Screenwriting

Milestone it is! You’re further from where you started! Congrats!

Haunting poster. I look forward to reading a draft when you have it ready

Thank you Cal!

I chose a village setting to show how the absence of water changes everything — people, situations, and society.

I'm writing it in 2 ways:

1. As a Survival Drama

2. As a prediction of the future in 2050

I’ll share the synopsis once the first draft is ready. Would love your feedback.

Dragan Lambic I understand your pov, but as I look at it, and has been my experience, there are a few problems. The first, you're most likely to show a producer your screenplay. Why would you say, "hey read my book," to a producer if you've written a screenplay? If they pass on the screenplay, telling them there's a novel they should read is moot. If they read the book first, love it, then find out there's a screenplay, read that and pass, beyond a chance that it kills the whole thing, there are some legalities that need to be worked out since the screenplay exists and both parties know it.

Some writers would be okay with just optioning the book and saying "forget there's a screenplay", but you've now cut yourself off from writing the screenplay. And a lot of writers - just read some of the posts on this site - are overly attached to their projects and can't imagine anyone else touching them.

Some writers would want their script optioned or bought along with the novel, adding an expense to the producer for something they don't want.

My point is, there are more pieces that need to be dealt with, and if the producer and writer are on the same page, that stuff can get worked out. But if they are not - and you don't usually get to pick the producer who wants to buy your book or script - it can lead to layers of problems, and legalities that will need to be ironed out. Sometimes that happens, sometimes it all blows up.

Hi, Maria Restivo Glassner. I'd rather write an original script/series and pitch it. Learning to write a book, short story, etc. takes a lot of time in my experience. And it takes even longer to learn how to make pitch material for it and market it. I'd rather work on my script/series and market it than spend time relearning those things.

Bart Baker I understand your point, and I agree that having multiple versions of the same story can create complications if rights and expectations are not clear.

My experience has been that almost no producer starts by reading a screenplay. They usually first look at materials that communicate the idea — logline, synopsis, pitch deck, treatment, or similar — and only request the full script if the concept interests them. In that stage, mentioning that the story also exists in another form, such as a short story or book, does not necessarily create a problem; it can simply show that the idea has been developed in multiple ways.

Also, if a producer genuinely likes the core idea but feels the screenplay itself is not working for them, I would imagine they may still be interested in seeing another version of the story. A short story or longer prose version might give them a different perspective on the concept and what attracted them to it.

I completely agree that many writers are very attached to their screenplays and would not want anyone else to adapt them. I am actually one of those writers in the sense that I care deeply about my story — but my priority is seeing the movie made. Whether that happens through my screenplay, a short story, a novel, or another adaptation path is secondary. The important thing for me is that the core idea reaches the screen.

I also agree with your point that these situations can become complicated. Unfortunately, in this industry there are often cases where people focus more on potential problems and obstacles than on the creative possibilities. That is why I think clear communication and good faith from both sides are essential. If everyone involved is genuinely trying to make the project work, many of these issues can be resolved.

The advice to write a novel as a path to screenwriting does sound like a long detour but I do believe that it is a great exercise to your worldbuilding and useful in the state of the industry, is there anything you've been looking to expand on even if you're not looking to be an author

@Samantha Rivera, I have been really enjoying the classes I have been taking here, digesting the material and trying to master its application. I have found that the more I work at it and get feedback, the more I understand the original lessons more deeply. I have young kids and, with that, have learned how precious time is and want to make the most of it every week to work towards my goals of polishing my scripts and getting them out there.

I did actually write a novel a long time ago and know the treacherously long process that can take, which is why that note really hit a nerve. If I am presenting a screenplay and it is not where it needs to be to be sold in this market, then I feel like I need to get that screenplay in better shape, not turn it into something else. Or make sure my screenplay holds a theme that is important in today's society.

As far as expansion goes, I really want to get better at the written and oral pitch. Also self-branding. What do you recommend in your experience as a good blueprint source for establishing a career in screenwriting today?

Interesting especially about pitch decks. It seems as though 6-7 pages would be the most accurate. Even with a series-bible, you need to have the Logline, synopsis page, Concept page, character, description, samples ,of the first few episodes, and a contact page. For a pitch deck perhaps the only other addition would be the, “Why my series page”.

