Authoring & Playwriting

I like to either 1) Pull the audience in emotionally or 2) Excite them with action

For me, when I write the script, before I write, I make the characters clearly to help me in making the story and what this character will do with the event of the story.

Tension. Start with tension. I think about Fargo's opening scene, and how tension was created. It can be in the people's voices, a look, a single word. But you must establish tension. In my vampire's opening scene, you have children playing in an olive grove in Greece, when a hand sticks up out of the ground. Tension. No matter how you do it, music, a word, a look.

Ernest Hemingway began novels with dialogue to instantly immerse readers in the action, character dynamics, and thematic tension, bypassing lengthy, traditional descriptions. This "iceberg theory" approach used terse, realistic dialogue as the visible "tip," leaving the deeper emotional weight and character backstory to be inferred through subtext and action.

A great opening line. Ian Fleming in particular was a master of them.

Congrats on the upcoming release, department stores in Australia is no small feat, that's genuinely exciting!

Congrats on the upcoming release department stores in Australia is no small feat, that's genuinely exciting!

Book launch ideas? Hold a celebrity hostage and broadcast it online while reading excerpts from the book. Can't miss.

Have it outside with a gargantuan trebuchet, or consider strapping it to a SpaceX rocket.

Congrats on the upcoming release! Do have it outside

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.

Adedayo Yusuf This is a really haunting concept “kindness as something dangerous” is such a strong and unsettling idea.

I especially like the simplicity of the premise, because it makes the horror feel more real and inevitable. The image of the boy returning again and again, thinking he’s helping, while something unseen is being taken from him is genuinely disturbing in a good way.

It feels like it could build into a very powerful psychological and folk horror story. Curious are the figures meant to be symbolic, or more grounded within a specific mythology?

Thank you so much, I really appreciate this!

I’m glad the idea came across the way I intended. I wanted the kindness to feel genuine at first, so that the horror comes more from the realization of what’s actually being taken.

For the figures, I’m thinking of them as something in between—slightly symbolic, but still grounded in a kind of folklore logic. I didn’t want them to feel completely abstract, but also not fully explained, so there’s still that unsettling ambiguity around them.

That tension between “what they are” and “what they seem to be” is something I’m really interested in exploring more.

Thank you again for the thoughtful feedback!

A lot of David Cronenberg's work is around the concept of something being taken as a consequence of something being given. I've also written a short film script based on this premise from an idea I had years ago.

Intriguing story! I’m curious about the back story of the dad and how the act of generosity is given and valued by the boy. Can the things the spirits want have a conceptual significance? Can there be colorful elements to getting the items they want? I’m excited about how you craft the details of this great story idea.

Whoop! Whoop! I have a script that matches an OWA! Submitted! Thanks for these updates, Sam Rivera!

Exciting new opportunities!

Lol technically mine fits two of these so here goes nothing~

I've got a powerful drama, alright!!

I’m an aspiring screenwriter. I’ve written a short thriller film and a feature thriller film (both separate stories). I’d appreciate any guidance on how to move forward as a new writer. Thank you.

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.

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.

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.

I relate to this a lot. When I stepped outside my usual lane, I realized how much my “comfort genre” was doing some of the heavy lifting for me creatively.

If you're able to write sci-fi, stay where you're comfortable.

I'm fantasy, (11+) dark fantasy (14+) and Sci-fi (18+) through and through. Until, at a Comicon a parent said, "Why don't you have anything for younger children?" And thus my journey into children's' fantasy picture books began. Its doing really well. With five out there already in two years and five more planned, they sell better than my eight novels and nine anthologies.

Very true and well said Ashley Renée Smith!

Isn't it funny Leonardo Ramirez that perhaps we make more work for ourselves than we need to, hahahaha. I'm glad you have been able to clear the clutter.

Thanks Kat Spencer, yeah, internal conflict is honestly hella underrated. I often find character antagonists exhausting lol and I firmly believe no one can sabotage you half as well as you (and that's something most people simply won't admit). I think it's why Lunar Window trips people up lol Cass is 100% her own worst enemy and I wouldn't have it any other way.

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?

Hi Cynna Ael - do you have advice for taking the opposite approach? I have been approached about taking a script and converting it to a stage play.

Darrell Pennington This is almost like reverse engineering a post I was creating. Here's some info to help.

