Authoring & Playwriting

My script changed when I realised by antagonist was a better character than my protagonist. I originally enjoyed writing my protagonist with her triumphant ending but when I started working the villain more - then the tables turned. I was a little shocked how much I enjoyed creating the villain. Feel like a traitor to my 'Disney/Happy Ending' brain....

hahahaha love that Lauren Hackney!

I got a smile from that as well, Lauren. Good luck with the project.

Kat Spencer, I absolutely relate to that feeling of being surprised by your own story. The book I’m currently working on is the first in a planned trilogy, and I spent an entire year worldbuilding and outlining before I wrote a single page. During that time, I also roughly mapped out books 2 and 3 to make sure the full arc felt cohesive.

One of the biggest discoveries that completely snuck up on me was realizing that my original antagonist, the one I designed the whole first book around, is not the true antagonist of the series. He’s still very much a force of evil and a personal threat to my protagonist, but as I dug deeper, I realized the story needed a larger, more insidious evil working in the shadows. It shifted the emotional weight of the final book and gave the entire ensemble a higher-stakes mission beyond what I initially imagined. That realization changed everything.

Well done, Ashley. And how cool you got the follow-on books mapped out as well. Your words make me want to pick back up a trilogy I haven't worked on in a while. Thanks for that nudge.

In my book THE POWER OF THE DARK SIDE I present the classic observation that there are Three Levels to the Dark Side. 1 - A character's own foibles, phobias, faults (like Indy's fear of snakes in RAIDERS, overcome later on to help save the day). 2 - The Dark Forces of nature (like in TWISTER, ARMAGEDDON, or DON'T LOOK UP) . 3 - The Dark Ones, the big baddies or systems on high levels and with great strength (like the President and the tech bro in DON'T LOOK UP).

So we want to have at least two in a story: 1 - Personal, 2 - Impersonal, 3 - Supra-personal.

Best to you all in crafting wonderful, engaging, fulfilling stories!

I haven't thought of 1 and 3, Jonathan Jordan. I tell myself "You can't make everyone happy" when I'm outlining, writing, rewriting, pitching, and getting feedback on a script. I also look for something useful in a negative review or harsh feedback.

Hi, Jonathan,

Let me tell you the story of Albert-László Barabási—a now world-renowned physicist and network scientist—to illustrate just how much (or how little) criticism is really worth.

Barabási, a Hungarian-born visual artist, physicist, and network scientist—who is truly a global citizen in every cell of his being—achieved his first major breakthrough by exploring the nature of success. For ten years, as a professor at Northeastern University, he and his research team studied one "simple" process: how someone becomes successful.

Working with a dozen university researchers, after analyzing thousands of case studies and drawing just as many network graphs, Professor Barabási formulated a scientifically grounded equation for success. He wanted to publish the findings in an academic journal, as a proper scientific research summary. As you may know, in academia, a researcher's credibility and impact are often measured by how many times their work is cited. (In fact, this principle is the basis of one of the world's most famous and widely used digital tools: Google. Larry Page, co-creator of the search engine, is currently the 8th richest person in the world. His co-founder, Sergey Brin, isn’t far behind.)

But back to Barabási’s story: you might not believe this, but not a single academic journal saw the potential in publishing the results of his ten years of work. They simply couldn't get it accepted.

So, Barabási sat down and wrote a book called The Formula (2018). Not in the language of science, but in a way that anyone could understand—woven with personal stories and experiences related to his research on success. Including the very story I’m sharing with you now.

The book became a global success. It's been translated into over forty languages. He teaches courses at universities around the world and lectures across nearly every continent. And it’s not just about the science of success. His scientific insights on networks are now cited and taught worldwide. He even wrote a university textbook called Network Science, which is now used globally by students learning about the nature of connected systems.

There’s a section in The Formula where he analyzes the probabilities of getting on The New York Times Best Seller list. (He also writes about what makes a movie successful.) I took notes on his observations and developed a system to maximize my chances of getting one of my books on that list someday. Being a foreigner puts me at a particular disadvantage, but the process is underway, and I'm following exactly the kind of logic Barabási recommends in his book. After all, here I am among you, right? :) And you're here, too! I might write a blog post about this system someday—others might be interested. The thing is: it works. It really works!

So Jonathan, I honestly think the best thing you can do for yourself is not waste a single word on that one-star review. Instead, start planning the marketing for your next book—even if you haven’t written a single line of it yet. You’ve got the literary skills; the manuscript will come when it’s ready. But you have to believe in yourself and trust in your abilities. These are the most important elements of your personal brand: faith in yourself and confidence in your capabilities. Along with the literary knowledge that is already part of you.

I really liked how you analyzed that "one star" from different angles. It all depends on perspective. It’s like a kaleidoscope.

Lauren Hackney, Kindness and hugs are underrated forms of payment, love that! And you’re right, coverage can definitely be tricky. It’s helpful, but depending on the source, the notes can vary wildly in quality or usefulness. One thing I’ve found really helpful is getting feedback from multiple sources—someone in your circle who knows you and your voice, and someone who doesn’t, to give you an outside perspective. RB always suggests getting feedback from 3 different people.