Patrick, thank you so DOGGONE much for sharing these guidelines! (And I'm someone who feels more comfortable using written pitches than verbal ones!)

Take his advice, people! Patrick Callan knows what he's talking about

SUCH valuable information. Thank you! Have there been any pitches in recent memory that really stood out to you? If so, what was it about them?

It's a privilege to have you here Patrick Callan! Writers, take down notes and learn from Patrick!

Congratulations

Jack!

Awesome Jack Teague !!

That's a solid achievement, and a semi-finalist placement means your script stood out! What's the next step you're planning for Tetch, are you looking to produce it yourself or use the placement to attract collaborators?

Congratulations!

Well deserved! Congratulations Jack Teague! What inspires you to write Tetch?

Thank you very much for your encouragement Eric Charran

You’re right—my concepts tend to work well; the main issue is the execution, especially since I’m still learning and developing my English.

The competition reviewers mentioned that the language and dialogue can sometimes feel too direct or read like a translation. I’ll keep working on improving that, strengthening the script further, and getting ready for the next round and other competitions.

Meriem, I'm proud of you! You put yourself out there, put the work out there, and that score is good for a first go at the Page. And for your first script, first time in English... That's remarkable! Good for you hon!

Thank you very much for encouraging me on my journey Elle Bolan

This was my first time participating, and honestly, I didn’t feel ready. I entered mostly out of curiosity, just to give it a try.

Then I received a score of 64/100, and it truly means a lot to me.

Congratulations! That is awesome! Those are great scores and the feedback from Page is so helpful! I entered for my first time last year and was in a similar place to where you were, worked on my rewrites, got some more feedback in the interim and came back to a quarterfinalist finish this year, so you are 100% in the right place! I'm excited for you to see how it continues to grow and perform in upcoming contests and at next year's Page! Great job and keep it up!

Thank you very much for your kind words and for sharing your experience with the PAGE Awards. This really encourages me to keep improving my work and prepare even better for next year.

Congratulations on reaching the Quarterfinals! Wishing you the very best of luck in the next rounds.

Thank you again for your beautiful energy and encouragement Amy Kolquist

Hey Maria, this is Suzanne from the Stage 32 team. I just wanted to let you know I moved your post from Anything Goes to Screenwriting, as it fits much better there. Let me know if you have any questions, and all the best to you!

Hi Maria, good question here. The answer really lies in what the IP is and what its value is. If it's already in the public domain, there's a good chance that writers and studios are already looking at exploiting it. It would have to be a very unique and exciting take on the material.

I'm unsure what you're asking about "shun individuals who have already introduced a character(s) into the public domain already." Are you saying that you have an existing piece of IP that you made public domain?

In terms of profit splits, a production company or studio will likely want to option your specific screenplay or story off of you, which would be the point to negotiate profit participation and who receives what. Typically a studio or production company can only acquire the rights to the screenplay and any sequels, spin-offs, etc., not the game or book itself (although sometimes they option the source material directly!).

It's a nuanced situation and you want to ensure you're working with a strong entertainment attorney to support you.

Not a problem Suzanne, and thank you kindly.

Thank you for your response Mr. Hussey,

You were very detailed in your response.

As per your enquiry "Are you saying that you have an existing piece of IP that you made public domain?" I have compiled a couple of games (not generated in physical form as yet but; documents) and I wanted some insight on the possibilities of converting them into animated movies and collaborating with a production company thereafter. I wasn't sure if they preferred novel over existing characters hence my initial question.

I am attached to my characters and I wouldn't want to lose them entirely by selling them . Besides the fact that my long-term goal is to create a museum (s) with my characters from the gaming, storybooks, anime movies. Hence the ecosystem I'm building.

Hi, Amy Kolquist! It's been a while since I've done a written pitch, so I'm trying to think what I got positive feedback on. I do remember I started my written pitch with a question that got the person to think. I don't introduce myself in a written pitch.

Thank you!

