Books, video games, and graphic novels have taken over film and TV. Sixty-five percent of popular movies and TV series are adaptations now. And yet (I'll go on record), screenplays are still the most powerful IP in this town.

Here's why. A great book and a bad script will make a bad movie. A bad book and a great script can still make a great one. Not to be simplistic about it, but underlying IP with a built-in audience is a smart business move as it mitigates risk. It is not, however, a shortcut. Nobody gets to skip proper development.

Which is exactly why top screenwriters and filmmakers remain so in demand. Studios go to trusted partners who've been audience-tested. And the surprisingly good news for emerging writers: that same logic applies to you. A good script finds its way. Even a script with no obvious market viability can break a writer out if the sample is strong enough. The page does not lie, and the industry knows how to read.

So for all the doom and gloom drifting out of studio antechambers, it's worth remembering: Hollywood is no longer one place. It is not one club, one gate, one address. It is a collective of producers finding new ways to get projects financed. And even brands are back in the mix because powerful storytelling starts where it always has: on the page.

If Hollywood started with soap operas, consider this a full-circle moment. A reminder that great writing is, and has always been, the engine. Even if it's financed by Tide.

Talent sells tickets, yes. But talent will be the first to tell you they are only as good as the script in their hands and the director shaping the scene, and the editor shaping the performance, and the crew making it real. Great ideas come from anywhere. A great idea in script form is a project ready to be shot, packaged, and sold.

In an industry that's so execution-dependent, having a solid script is the blueprint (or dare I say), the recipe to success.

This Week in the Writers' Room

UPCOMING EXECUTIVE HOUR WEBCASTUPCOMING PITCH TANK WEBCAST: WEDNESDAY, MAY 18th @ 4PM PT with Special Guest Producer Ian Olympio

This week's Pitch Tank features Ian Olympio — award-winning writer, producer, and Co-Executive Producer of P-VALLEY (Starz/Lionsgate), the Emmy-nominated and NAACP Award-winning drama from Tony Award-winning playwright Katori Hall. Ian began his journey on P-VALLEY as Katori Hall's Showrunner's Assistant and rose through the ranks over nearly a decade by her side — a trajectory that reflects both exceptional talent and a deep, inside-out understanding of how prestige television gets made. Bring your drama pitch, come watch others in the room, or simply show up to sharpen your instincts.

If you would like to join the Writers’ Room, access weekly events, submit to dozens of open writing assignments, and attend exclusive pitch tanks with industry executives- click HERE to accept my offer for a free month!

This Week’s Exciting Announcements!

ANNOUNCING THE WINNER

The Stage 32 x Mark Creative Management x 831 Entertainment Film & TV Drama Screenwriting Contest: One contest. Two partnerships. Twice the opportunities. Huge congratulations to Elsa Sze, whose feature script THE TIMEWALKERS has been crowned the Grand Prize Winner. Elsa now goes into development and packaging while all Top 10 finalists are eligible for mentorship opportunities with execs from Citizenskull, Footprint Pictures, Arclight Films, Cognito Entertainment and more. This is exactly the kind of career pathway we built Stage 32 to deliver.

SEE THE WINNER

WRITER'S SPOTLIGHT

Wendy Bednarz (Writer/Director)

Stage 32 Profile

Congratulations to Wendy who signed with literary manager Kathy Muraviov after they met on Stage 32 after submitting her first ten pages. They are now developing and getting ready to shop Wendy's feature script YAHOO BOY.

Wendy Bednarz’s career began in NYC’s fashion industry, working for Stephen Sprouse in the old Andy Warhol Factory. There she developed a taste for the offbeat and a love of both still and moving images.

Today, Wendy’s work engages multicultural narratives. She crosses-over between storytelling forms, film, photography and video installations. Her work screened and exhibited at venues worldwide, including New York MoMA, Montreal World Film Festival, Toronto International Film Festival and Venice Film Festival, garnering awards such as Cine Golden Eagle and Independent Film Award. She initiated Syrian Children’s Storybook (2019), traveling to Turkey where she worked with refugees to write/illustrate their own stories.

Wendy’s (writer/director) debut narrative feature film, Yellow Bus’ premiered at Toronto International Film Festival (2023) and has garnered over twenty awards world-wide. She also wrote/directed the featurette documentary “Burning Money” (2018) and several award narrative shorts including “Leaving Gussie” (2007), “On Crystal” (2010) and “Aurora” (2000.)

Click here to connect with Wendy and say "Congrats!"

This Week In The Stage 32 Community!

This week I want to highlight a wonderful post from Stage 32 Moderator, Producer, and Screenwriter Leonardo Ramirez, who sparked a conversation that I know will resonate deeply with every creative in this community.

"Happy Introduce Yourself Weekend! What advice would you give your younger creative self?"

It is a deceptively simple question — and the answers pouring in from Stage 32 members are everything from practical and hard-won to personal and moving. Whether you are just starting out or have been at this for decades, there is something genuinely valuable in pausing to reflect on what you wish you had known earlier. Jump into the conversation in the Lounge, share your advice, and read what your fellow writers and filmmakers have to say. You might find exactly the encouragement you needed to hear today.

Click here to join the discussion!

Need help navigating the industry? Contact success@stage32.com

Stage 32 has hundreds of opportunities. Reach out to our success team at any time for personal guidance and career advice.

Let's hear your thoughts in the comments below!

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