Kat Spencer I love how you balance immediate reflection with giving your work space to breathe. Editing as you go, then revisiting with fresh eyes later, sounds like a great way to stay connected to your momentum while still being intentional about quality. I also really relate to that moment of coming back weeks later and suddenly spotting the things that felt invisible before. It’s amazing what a little distance can do for clarity.

Chiara Torrisi, That kind of bird’s-eye view is so valuable before diving into structural notes. Your method of outlining events and mapping cause-and-effect relationships is also so smart. It not only strengthens the story but also gives the author a really clear roadmap for revisions. I imagine your clients feel incredibly supported through every stage of the edit. Do you ever have to recommend a full rewrite?

Leonardo Ramirez, You know a love for pie is something we share, my friend! I think there’s something powerful about pairing that celebratory moment with giving yourself a bit of space before diving back in. Editing can feel like such a grind, but small rituals like that (and finding a rhythm that works for you) make a big difference.

You know it my friend Ashley Renee Smith!

Hi Anthony McBride, I worked with an author this summer who turned his novel into an audiobook. I don't recall the company he worked with, but let's connect, maybe I can help you.

Anthony McBride If you’re looking to collaborate with a vocal artist, you might consider connecting with talent right here on Stage 32. There are incredibly skilled voice actors in the community, and many are open to collaborating on indie audiobook projects. You can even post your opportunity on the Stage 32 Job Board.

A few additional tips:

• Know the voice you’re looking for: Is your book best served by a warm, conversational tone? A dramatic performance? Think about what fits the emotional world of your novel.

• Request a sample read: Before committing, ask potential narrators to record a short excerpt. It’s a helpful way to hear how they interpret your work.

• Discuss deliverables up front: Will they handle editing and mastering, or will you need a separate post-production partner? Make sure those details are clear from the start.

• Payment structure: Decide whether you’re offering a flat fee, royalty share, or a hybrid agreement, and be transparent in your job post.

Sure, I created three Audiobooks. Two of them are well received. Matthew Longmire, Stephanie Rigby and Georgia Black did my Dark Comedy for me because I had vocal issues at the time, but I did "Then the Earth Swallowed them Whole" all by myself. I have a deep voice, which is loved by some. See who is on Audible first, have them do a 2 minute audition and then work out a deal. I would suggest finding someone who knows ACX specifications, because they run Audible. If you use platforms like Fiverr, make sure that person is actually on Audible and has a history. Our names are in blue hyperlink.

https://www.audible.com/author/EJ-Wade/B07VTTLT7B

Hi, Geoff Hall. One of my takeaways/reminders is "Lewis was so precise on the page, there was never a question about what he was talking about or who he was talking to." I remember times when I thought things were clear in my scripts, but readers were confused. That's why I do a Visualize rewrite for each script. It's where I go through the script, visualizing the action and dialogue. It helps me see if anything is confusing, and it helps me think of ideas, scenes, etc. and catch story issues.

Maurice Vaughan thanks, Maurice. I tend to do the visualising when I’m writing the scene. Especially action sequences; they have to make sense on the page for it to make sense on the screen.

You're welcome, Geoff Hall. You're right. Jason Hellerman said in the article, "The ask to be plain and concrete is not an excuse to be boring. You still need to be interesting on the page. Engage the reader's senses. Instead of relying heavily on adjectives, paint pictures with words, using sensory details, motion, and contrast." That reminds me of how I used to write action lines. I used to be so concerned with having a lot of white space in scripts (for faster reads) that I held back on describing things in action lines and writing exciting/gripping action lines, and it hurt my scripts because my action lines were confusing and bland.

Geoff Hall, I love this! His advice is refreshingly straightforward but incredibly relevant, even now.

If possible, you can also use 'text to speech' to write your work ensuring it's original and all you. After wards you can run your file through Chat or Grammerly to clean up errors (punctuation, etc).

I had fibro from 1999-2004. After much research, I found it is mostly caused by persistant viral infections. Mine were parvo b 19 and mono, caught from a student who sneezed all over me. The parvo was from a dog bite. I took anti virals and had a flu die off reaction for years, but got better. Maybe get tested for the 19 most common viruses? Then last April I got covid and now have long covid. But I REFUSE to give up. Covid reactivates all your autoimmune issues and causes resurgent viral infections.

I am sorry you are suffering. I KNOW hwat you are going through. I will request an add and see if I can offer some help.

lol what not hwat, sorry

Thank you for sharing your journey, Jade Bald, and I truly admire your commitment to writing despite the challenges. My mother suffered from fibromyalgia my whole life, so I’ve seen firsthand just how difficult it can be to manage pain, fatigue, and brain fog day to day. The fact that you’re still pursuing creative projects is incredibly inspiring.

I think using ChatGPT for brainstorming, research, and outlining is ok. When it comes to writing the full manuscript, though, I don't suggest it. Instead, you should consider a collaboration with a co-writer. It could ease the physical demands while giving you a creative partner to help shape and refine your story, especially for something as layered as a mystery or memoir.

