Screenwriting

Hi Screenwriting friends!

I've been buried in my feature for the last few months but I'm happy to say it's polished enough to start putting out there. My screenwriting coach suggested a handful of competitions but said I would probably have better luck reaching out to producers directly - my script is about a military family, so I'm reaching out to those who either have a background in the military or come from a military family.

What's the most effective way to query nowadays? What have you used that's gotten success? Better yet, if the Stage32 team could point me to a training, that would be amazing.

(Please note that this is done as it would be a script for a comic, I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages, if you can take the time to read and leave a review in the comments.)

Page 12 - Four Panels

(Ch2 Pg12 Panel-One)

EXT. FARMHOUSE - LATE AFTERNOON. Gerarit stands outside with his mother, looking at the fields in the distance. The land looks dry, with cracked earth where once there was lush greenery. The stream that usually watered the crops is now a trickle, far off in the distance. The sun is low, casting a reddish hue over the barren landscape. He clenches his fists in frustration.

CAP: The stream that once watered their fertile fields is still… parched and lifeless, the dam built by the giants cutting off their lifeblood. The air is tense, and the ground is cracked and barren.

SB (Garerit – Inner Thought): This is what the giants have done. Without the stream, their crops wither, and their lives hang by a thread.

SB (Mother): (With a sigh) The water... It’s been weeks now. Without it, we can’t grow anything.

SB (Garerit): I know, Mother. I heard the stories in the village. The giants have blocked up the stream, and they guard it fiercely.

(Ch2 Pg12 Panel-Two)

CLOSE-UP on Garerit’s face, determination in his eyes. He looks off into the distance, past the valley that stretches to where the dam is located. His expression hardens as he comes to a decision.

SB (Garerit – Inner Thought): I can’t let this continue. If I’m to help them, I need to take down the dam.

SB (Garerit): (Looking at the stream, frowning) I can’t let them keep this from you.

SB (Mother): (Worried, glancing at him), what can you possibly do? They’re too powerful. Even the bravest men in the village fear them.

SB (Garerit): Then I'll face them alone.

(Ch2 Pg12 Panel-Three)

Garerit stands in front of his family, who look at him with mixed emotions. His mother appears concerned but also proud, while his younger siblings watch him with a mix of worry and hope. The weight of the decision hangs in the air.

SB (Mother): (Grabbing his hand, voice trembling) Garerit, you can’t. It’s too dangerous… You wouldn't stand a chance all by yourself against a few, let alone the one you killed today.

SB (Garerit): I’ve seen their strength, Mother. But I’ll find a way. You can’t survive without water. I’m going.

SB (Brother): (With a quiet, worried voice) Be careful, Garerit…that amazing wit of yours can only get you so far.

(Ch2 Pg12 Panel-Four)

Gerarit looks determined, his fists clenched. A small spark of inspiration seems to hit him as he considers the problem. His expression shifts from concern to resolve.

SB (Garerit): I’ll find a way. They won’t take our land from us.

SB (Mother): (Skeptical) You can’t just take on the giants yourself, Garerit. What hope do we have here?

SB (Garerit): I know the king's son, I can ask and have him send soldiers here to help.

(Ch2 Pg12 Panel-Five)

Garerit turns to his mother with a confident smile. The look in his eyes suggests he’s already thinking of a plan, something bold. The sun begins to set in the background, casting an orange glow over the scene.

SB (Garerit): One way or another, I’ll take care of it. And I’ll start by getting you your water back.

CAP: The giants may have dammed the stream, but Garerit’s resolve is as unyielding as the land itself.

(Ch2 Pg12 Panel-Six)

Garerit begins to walk away, leaving the farmhouse behind as the sun sets. His silhouette is framed by the fiery orange sky, symbolizing the tough path ahead. He carries a satchel with supplies, ready for the journey ahead. His back is straight, showing his resolve.

CAP: The road to the dam is perilous, guarded by the giants and their fierce strength. But Garerit is willing to face whatever danger lies ahead to protect his family and restore what was lost.

I plan to upload my script. But that means that anyone can see my script. And like most people, I hate that bots collect email addresses for spammers. So what do I write instead of my email address?

Should I write : "Contact at Stage32"? Or what should I write?

