Authoring & Playwriting

The truth may be far more intruiging than fiction and often darker

this is a great idea! My strong suits are family, children's stories and emotional drama. I wouldn't be the best to give feedback but I do love the idea!

Thank you so much, I really appreciate that! Even hearing that the idea resonates means a lot. If anything stood out to you emotionally or visually, I’d still love to hear your thoughts.

Someone in this thread asked if I have an editor look at my work. No because the only one I sent the first 20 pages to asked for $1000. LOL!

Robert Lipton, I completely understand that reaction, it can feel like a lot upfront.

That said, $1,000 for a professional editor, especially one with real experience, to apply their skill set to a manuscript is actually not an unreasonable fee in this space. It’s a significant amount of time, attention, and expertise they’re bringing to your work.

That said, I do think timing matters. Before investing at that level, it can be really helpful to get feedback from peers and beta readers first. That way, you can work through broader story, structure, and clarity notes and feel confident you’re handing an editor the most polished version of your draft possible. It makes that investment go a lot further.

One of the great things about Stage 32 is the community itself. There are so many thoughtful, experienced writers here who are often open to exchanging feedback, sharing insights, or offering a fresh perspective. Building those connections can be incredibly valuable as you continue refining your work.

I treat AI at a distance, it is an amazing tool and searches through every novel one has penned and it remains positive, regardless of the question you ask, I was amazed that AI can interrogate efficiently and relates your current novel with previous novels and is spot....on.

So, I'm a published author. Let me tell you what's going on in the world of publishing in regards to AI. No agent or editor/publisher will touch you if you use AI to write or edit your book. There was just a huge scandal about this. Hachette cancelled a contract with an author over it. You cannot copyright anything written with AI, which means even if you did some of the work yourself, you don't own it. Your work is not protected. There is a lot of backlash from readers. And the general thought is that if you can't be bothered to do the work, why should they spend money on it. And finally, I'm one of the hundreds of authors whose work was stolen to train GenAI. Like, 36 of my books were used without my consent. Full transparency, I hate GenAI. When you use things like Claude, you're benefiting from work stolen from other authors. If you're okay with that, nothing I say will change your mind, but the general consensus -- in publishing -- is that people who use GenAI to actually write don't care about the craft, readers or other authors. Grammarly and the like are not the same as using GenAI to write an entire book.

Also, $1000 for 20 pages is robbery. Even the top editors I know don't charge more than $2k for an entire book.

Lastly, if you run your book through AI, it's learning from it. Do not believe that it's not. I don't trust these companies at all when they're okay with using pirated books to train their models.

That's my two cents. Do with it what you will. Just protect yourself. And if you want to be a writer -- a real one -- don't take short cuts. Don't use a machine to do something your brain can do so much better. It's not going to make you a better writer. It's just not. And there's too much up in the air concerning the legality and morality of it to risk your career.

A publisher will give you an editor.

Popping this back to the top of the lounge because I would love to learn about other’s processes and thoughts on this!

Great question, this is something a lot of multi-genre writers run into.

From what I’ve seen (and experienced as a ghostwriter and editor), a single one-size-fits-all, marketing plan rarely works well when your work spans very different audiences. Each genre tends to have its own readership, tone expectations, and discovery channels.

What usually works better is a core author brand (your voice, values, and overall identity as a writer), supported by genre-specific positioning. For example, children’s content often needs a completely different outreach approach than commercial fiction or column writing, different platforms, different communities, even different language in how you present the work.

That said, the challenge is keeping everything anchored so you’re not fragmented as an author. I’ve found it helpful to maintain one central “home base” (portfolio/website/profile), then tailor outreach and messaging depending on which audience I’m speaking to.

Curious to hear how to balance that split between consistency and genre-specific marketing?

Cynna Ael, this is such a fantastic breakdown, and I love how you framed a play as a “live prototype” for a feature! And the transition from stage to screen is such an interesting creative challenge. Replacing monologues with visual storytelling, externalizing internal conflict, and physically exploring spaces that were once only referenced can completely transform the experience while preserving the emotional core.

This is a really strong perspective.

I see theatre as a powerful foundation for character-driven storytelling, especially because it forces emotional truth and tension to exist without relying on visual scale.