The "Kitchen Sink" Rule (Compression)

In a screenplay, you might have a scene that lasts 45 seconds before cutting to a new location. In a play, that’s a logistical nightmare.

The Strategy: Take five separate locations from your book/movie and see if the vital information can happen in one.

The Goal: You want long, sustained scenes where the tension has nowhere to escape. If a film is a series of snapshots, a play is a pressure cooker.

2. Kill Your Darlings (Character Merging)

On stage, every actor is a line item in a budget and a person who needs a place to stand.

The Strategy: If your protagonist has three coworkers who all serve to "warn" him about the villain, merge them into one Composite Character.

The Benefit: It gives that one actor more to do and makes the relationship with the protagonist feel deeper and more personal.

3. Dialogue is Your Only Lens

In a movie, a character's silence is a "close-up." In a book, it's a "paragraph of reflection." On stage, silence can be powerful, but dialogue is the engine.

Externalize the Internal: Since we can’t read the character’s mind, they must do or say something that reveals it.

The Soliloquy: Don't be afraid of the "Direct Address." Modern plays often use the protagonist as a narrator to bridge the gap between the audience and their inner thoughts.

4. The Structural Shift

While movies often follow a 3-Act structure, plays often live in a Two-Act world with a single, massive "Midpoint Break" (the Intermission).

The "Curtain Line": Your Act One must end on a question so compelling the audience won't want to stay at the bar for their drink. You need a "high stakes" cliffhanger that physicalizes the conflict.

Some other considerations:

The Core Conflict: Strip away subplots that don't directly feed the main protagonist’s journey. A 400-page book or a 2-hour movie usually contains too much "meat" for a standard 90–120 minute play.

The "Why Now?": Determine why this story needs to be told in a room full of living people. If the story relies on CGI explosions, it’s a movie. If it relies on the electric tension between two people in a room, it’s a play.

Consolidate Locations: Can the conversation in the park, the grocery store, and the car all happen in the protagonist's kitchen?

Objective Correlatives: Use physical objects to represent internal states.

Soliloquies or Direct Address: Use the theatrical convention of the character speaking to the audience (breaking the fourth wall) to replace internal monologue.

Show, Don't Tell (The Stage Way): If a character is anxious in a book, the author writes it. In a play, the character might compulsively rearrange the furniture.

Basically it's the 1:3 approach with a slightly different viewpoint.

Cynna Ael , WOW, thank you so much for taking the time and the effort to provide all of this. I am so appreciative of this help! I feel like I can start the process confidently now. Thank you again.

Darrell Pennington Glad to help. If you've ever written a comic script before- it's a similar concept- you get one panel to showcase both the mood, action, and how the character presents itself- so when it comes to making a book a comic- you have to condense down scenes and storylines to showcase the most important aspects. (I work with indie comics with editing, writing, and lettering- it's a labour of love!)

That was great info Cynna Ael. My very first release was a graphic novel and although it's been a while, it's good to know this for future reference.

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?

I'm commenting primarily to see what others have to say because from what I've seen, the most successful marketers are those who stay anchored in one genre or medium and expound on it in their blogs or YouTube channels Lauren Hackney Those who have the means to use tools like Amazon ads or BookBub do it on a release basis.

Also, if you’re considering working with a well-profile marketing team to streamline everything, I can recommend a professional who specializes in helping creatives manage multi-genre branding and promotion effectively.

This is the experience...when the world stops feeling controlled and starts feeling alive.

From my experience - EVEN in development working with writers - there’s a moment where the story begins to dictate itself. Characters make choices you didn’t plan, and the narrative moves in ways you can’t force. That’s usually a sign you’ve built something real.

I love when stories take you in a direction you didn't see coming. Those unexpected pivots can so often be the making of them!

OMG yes! I love when a twist hits me out of nowhere.

is the story fiction or true story?

if it is fiction you can do what ever you want, you are creating it. I would say if you don't want them to die than don't let them die, even if it is illogical or absurd.

Yes and normally it's the wrong person murdered. I feel betrayed when it happens. Then I turn around and realise, I can make this work- IF I go back and relook at the evidence and see how and why the person was killed. Sometimes I was setting them up and never realised it.

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.

I like the confidence in this response, but I’m still wondering something, how do you personally tell the difference between “clarifying voice” and “AI gradually normalizing your style”?