You guessed it. The reason why I plan to upload my script is that I have lost hope to sell it. On the internet I found lists with production companies. So after going through lists with perhaps 7,000 production companies, I contacted roughly 100 which appeared willing to read scripts from people like me. But I appear to have wasted my time even though I could tell in my query letter that I have three produced TV-movies.

So I am preparing to create yet another no-budget film. This time in English rather than in my native language. By creating a movie, I will afterward have something to show production companies. I hope some company will be willing to pay for the right to do a more expensive version.

(Please note that this is done as it would a script for a comic, I have a background in comics so I use comic terms for the script. I do hope to get this made as a movie of short tv show. I'm looking for feed back on the pages if you can take the time to read and leave a review in the comments.) 

Page 11 - Four Panels

(Ch2 Pg11 Panel-One)

EXT. SMALL FARMHOUSE - DAY. Garerit arrives at his family's modest farmhouse. The structure is old, with cracked walls and a sagging roof. There are signs of struggle- overgrown weeds in the garden, a broken fence. The window shutters hang crookedly. Garerit stands in the doorway, surveying the scene with a somber expression.

CAP: After the turmoil, the tailor finds his family just barely holding on.

SB (Garerit - Inner Thought): This place... it hasn't been easy for them.

(Ch2 Pg11 Panel-Two)

INT. FARMHOUSE - DAY. Garerit enters, his face filled with concern. Inside, his family looks haggard-his mother sits by the hearth, her face worn with worry, while his younger siblings sit nearby, looking hungry but relieved to see him. The room is sparse, with only a small fire burning and some scattered belongings.

SB (Garerit): (Softly) Mother... siblings...

SB (Mother): Gerarit! Thank god... you're safe!

SB (Garerit): (With a sad smile) I've brought food and supplies. It's not much, but it's enough to get us by.

(Ch2 Pg11 Panel-Three)

Garerit kneels down, unloading the sacks of goods and placing them on a small table. His younger sister reaches up eagerly, her eyes wide with relief. His brother watches from the corner, barely hiding his gratitude. Garerit looks at his family, a mixture of sadness and determination in his eyes.

SB (Garerit): This is from the giant's hoard. We'll make sure you have enough to get through this.

SB (Sister): (Smiling, excited) Food... real food!

SB (Brother): (Quietly, with gratitude) You did it, Garerit... you saved us.

(Ch2 Pg11 Panel-Four)

Garerit stands up, looking at his mother. She approaches him, eyes filled with both relief and sorrow. She reaches out to touch his shoulder, her expression a mix of pride and pain.

SB (Mother): Gerarit, we've been so hungry... and scared. I didn't know how much longer we could last.

SB (Gerarit): I know, Mother. It's all right now. I won't let anything happen to you.

SB (Mother): I have something to show you.

CAP: Despite the hardship, Gerarit's family is now safe. But the road ahead is still uncertain.

Hello, I recently updated a website I put together to pass along information about a series of scripts I've written over the years. I think the site came out pretty well, but I've been having issues with the site's

download speed on my computer. The guy who designed the site said he it wasn't a problem on his end, so I was curious to see what other people's experience of it was. I would also welcome any comments on the concept for those who have any thoughts they'd like to share. Thanks in advance for your help,

https://theswordbearer.com/

My take-away from Rich's AMA event yesterday was the advice to stay in touch with the trends of the movie industry. Reading the trades, talking to your contacts on the production end of the business is critical.  

I was in line ordering lunch at the Alcove on Hillhurst. The young dude next in line said, "that sounds good", and he also ordered the tuna melt. We all ended up sitting at the same table outside, seating is hard to come by at lunch. He worked at some indie production house and was bemoaning all the vampire movies that were in production. I took note as I was just starting my vampire novella. Those productions he mentioned are just now hitting the screens and streaming services. That lunch was three years ago.

The point of this short tale is that what you see on screen today started years ago. I see far too many posts suggesting because a current movie has boffo box office this indicates a trend to follow. I say, too late to close the barn doors, the animals have fled.

Keeping abreast of trends means networking with those in the trenches. Even the trades are lagging indicators. Rich's words on networking, building relationships, were the most important comments in his Q&A. Hopefully, more folks will follow the advice and be in tune with what producers see in their market research. Look through the windshield, not the rear-view mirror.

