge news! I’m thrilled to share that my new feature screenplay, “Absent” received a “RECOMMEND” from ShoreScripts!

This designation is notoriously tough to earn—only 1% of scripts make the cut—but after many rewrites, gallons of coffee, and relentless editing, I’m beyond grateful for this recognition.

A massive thank you to the Shore Scripts team for their support of writers and commitment to discovering bold voices. To anyone grinding on a script right now: Keep going. The work does pay off. Give ShoreScripts a try!

I have no idea what to expect here, but I’m excited to connect with like-minded creatives chasing their dreams. This is my first screenplay, adapted from my sci-fi thriller trilogy Miracle Man — wishing everyone the best of luck!

One of the most valuable skills you can develop as a writer is learning how to write with a distinct, authentic voice. In a world where thousands of scripts cross the desks of agents, producers, and executives every day, your voice is the key that sets your work apart from the rest. When your writing rings true—when it reflects your unique perspective, experiences, and emotional honesty—it connects with readers on a deep, human level. That’s what makes your story unforgettable.

Yet, many writers struggle to understand what voice truly means—or how to find it. Some believe that voice is just about style, word choice, or genre, while others fear that embracing their voice might limit their audience or pigeonhole them. The truth is, no truly original story has ever been told—every tale has echoes of others—but what makes a story feel fresh and alive is the writer’s unique voice and perspective. Without it, even the most well-plotted story can read flat and forgettable. Your voice is what makes your script memorable; it’s the reason an executive says, “Only you could have written this story this way.” It’s what protects your story from being diluted or overlooked, and it demands ownership over the narrative you’re telling. This webinar is designed to help you discover and refine that voice so you can confidently share your most authentic stories with the world.

Email edu@stage32.com with any questions!

Writers! Creators! Filmmakers!

Through my many conversations with artists (yes - that's you!), I've been reminded of something we sometimes take for granted: behind every script is an artist. And that artist matters.

When talking to execs and producers, you want to be known as an individual, not just for your scripts. Yes, you can let your work do the talking, but at some point, you'll need to define yourself as a creative voice.

So here's my question: What is your creative identity?

What unique perspective or storytelling approach defines your work? Beyond genre or format, what themes, sensibilities, or creative fingerprints make your writing distinctively yours? What's the through-line that connects all your samples? These are things we will often ask you that managers and execs need to know. After all, they'll be pitching you and introducing to other execs and producers.

Feel free to write a paragraph-long artistic statement below. Let's help each other articulate what makes our voices unique. I'll chime in with feedback, and I encourage everyone to support each other!

Hi, @Neil. I'm a Stage 32 Lounge Moderator. I wanted to let you know I deleted your comments from the posts in the Lounges. Stage 32 doesn't want members spamming posts. Let me know if you have any questions.

I'm an LA-based writer and recent winner of the Stage 32 Comedy Feature Contest. Love writing comedies with heart. What about you? What kinds of stories do you love?

Many may not know this, but Netflix's co-CEO Greg Peter on Wednesday talked up the company’s investment in UK production. If you haven't noticed, Netflix's UK production hub is very different from its US production hub. You can see a main difference in their productions if you look at their UK-based shows and films. For example, think of shows like BABY REINDEER, ADOLESCENCE, as well their acquired shows from BLACK MIRROR, TOP BOY, and PEAKY BLINDERS.

They revealed that the extensiveness of their production comes down to the combination of talent and incentives. “We’ve spent over a billion pounds [a year] on UK productions since 2020, so this is over 100 titles that we’ve done, and we’ve worked with over 50,000 cast and crew here. And I think you’ve seen some amazing shows as a result” from Adolescence to Dept. Q, Black Doves, The Gentlemen and Toxic Town, Peters said today at the Wall Street Journal’s CEO Council in London.

This is great news since Netflix is looking to emulate their UK production hub to their US production hub. Understanding that Netflix's global and domestic power can foreshadow a possible change in Hollywood's pessimistic outlook of production halts.

What do you think? Is this a sign of a possible shakeup in not only Netflix's production but Hollywood as a whole?

Hi everyone! What is your motivation for writing? What keeps you going and what inspired you to become a writer?

Hi, I am new here and wanted to say a quick hello. I am aspiring to bring my movie pitch to life. In the process of writing up a synopsis and also making networks the best way possible. Looking forward to using this platform. All the best!

Professional screenwriting has established standards for a reason - they help your work get noticed and taken seriously. And they make you look like a pro screenwriter. Let’s see if you are a pro or not. Answer each of the following 12 questions honestly with a Yes or a No:

1. I write Film or TV scripts without ever having read a script.

2. I have not read any books on how to write a script.

3. I have never taken a class on scriptwriting.

4. I do not study nor follow script formatting standards.

5. I do not spend at least months working hard to develop my concept and characters.

6. I don't do any research to help develop my stories.

7. I have not spent hundreds if not thousands of hours learning my craft and improving my scripts.

8. I do not outline before I write.

9. I do not do a spell check of my draft before I submit it, nor check its punctuation or formatting.

10. When I send a pitch letter to a manager or producer, I use a tag line not a logline or my logline has no hook.

11. I send a script to producers or industry professionals without them having requested it.

12. I have never had a professional script consultant/assessor/story expert vet my script before submitting it. (Cheap script analysis services or contests do NOT count.)

If you answered YES to even just a few of the above statements, you are approaching your screenwriting career in ways that make it near impossible for industry professionals to engage with you or your work. And you are making it harder for other writers. These standards exist because pros prefer to work with those who understand the craft. Who act like pros.

Even with a brilliant story idea, your script needs to demonstrate professionalism from line 1. Industry gatekeepers—producers, broadcasters, funders, actors—often make quick judgments based on first impressions.

My test isn't meant to discourage but to illuminate your path forward. If you dream of creating unforgettable characters and exciting adventures, creating a product that showcases your talent and professional attitude is essential.

Developing compelling stories that open doors requires dedication to learning and applying knowledge. Discover what that knowledge entails and commit to mastering it. Creating good stories and becoming a professional writer demands persistence and hard work, but the rewards are worth it.

I wish you good thinking and success in your creative journey. The world truly needs more skilled and professional storytellers. ….

Hey again y'all~

What are your thoughts about scenes with no dialogue that's all action, basically miming?

I'm writing quite a few in my current script and I'm enjoying it a lot. One I wrote right now is almost a page long and (hopefully) comes off just as sad as it feels for me haha.

In my humble opinion dialogue-free scenes are crazy underrated and can make for excellent drama, since they're ripe for subtext via action.

Hey Stage 32!

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