Staton Rabin: Screenwriter, script consultant and story analyst in Mount Vernon, New York.

OMGGG!? I haven't been on Stage 32 for a bit but have seen all the notifications of this Now-Public Forum on AI Screenplay Review or whatever we should call it; I just read everything from the past month or so. I absolutely Love every thought and every word that everyone has posted here. Dang, too bad I missed the off-topic and disrespectful comments Craig Urquhart and E Langley got into, though. ;) This ongoing discussion-slash-debate is massively interesting -- I hope it continues, because Grok, GPT, and who knows which others are, as Craig said, moving at the speed of light -- in SOME direction. I think what that direction is might be one of the main questions. How truly useful and in what contexts these AI creatures expose their personal brilliance and enlightened nature (haa) over time will be fun to watch. Possibly painful, too.

the dead must stay dead. we must all demand that the resurrection of the dead with voice and body by artificial intelligence be stopped. let's stay human, that's all we have left in this too artificial world. It is our dignity, it is respect for our race.

Agreed, Emanuele. I do think there's a place for AI in the realm of operational knowledge and the endless thought processes involved with that kind of knowledge -- allowing the human mind the room to be -- if willing -- freed up for more creative cognitions (the stuff that most of us don't "believe" AI is or will be capable of touching). IF we don't completely screw up and destroy ourselves first...out of the lack of respect for the human race that you mention.

The next step would be finding a manager, with a strong logline being key. And rather than telling them you won 19 awards, I would only mention, by name, the two of them which are generally recognized as having the most prestige in the industry. Historical scripts are always a tough sell, so seek out managers who might be open to scripts in that category. The fact that it's based on a true story may help, especially if there's also a published book on the topic to which you own the film rights. Also, you might circle back to some of those screenwriting contests you won and see if they can help you find a manager.

Create a short film, as advertisement. If you feel that you are the wrong person to do this yourself, make friends with your local group of no-budget filmmakers.

Staton, Finding a manager is easier said than done.

William Joseph Hill is correct. However, that being said, it is not the length, but the quality. If the script is tight and it takes a 142 pages to tell a great story, then so be it. People say that readers/producers don't want to read more than the standard 90-110, but I have a 123 page script that people that have read it, can't put it down. They enjoy it to end. No one has come forward and bought it. It also has over 20 top ten finishes in screenplay competitions around the world so It isn't just stroking me. Most production companies want the complete (pitch) package. Director, stars, etc. attached. The more complete the better. Heck, they love it when you walk in with the money. Used to be the producer's job to put together the package. Not any more, seems like it is the writers job.

The Page Awards puts out the Logline newsletter and the most recent edition has one of its writers declare that 90-100 is the new sweet spot regarding length. I think there's more tolerance for longer works based on genre, e.g., period dramas.

Exactly Eric Christopherson

Too true, John C. Bounds! Just write is a great note, because how else does it get done? Prepping for a script is important, but it's the groundwork, and not supposed to consume all of your time. Writing has that honor.

You got it, Pamela De Nicolo! Aspects of your script should drive it to its goal and conclusion. Filler materials with no direct association will be edited out eventually, by you if you edit yourself with rewrites, or by the studio who buys your script.

I echo that oldy, but goody note, Francisco Castro!

Thank you, Richard "RB" Botto.

Most welcome, Staton Rabin. Fantastic contribution.

:-)

The Disney legal department will not permit them to look at it unless it comes in from a manager or agent. This is always the case for studios, but especially so when it comes to material they originated.

Well, do you know of any managers or agents? Onces who would work with me? Plus, if it goes Music and Magic, a crossover between HSM and American Dragon: Jake Long, that could involve Jackie Chan and Chuck Norris. Who wouldn't want to see those two team up? Bringing their own style of action, wisdom and experience to the young.

As an adoptee, I like that premise, but that challenge, in addition to the music business struggles feels like there are 2 stories. I would pick1 of the 2 and would go with that.

Jed, thanks and yes, I probably bit off too much for my first screenplay, ha. The two storylines are intertwined and push each other forward, so it seems to have worked. Next step will be to have a few people read it and tell we what sucks about it. A sharp learning curve that maybe skipped a few steps, but...here I am. :)

dan, good call. in the screenplay her father and the people stealing the song are connected, so maybe there is a way to show that without getting too long winded.

Reading the script and giving you notes? Of course, that SOP. But charging you? Absolutely not. Paying for coverage is standard as well, but that's something you should do long before you approach a manager/producer. I've worked with several managers, and they've never asked my writing partner and I to pay them for giving notes on a script. And they've been the ones reading the script, not an assistant. I suppose there might be some out there that do, but I wouldn't be a big fan of that practice. They could easily charge you for the coverage and then say, 'Here's our notes, but we're going to pass' and then you'll never hear from them again. If you're planning to go through with it, ask what she's going to charge you. If it's more than $150-200, that would definitely set off my Spidey-Sense.

No, don't pay for coverage. It's a hustle.

Producer who pitched one of my scripts to legit industry contacts (Daniel Petrie, Jr. and Touchstone Pictures) years ago: "Any agent who would read the work of a new writer would probably not be able to help you."

Just went through this... I ran it by an Exec. producer who said it is not industry protocol. Tell them no you will not pay them money and if they like your work to follow industry protocol and make you an offer. Also, report the person to Stage 32 and tell them that you have reported them.

Hey Staton Rabin ! Thank you so much for posting! I am really happy to hear that this call went so well. Keep it up! You're on a roll!

Thanks, Jason Mirch!

This is my first time submitting to a Stage32 competition, and the 4th script I've ever wrote, so I'm really excited to see what people think of it.

A little bit more about my animation feature script My World:

It centers itself around two lonely teenagers who are from different backgrounds/places. They go on a journey to take of the teens back to her home, whilst figuring out why she came here in the first place.

It's a journey of self discovery and loving yourself for all your differences, added with songs and scenery that will rattle your emotions.

I hope you enjoy it as much as I enjoyed writing it!

(The poster was created by a good friend of mine)

I wrote this story for a novella contest based on the following prompt: A dragon, an elf, and a dwarf embark on a quest to find the lost heir to the kingdom. Then, I also decided to write the screenplay version, which led me here. With Morte, the Lost Heir, this is my first time submitting to a Stage32 competition.

The story takes place in a fantasy world where we meet the king's two sons, Morte and his younger brother, Sol. When the king falls ill, Sol believes he would be a much better king than the rightful heir, Morte, so through his schemes, the crown prince finds himself trapped in a catacomb with no way out. Morte's childhood friend, Tobi, becomes suspicious of Morte's mysterious disappearance, so he sets out to find and rescue him with the help of new friends he meets along the way:

a healer elf girl whose abilities are banned, a dragon who wants to become human, and a wizard who may know much more than he reveals.

It's a tale of sacrifice, where characters are forced to make difficult choices, often at the cost of their own desires. I hope their selflessness and unwavering courage, even in the face of overwhelming odds, will resonate with the audience, evoking a deep sense of empathy and admiration.

Hello, everyone!

"Koun Apsara" is about Ra, a lonely Cambodian-American teenager, who is thrust into another world of Cambodian folklore, and he must save the land from an evil war while accepting his identity as a warrior of two worlds.

This was my first animated feature and I enjoyed every second of it. "Koun Apsara" is a deeply personal story that connects my Cambodian culture and struggles growing up as a Gay Asian-American. In addition, this story reflects the Khmer Rouge War and Genocide that my parents survived.

I hope my story can connect to fellow outcasts, survivors, and increase representation for unheard voices as well.