Thanks Rich.

I have two TV series proposals (scripted dramas) have come close to making deals with smaller companies but need an agent to approach bigger firms. Any suggestions, leads, referalls?

Hi Everyone, I took copious notes during RB's Ask Me Anything yesterday, and thought I'd share them here. I used AI to reformat my chicken-scratch into readable takeaways. If I missed anything (I had to drop early), let me know.

The AMA was super helpful and one of the reasons I love Stage32 so much. I didn't know what to expect going into it. CEOs are always busy, screenwriters/filmmakers are always busy, so RB being both, I assumed we'd be happy to get 10-15 minutes of his time, but he graciously gave us 2 hours!

The State of the Industry

Film is rising again; TV is slower but recovering.

Apple is leading the charge among streamers; Netflix and Max are trailing a bit.

Studios are looking to spend less and favor lower-budget, higher-yield films over prestige arthouse projects.

Expect more filmmakers to push for theatrical releases, like Anora, rather than being "slaves to streamers."

On AI in Filmmaking

AI is a useful research tool, but not for writing or coverage—RB says AI coverage is garbage.

Biggest near-future impact: post-production.

Copyright issues will shake out after major lawsuits.

For screenwriters: Use it to brainstorm or summarize, but never for script execution.

Distribution & Platforms

YouTube accounts for 40% of all streaming—more than Netflix or Max. Use it to:

Test concepts

Share trailers

Build a pre-film audience

Influencers are being used to help market low-budget films.

Understand the format and platform best suited to your story—especially for shorts, podcasts, or proof-of-concept content.

International Market

Don’t worry about “breaking into the US”—think globally.

Producers are increasingly open to international stories and creators.

Treat networking like a job: educate yourself daily and make global connections.

Network is your net worth.

Mindset, Fear, and Social Media

You’re not required to write every day. Thinking, planning, researching—that’s writing too.

Ignore toxic voices on social platforms. Most are anonymous with unknown credibility.

Rejection happens at all levels. Frame it as data, not defeat.

Fear is natural, but failure only happens if you do nothing.

Pitching & Brand Building

Have a free and paid strategy.

Free: Make real connections, attend free education, use Stage32 threads and events to build visibility.

Paid: Only spend money on access—consults, pitch sessions, vetted coverage.

RB got his first deal this way.

Pitch Structure:

Start with the title and genre.

Pose a question (if relevant): “Did you ever wonder what happens after we die?”

Connect it to yourself.

Pitch the actual story: protagonist, inciting incident, main conflict, key turns.

Keep the first part under 30 seconds—let the exec ask questions.

Networking Strategy

Treat networking like in-person social behavior:

Don’t launch into your pitch uninvited.

Ask questions first. Be empathetic. Listen.

Rule of 3: Give three times before you ask.

Set time daily (even 1 hour) for outreach, sharing knowledge, or following up on contacts.

Your goal: Become someone people want to work with because you’re kind, consistent, and credible.

Think long game. It’s about relationships, not just pitches.

Contests, Rights & Representation

Only quote festivals and accolades that matter. Obscure wins can hurt your credibility.

No free or no-dollar options. If they want exclusivity, they need to pay. Otherwise, keep the script open.

Know who’s seen your script. Track submissions in case reps or execs ask.

Trilogy scripts or franchise ideas are the hardest sell for new writers.

But if your concept is undeniable, the budget can often be adjusted.

Age doesn’t matter. A great script speaks for itself. Reps only care about the writing and working relationship.

Short Films & Festivals

Shorts still matter, but frame them with purpose:

Festival wins = credibility

Proof of concept = sales tool

Decide why you’re making it and build your strategy around that.

Attending Markets (Cannes, AFM, etc.)

Have a plan: Who are you targeting? What are your goals?

Don’t come across chaotic. Know how to answer “Why are you here?”

Be prepared, but also stay open and approachable.

Be human. Be real. Be curious.

Personal Question Recap (this was my specific question and RB's answer)

“How do you deepen industry relationships without being transactional or desperate? How do you move from unknown to trusted—especially from outside LA/NYC?”

