Authoring & Playwriting

My reset is a 15-minute power nap. Honestly, I'm often more rested coming out of one of those than after a full 8 hours of sleep. I think it's because we spend all day absorbing other people's stories, voices, and ideas, so the brain rarely gets to actually switch off. There's real neuroscience behind it too. The default mode network, where a lot of creative problem-solving happens, only kicks in when you stop feeding it input. Some of my best script and project ideas have shown up in that drowsy window right after waking.

Love that Lauren Simpson!

Michael David Don't be jelly! Haha. Try 15 minutes in the morning BEFORE looking at your phone. And 15 minutes in the afternoon. You'll be amazed at what that will do for your nervous system.

That's beautiful Christina Pickworth!

Spot on Joshua Young! That 15 minutes is often the strongest reset.

I love that, Kat — there’s something really grounding about that approach.

It’s interesting how slowing down actually brings more clarity into the writing. Definitely something I’m learning to lean into more as well.

Thanks for sharing that!

The work that sticks with me is almost always the stuff that says less but means more. What's one "less" rule you're trying to hold onto right now?

So very true Banafsheh Esmailzadeh!

Glad to hear it Charmane Wedderburn!

Less words Sam Rivera

Or vice-versa. Your feature film could become a play.

I was familiar with plays in youth theatre, both acting & writing. I consider in the first instance, a script, needs an entirely different approach, (albeit both can tell the same story.) To answer your question, I’ve never thought a play I wrote, too big for the stage. Dialogue in front of a static set, where the performers literally have nowhere to go, (apart from off stage,) makes a different mindset kick in. Aside from forced containment, location, & being dialogue led, directing the actors can be very different. In many live plays, actors use/enthuse their senses more exaggeratedly. Obviously actors use all their senses in film, but if watching the play alongside the film, in comparison the film actors can seem almost mannequin like. When passion takes over, it can be easy for writers, to write themselves into a corner. I’ve seen a number of plays recently with added special effects, such as ghosts flying over the audience, however it was far from cinematic. Thanks for bringing up this topic.

Great question, Lauren — this really made me think.

For me, an unexpected moment came from simply reaching out with one of my feature screenplays. I didn’t have any expectations beyond maybe getting a response — but it led to a request from a management company to read the full script.

What surprised me most wasn’t just the request itself, but the realization that you don’t need permission to step into the industry. You just need to be ready with the work and willing to put it out there.

Since then, I’ve approached writing and submitting differently — focusing on building a strong slate and consistently putting projects into the right spaces.

It reminded me that sometimes the “unexpected success” is simply the moment someone on the other side says, “Send it.”

Fantastic story Charmane Wedderburn I needed to hear this one! Thank you for sharing some unexpected success :)

Is it still happening?

Im an unsure - but reach out to the success team and ask. Success@stage32 com

thank you Lauren Hackney for the advice

thank you Michael Kassin this makes e feel better. I'm definitely not giving up anytime soon

Great to hear!

What project are you currently working on, Damilola Jabita?

Geoffroy Faugerolas I’m currently working on two scripts. one is an apocalyptic dystopian fantasy, the other a forbidden romance between an assassin and her target. I’m also toying with the idea of a supernatural romance fantasy. I have the plot down, and a sample of the script but I’m still on the fence about whether to write it or not

Strong point. Starting with conflict really pulls the reader in.”

Hi Debbie,

Great question—because page one isn’t really about choosing between voice, character, or trouble. It’s about locking all three into a single, coherent signal.

From a script doctor’s perspective, what I’m trying to land on page one is a controlled promise of experience.

Voice gives us how the story feels.

Character gives us who we’re investing in.

Trouble gives us why we should stay.

But what matters is whether they’re aligned from the first moment.

If I had to prioritize one diagnostic element, it would be this:

immediate narrative tension that reveals character through behavior, not exposition—delivered in a distinct tonal frame.

In other words:

not just trouble, but trouble that expresses character and defines the voice simultaneously.

Because the first page is less about information, and more about orientation:

What kind of emotional contract are we entering?

What kind of storytelling intelligence is guiding us?

And can we trust the writer to control the experience?

One practical test I often use:

If you remove the dialogue and just observe the action, does page one still communicate

tone, character, and conflict in motion?

If yes, the page is working.

If not, it may read well—but it hasn’t hooked structurally.

In the end, page one isn’t trying to impress—it’s trying to establish authority.

And authority, on the page, comes from clarity of intent under pressure.

Good point about tension revealing character. When action alone communicates tone and conflict, the page really works.”

If you can establish why you wrote this story with page 1, I think you won. Jurassic Park's intro is not just about showing a dinosaur eating a poor handler; it's about showing unchecked greed.

That’s a powerful way to look at it. I like how you framed page one as more than just an introduction — but as a statement of intent for the whole story. The Jurassic Park example really highlights how theme can be embedded right from the start.

Do you think writers sometimes over-focus on grabbing attention and miss the opportunity to establish deeper meaning on page one?

Lauren Hackney Sure thing. I've got three completed feature length stories told through comic book form, which you can see on my website:

https://www.pocketjackscomics.com/

White Lily, the first comic story I created, still exists as a screenplay on my Stage 32 profile, where I posted it over 10 years ago.

I'm now working on my 4th. I've lead other screenwriters down this path. After many years in the field, one told me, "Comic books represent the only way to actually monetize my work. Screenplay contests were just a waste of money."

If you want to read any of my work, or discuss how to turn your own work into comic books, feel free to DM me.

That sounds like a strong direction, Lauren. Trusting your instincts while taking beta reader feedback seriously is a powerful combination. Whichever path you choose — self-publishing or traditional — clarity in your voice will be your biggest asset. Wishing you real success with this project.

Hey Lauren, this is a really honest crossroads and most authors hit it at least once.

One thing I’ve seen (working with a few debut and mid-career authors) is that “it didn’t land with publishers” doesn’t always mean the book is wrong , sometimes it just means the positioning doesn’t match the lane it’s being submitted into.

So instead of immediately changing the story, a lot of authors first test:

• where the book is actually being misread

• whether it fits a different category or reader expectation

• or if it’s just being pitched without the right framing

The decision after that becomes much clearer , whether to revise, resubmit, or self-publish.

There’s actually a small way to diagnose this early that most authors don’t use, which can save months of guessing.

If you want, I can share it with you privately.

I’m not an agent I actually self publish my own books. For me, that’s been the best way to keep full creative control and still get my stories out into the world.If your book doesn’t land with a publisher, you’re not back at step oneyou’ve already done the hardest part by finishing it and getting feedback. You can always keep submitting, connect with an agent, or pivot to self-publishing and build your audience directly. If you’re interested in that route, feel free to connect with me or check out my work at sitgbook.com.

I also self-publish, at least for now. Tried the agent/publisher query route on my first book but was not successful, and since it's now a 4-book series most agents & publishers don't want to jump in at this point.