That kind of structure often translates into very grounded and compelling screen narratives.

Yes, this happens a lot, especially when the story naturally starts expanding beyond a single space or a limited cast.

For me, the balance comes down to intent: theatre thrives on emotional immediacy and presence, so I try to keep the core conflict and character dynamics tightly focused, even when the world of the story feels larger. If a moment starts feeling “too cinematic,” I ask whether it’s truly advancing character or just expanding scale for its own sake.

A useful approach has been treating the stage version as the emotional spine of the story, and then identifying which elements of that spine would benefit from visual expansion in a screen adaptation, without losing the intimacy that made it work in the first place.

That tension between intimacy and scope is actually where the most interesting adaptations live.

good luck. i tried stepping out from scifi into comedy and horror. i discovered humans like my horror best, and that i shouldnt write it because it makes me feel sick. i also discovered i'm not funny. im sure you'll do a much better job

That’s so great. I also hope to find a good idea outside my comfort zone, but it never happens—my mind always brings me back to sci-fi worldbuilding.

Bravo to you, Raven Riley! Stepping outside of your usual genre, especially going from sci-fi and fantasy into something grounded like a rom-com, really challenges different muscles. You’re still telling a story, but the tools shift. And I think there’s something really powerful about following a story that insists on being told, even if it doesn’t fit neatly into your usual lane. That instinct is usually worth listening to.

Yes! Definitely happened to me! I think it's so very important to grow as a writer and I try to push myself outside the familiarity of the genres I like. I'm trying my hand at a children's (or family) animated feature right now which I've never done before. Excited to learn the ropes!

Absolutely. I’ve had that experience many times.

As a ghostwriter and manuscript editor, I don’t always get to stay in one genre, so stepping outside my comfort zone is part of the job. At first, it felt challenging, but I realized each genre strengthens a different skill, romance sharpened my emotional storytelling, while more structured genres pushed my pacing and clarity.

One thing that’s helped me grow is saying yes to projects that feel slightly unfamiliar and then studying the tone, rhythm, and expectations of that genre before diving in. It’s uncomfortable at first, but it always expands my range as a writer.

Your rom-com project sounds like a great stretch, those kinds of risks usually lead to the most rewarding growth.

The story theme (i.e.: an encapsulation of what is wrong and what needs changing or solving)

To me I think Page one should hook the reader with immediate tension (something feels wrong), a strong, engaging voice, and a character we’re curious about—in that order of priority.

The best openings blend all three at once: a character in a slightly unsettling situation, written in a way that feels distinct and pulls you in.

Your voice needs to scream off the page in page one. It can be a quiet scream, loud, but a vibe to show the reader you aren't screwing around and to buckle up.

I tend to think page one sends the reader's grey matter into, a place where a kernal of truth might be hidden.

I try and grab attention in the first paragraph... but I understand all stories are different!

I hear you completely. I've hand written my notes for my next book. I just wanted to sit in the sunshine, in my backyard, as far away from tech as I could and created stories like I was a kid again. I drew little pictures of what the characters could look like and watched my handwriting turn from very neat to absolute chicken scratch. I'm craving simplicity when my role in publishing is to promote the opposite. Great post and yes, I can relate!

I feel the same. My scripts are very streamlined and paired down and pitching it, almost every feedback response I get is typically the same "we need more and a twist". I've compromised somewhat to give the gist of what these producers want but I don't want to get away from the initial core of my story and what I want it to be. More tends to bog it down, lowering it to melodrama, and a twist is just cheap audience engagement; it tends to make the viewing experience a single-use experience.

100%, I love simplicity because it’s so scarce in real life lol. It’s also why my stuff has more understated conflict rather than blatant (internal is a lot more interesting to me than external; my characters often clue in when they’re the problem).

Kat, I feel this a lot lately. It almost feels like everything is pushing toward more output, more speed, more noise — but not necessarily more depth.

I’ve actually been leaning more into simplicity too, trying to say less but mean more. It’s harder in a way, because you can’t hide behind volume — every word has to carry weight.

Curious though — do you find that simplicity comes naturally when you write, or is it something you have to consciously pull back to?