Hey Amy! Great question here. As an exec, while we do want to learn more about the writer, we do not want to lose precious page space reading about the artist over the work. It's a very delicate balance. I would say that a couple of sentences are good, especially if you have notable credits. If you feel that you're just starting out and don't have a lot to say about yourself, perhaps just let the work speak for itself.

In terms of awards, the key indicators for any creative exec will be Nicholl Fellowships, The Black List, and Austin. Outside of those three, any screenplay awards can be complimentary but should not be the focus.

Hope that helps!

One sentence related to the piece.

Great- thank you so much! I really appreciate it!

Pat Alexander I like that approach. Writing the obvious version first takes the pressure off, then each draft becomes about finding what the scene is really trying to say.

Maurice Vaughan I agree. If characters are just talking, I try to make the environment or their actions carry part of the conversation so the dialogue isn't doing all the work.

Banafsheh Esmailzadeh That's a tough balance. I've found it's better to leave readers wanting one more answer than giving them ten too early.

David Taylor That's a great point. Research gives you confidence, and that confidence usually shows up on the page.

It really is, Joshua Powell. I naturally want to go slowly but I also have no trouble just diving right in, it depends on the story. I’ve been criticised for both lol

I think many writers reach this stage after finishing a script. We become so invested in the characters that moving on almost feels like leaving them behind. One thing I've come to appreciate is that finishing a screenplay isn't necessarily the end of the journey, it's the beginning of finding the right audience for it. While you're pitching and building connections, I'd still encourage keeping the creative momentum alive. Sometimes the next script doesn't replace the first one; it simply strengthens your voice as a writer. Wishing you the very best with it.

Congratulations on reaching this milestone! Finishing a screenplay is an achievement in itself. I believe the next step is to keep building momentum continue writing, seek thoughtful feedback, and get your script in front of the right people through competitions, fellowships, pitch opportunities, and industry networking. Every finished script is another step toward the right opportunity. Wishing you the very best with your project!

iI'm in the same boat with Ark Cruises. I've created a trailer and many short proof of concept scenes. I'm continuing to make scenes in the world, even if they are not in my screenplay. I may start making a TV show out of it, or children's book. one thing I want to do is create coloring books to sell on Amazon. I've got over 200 production shots I can chop up and refine in line drawings. all this while I'm seeking people to pitch to.

That sounds like a great way to expand your story world, Kevin. Creating different forms of content can help build an audience and show the potential of the project. I think the idea of using production art for coloring books is a creative approach. Wishing you success as you continue developing and pitching Ark Cruises!

Congrats on completing your first screenplay! My biggest recommendation is to keep writing to add more to your portfolio. As someone who's working on breaking in for the first time, networking is your biggest friend and bringing up this screenplay in those conversations is the best way to get momentum going.

Often times though, the person your speaking with will want to know about the other projects you're writing. They may really like this screenplay idea and dig your vibe as a writer but not see a feasible way to push the project forward right now, so having a few backups when they ask, "what else do you have?" is a great way to keep the conversation going and get your work produced, even if it isn't this one first.

Sean Hussey That's a great one, Sean. "Who is the protagonist of this scene?" isn't something I've consciously asked before, but I can already see how it would sharpen the focus. Thanks for sharing it.

Anna Henry I like how you've broken it down into a simple framework, Anna. Conflict, decision, and consequence make a really strong checklist, especially during revisions when it's easier to spot what's missing.

Tomás Daniel That's a really good point, Tomás. Pressure has a way of revealing who a character really is, and those moments usually end up being the most memorable. I also like the title Zamora: Sons of the Black Buffalo, it definitely caught my attention.

Samuel Bishop Thanks so much, Samuel! I really appreciate that. I completely agree sometimes the most important change isn't external, but internal. A character can leave a scene with a different belief, emotion, or perspective, and that subtle shift can have a huge impact on everything that follows. I'm glad the question resonated with you!

Samuel Bishop Thank you so much, Samuel! I really appreciate that. I'm glad the title caught your attention. I wanted it to reflect the strength, heritage, and identity at the heart of the story. I completely agree that characters are remembered most for the choices they make under pressure. Thanks again for the thoughtful reply!