Teaming up with another writer can bring the emotional depth and nuance that takes a story to the next level.

You might even find a great collaborator right here on Stage 32.

Chiara Torrisi This is such a fun tool, thank you for sharing it! Prompts like these are great creative jumpstarts, especially on days when the ideas aren’t flowing as easily.

I wrote short stories and a book. I have several books in the pipeline. It is how I actually started. Screenwriting is more recent. 20.000 is enough for a novella and 50.000 for a novel. That is in The Netherlands. I work for a book publisher. I create the bookcovers.

Thanks for the info, Raymond Zachariasse. I'm sure I could write 20,000 for a novella. What program do you use to make book covers?

Hey Maurice Vaughan, novella's can really be anywhere from 17,500 to 40,000 but also depends some on genre. A 40,000-word book could also be a MG chapter book, though on the light side even for that genre. As far as the differences, not a ton except that the plots are typically more simple and you don't have as many characters or side plots happening. Novellas lend themselves well to a more screenplay-ish feel.

Hey, Jonathan Jordan. Glad to hear novellas lend themselves well to a more screenplay-ish feel. I think it'd be easier to transition into book writing with a novella. Thanks for the info.

Great insights, Jonathan Jordan! Thank you for sharing!

Hi, Sarah Lucas. It's great to meet you. ADOLESCENCE is incredible! Can't wait for the webinar!

Hey Sarah Lucas - thanks so much for putting this on! Great to meet you!

Hi Sarah Lucas, it’s an honor to have you on board with us. Congratulations for the amazing job on Adolescence and I am really thrilled for tomorrow’s webminar. Thank you.

This webinar was incredible, Sarah Lucas! Thanks for taking the time to host the webinar and answer our questions!

This is going to be epic!!

You are very welcome Aleksey Salikhov and I'm honored to connect. And thank you so much for the kind words. I like the way you describe the exploration of light and darkness within us all. It's as if there's a battle within all of us between the two. Most of the themes comes to me via a life experience that becomes something that I feel strongly about or compelled to write. The greatest example of that is "Haven of Dante" (the "overcome" theme). Many years ago, my wife was kidnapped and assaulted at gunpoint. For most people, that would scar them for life. But if you were to meet her today, you'd never know this happened. She "overcame".

With "The Jupiter Chronicles", I grew up in a single-parent, poverty-stricken family. We were VERY poor and at one point, I was homeless (this actually happened twice). My dream was to have a family of my own someday - it meant so much for me for this to happen. So a lot of what I went through was conveyed in the story of the protagonist. It all stems from a life experience that lights something up inside of me and compels me to share that no matter what has happened to you, you are loved and will overcome. The dark night of the soul is temporary and joy comes in the morning if you stay the course. Don't stop in the fire, walk through it.

You're welcome, Aleksey Salikhov. Thanks for starting this discussion. I'm sure it's going to help writers.

Thank you so much, Aleksey Salikhov! I love hearing about your approach to Between Light and Darkness. I’m always drawn to magic systems that come with real consequences, and those contrasts you mentioned, like the warmth of family versus the cold unknown, are exactly the kind of emotional texture I love in fantasy stories.

For The Kindred, I think my favorite part of worldbuilding has been the history and mythology. I’ve spent a lot of time developing ancient stories, lost gods, and fragmented pieces of the past that my characters are slowly uncovering. It’s layered with political conflict, but at the heart of it, it’s a story about grief, legacy, and resilience. I also love creating small, intimate cultural details: creatures, games, traditions, or objects that hold personal meaning for the characters. Those things that make the world feel lived in.

My magic system is rooted in natural-born elemental gifts that most, but not all, are born with. But over generations, the people of my world have discovered ways to amplify their gifts or even tap into elements outside their natural abilities through the use of various crystals found and mined across the continent. Some of these crystals are common and used in everyday life, while others are incredibly rare, which has had a huge impact on the economy, politics, fashion, class systems, and even the black market. It’s been so fun to explore how something like magic, which starts as a very personal gift, evolves into a commodity that affects the entire structure of society.

I’d love to hear more about your magic system, It sounds like you’ve built something really rich and layered!

I love to read fantasy and the wonderful worlds people have imagined. Writing fantasy is fun, too, because you don't have to be grounded in reality and can create to your heart's content.

Hi Debra Holland , thank you so much for your kind words - I’m thrilled you enjoy reading fantasy and creating those imaginative worlds too! I completely agree, the freedom to let your imagination run wild is what makes writing fantasy so magical for me. In Between Light and Darkness, I loved crafting those family moments and then contrasting them with the dark magic tied to the stars, which comes with a heavy cost. I also find music helps me dive into that creative space; I’ve composed two albums and shared some songs with AI-generated visuals on my YouTube channel (@Aion-VOX) to set the mood for my story. Do you have a favorite part of fantasy writing - maybe world-building or character development? I’d love to hear more about what inspires you!