Kat Spencer For me, I’ve definitely had to catch myself in that tendency. When I start adding more, it’s usually a sign that I’m trying to solve something instead of refining what’s already there. And often, the stronger choice is actually to strip things back and ask, “What is this really about, and what’s the cleanest way to express it?” It’s so easy to equate more with better, more plot, more characters, more layers, more explanation, especially when the world around us feels like it’s constantly accelerating. But some of the most impactful storytelling comes from clarity and intention, not volume.

Charmane Wedderburn It's my first commercial novel, I do have a small traditional publisher interested but I think I want to self-publish it. I will take your advice and listen to the beta reader feedback. Thank you for your guidance.

@preston now that's a plan I didn't think of! Comic books! The territory in which is unchartered for me - tell me more about your comic books.

Resubmit. I have a friend who submitted hundreds before getting published.

Lauren Hackney When something doesn’t land, I think the first step is to pause and gather information before making any big decisions. What feedback are you getting from beta readers or the publisher? Is there a pattern in the notes that points to something fixable, or is it more about market fit and timing? It’s less about “starting over” and more about repositioning the project based on what you’re learning. You have a completed novel, beta readers, and a publisher already looking at it. That’s astounding momentum!!

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.

What is a Beta reader? Human beings?

They are both the same - beta readers are usually people who read a lot. Book club members are always good. Regular humans are every day people who read here and there.

Whoosh. Doesn’t make sense to me. Reads like gibberish.

IS THIS THE PROPER FRAMING GRAMMATICALLY FOR WHAT FOLLOWS? Yes, Frank thought to himself; " he would appreciate that. Something else to try and get under my skin with. "

Robert Lipton, I have to echo the advice that Lauren Hackney has given you. These insights are a bit subjective considering that your personal voice and writing style can make an impact on whether or not your story needs to follow guidelines like these at all. Then when an editor gets involved, they will have their own opinions on elements like this that can be addressed during revisions.

Kris Foye Appreciate that, Kris glad it connected.

It’s something I’ve been exploring a lot in my own writing process.

I write when both calm & when my brain is fried. However, I need the calm zone to work out the very intricate plot points, & time zones in parallel narrative. When I’m fired up, my characters may be pushed even more out of their own comfort zones, or may decide to action, on an emotional tangent. I don’t mean a script vomit of own thoughts, but to inject the internal rocket fuel felt in the moment, from my mind to page. The aim is, when reading back, scenes are tighter, new stakes have arisen & suspense heightened. I’ve re written scenes when stressed, & pushed story forward with zesty turbulence, that wasn’t there prior.

Love reading everyone’s answers - it’s such a unique experience for each person!

Hahaha David Taylor - Yes, never underestimate that!

Love all of your answers! Thank you, everyone, for taking the time to share.

Wondering what counts as "significant industry breakthroughs"?

Geoff, this is a huge reminder of how important profile precision is, being discoverable starts with clearly defining your genres and positioning. For members looking to take advantage of these opportunities, keeping your profile updated and aligned with your voice is key, love this!

Is there a special formula to be accurate?

Anyone here know Ms. Kathryn Bigelow? She's one of my favorite Producer/Director.

Richard Buzzell Great question! It can include having a producer attached to your project or shopping your script, have a director attached, partially raising funds...milestones that move your career forward.

That’s really solid advice. Leaving a “bridge” to come back to instead of a blank page makes a big difference. I’ve noticed even a small note can restart the momentum.

Appreciate the insight. It’s always helpful to hear different approaches to refining a script.

It's been proven that movement helps release hormones that boost creativity

Honestly, I’ve stopped treating writer’s block like something to “fight” and started treating it like a signal.

Most of the time, it’s not that the ideas are gone—it’s that something isn’t clicking yet. So instead of forcing words, I switch gears:

• I zoom in on a single moment instead of the whole story (one scene, one emotion, one line of dialogue)

• I change the format—notes, messy bullet points, even just vibes instead of full sentences

• I step away and feed the brain (music, visuals, random inspiration usually unlocks something)

• Or I write something completely unrelated just to get momentum back

Sometimes the best move isn’t pushing harder—it’s shifting perspective. Once that pressure drops, the flow usually comes back naturally.

I like this perspective. Treating writer’s block as a signal rather than a problem makes a big difference. Focusing on a single moment has helped me unlock ideas too.