RB's Answer Highlights:

+ Great problem to have—shows you’re building momentum.

+ Make sure your accolades matter. Avoid touting wins from unknown contests.

+ Everyone you’re trying to reach is busy and accountable to someone else.

+ Be sensitive, personal, and real. They are human beings first.

+ Follow up when appropriate. If you see an exec got a new deal in Deadline, reach out and congratulate them.

+ Ask for referrals smartly. If they can’t help, ask:

+ “Is there someone else you think this might be a fit for?”

+ Authenticity wins. Take notes on what people say and remember details. Build trust like any relationship.

Other Thoughts from RB

Control what you can control.

Outwork everyone, but stay kind.

Build relationships with patience and generosity.

A rising tide lifts all boats.

And most of all: Take the shot. Don’t be afraid to act.

Hello everyone!

Just a quick question. Is there any way to upload a variation of an existing screenplay, on here? I realized a couple of the screenplays in my log lines are first drafts. I tried to delete it and upload the correct versions, but it doesn't seem like I'm able to?

Any help would be appreciated! Thank you so much in advance.

Hey everyone! I wanted to congratulate our fellow community members who had scripts requested through Stage 32 pitch sessions over the last 2 weeks. We are thrilled for the opportunities for the following writers to have their scripts requested by various producers, LINK Entertainment, Flirt Films, Phoenix Pictures, Zero Gravity Management, and more! Please join us in congratulating your fellow writers for their accomplishments!

Congrats to:

Devin Barnes

Stefan Alexander

Niles Welikson

Nicholas Joseph

Lauren Hackney

John Doble

Dea Divi

Giorge Souladze

Wade Ballanve

Brian Edgar

A.K. Moore

Tom Morgan

Stephanie

Amy Moffatt

Susan Lander

Phil Olson

Paula Quintana

Myna Sky

Nicholas Vodicka

John Fouche

Catherine Bosley

Thomas Newman

Stefan Alexander

Steven Hart

Stefan Alexander

Lori Lee Peters

John Park

David H. Fein (D. Hunter Fein)

Thomas Jamieson

Tiffiney Cornish

Jason Thomas Gordon

Danielle Olson

Kevin Bihan-Poudec

Staton Rabin

Annelise Gaparasi

Terry Coffey

Jeffrey White

Sean Plemmons

Stefan Alexander

D. Elliot Woods

Mark Williams-Abrams

Jeffrey Radlauer

Phil Olson

Helen Castles

Lissa Coffey

Laurie Ashbourne

Michael Fitzer

Claudine Pierre-Louis

Thomas Newman

Catherine Bosley

David Williamson

Odain Watson

Cara Reinard

Joe Thayer

Michael Kearney

Tom Morgan

Christian Everhard

Doug Dilg

Gabriel Stanley

Jeffrey White

Makai Dudley

Margaret Doner

Matt Brolly

Pavan Grover

Steffany Lohn Sommers

Richard Turner

Susan Lander

Benita Cullingford

Stefan Alexander

Cameron Ryan Soedi

Eric A Zimmerman

Peter Fairfield

Michael J. Shapiro

Kaycie Surrell

Zafar Ayub

Myna Sky

A.K. Moore

Tex Gresham

Stefan Alexander

Stan Evans

Brenda Lee Boddy

Marc Nelson

Sunil Dhokia

Plus! We had 34 meeting requests from producers for our writers! Congratulations to the following writers!

Tom Firestone

Robert Wooldridge

Nicholas Joseph

Stacy Bannerman

Terry Coffey

Jeffrey White

Sean Plemmons

Christine Capone

Phil Olson

Laurie Ashbourne

Michael Fitzer

Rebecca Heidt

Claudine Pierre-Louis

Thomas Newman

Michael Kearney

Tom Morgan

Wade Ballance

Courtney lochner

John Fouche

Christian Everhard

Gabriel Stanley

Margaret Doner

Alana Gerdes

Sohrab Homi Fracis

Bill Marmor

Gabrielle Nehring

Niles Welikson

Cameron Ryan Soedi

Eric A Zimmerman

Michael J. Shapiro

Stefan Alexander

Marc Nelson

Sunil Dhokia