Screenwriting

Tbh that’s such a valid question and a good sign that you’re thinking about your story’s fullest potential. One thing that can help is asking: does your story have a natural arc that resolves fully within a few hours? Or are there layers, subplots, or character journeys that would benefit from more space to breathe? Limited series often shine when you want to dive deeper without stretching a concept too thin. If the emotional or thematic weight feels like it builds over time, episodic might give it room to land more impactfully. Trust your gut, as it’s already asking the right questions.

Perhaps you can do a mini-series 2 or 3 episodes.

I'm currently working with a writer who is facing the exact same issue. What we've done is broken down the feature to see where the character threads are, key plot drivers and the theme. This is so we can ask how these things could be expanded on for a season of TV - with no preconceptions regarding how many episodes, limited or ongoing etc. The next step is to map it out as a show to see if these things will stand up across 6 hours or more of TV. See this step as "stress testing" the concept to see if it can go the distance of a season of TV. If the ideas keep coming and doing this opens up more possibilities, you may be onto something.

The big streamers want returning eyeballs. That answers the question. A one -off, not as many returning viewers. We are a nation of binge watchers. Also, notice that the series concept works well with a cast of people of all ages...

How much story is there?

A mini series has lots of twists and turns... look at Russian Doll; each episode it gets wilder and wilder... do we have six hours of story?

Maurice Vaughan I hope it's good, we really need a good horror movie.

What's your favorite recent Horror movie, Rahul Sonawane?

Maurice Vaughan I am disappointed in Hollywood horror movies recently, for the sake of stories we forget to scare people, so I have been dwelling in thai horror movie recently, I watched so many and most of the were terrifying and unsettling, which is something hollywood needs to learn, how to build up a scare, I can't name one but here are few I would recommend you watch, Satan Slave series, home for rent, the medium, pee mak.

some turkish movies, the siccin (don't know which part) Dabbe the possession,

last good american horror movie I liked was the hereditary.

Hereditary was scary and built up the scares, Rahul Sonawane. Movies like Smile 2, Cuckoo, Mr. Crocket, Oddity, Outside, and Never Let Go were scary and built up the scares too. Thanks for the other movie recs.

Maurice Vaughan i.liked smile but wasn't a big fan of 2nd, oddity was good but it didn't scare me, there are old movie that really good but I never mentioned them, have you seen black Sabbath 1963, the last story is so dreadful, and I really like those mind of movies, where the dread keeps building and then they scare you, it's like a release, usually jump scare bore me, I found Longlegs teasers really unsettling, those feeling are what I look in horror movies, sadly the movie didn't live up to the hype.

whats the one movie that scares you, everytime you watch it?

Congratulations on getting a script request, Bill Albert!

Congratulations Bill Albert!

That's fantastic!! Congratulations and all good luck to you Bill Albert!!

Congratulations, and excellent use of resources here on Stage 32. Very supportive team here. Congratulations

Amazing story. I asked for an add!

Maurice Vaughan I feel like I can get the tone and feel of it over more effectively using images. I'm finding it quite difficult to find other shows that mine is similar to because it's not a popular subject matter in tv it would seem. I don't know I'm going for it either way it'll alright or very very wrong!!!

That's why I used a lot of animated pictures, Rachel White. I say go for it.

The Bible is a selling tool to express and pitch your vision to buyers and producers. If you can find a way to express that vision, fit what buyers are expecting and make it yours (unique), that’s what matters. There’s a funny anecdote about the Lost writers writing a bible for the ABC execs that didn’t really fit what they were planning to do but they knew they had to get the execs onboard and pitched the show as a “case of the week” when it wasn’t. I’m not recommending to be duplicitous but it’s both a creative outlet and a selling tool so it’s good to be inspired the bibles that are out there but don’t feel like you have to stick to those like formal templates. Also, nowadays, buyers lean more and more on already written episodes rather than bibles when writers could sell a pitch. I’ve seen firsthand execs not bothering to read those 30

page bibles. The real bibles should be for the room as a storytelling guide. I prefer pitch decks. you can hit the main points (story engine, arc, arena…) in less words and get your point across. Perfectly fine to use pictures too but remember these conversations will happen later when you have a pilot director onboard. We also discuss more tips on how to sell shows in the Writers’ Room.

Geoffroy Faugerolas thank you that's really helpful. I'm trying to get my head around everything I need to do to go with my pilot. I don't want to be pitching a finished script without being really prepared for potential next steps.

Images can be a nice addition to your deck, but they won't replace telling a good story. See them as an "added bonus", but don't use them to the point of becoming "clutter". If you're a great artist and have lots of images, use the best ones in your deck and maybe make an art "look book" or reel for the reader to see more.

You're welcome, Johnny Russell.

Congrats! wonderful news.

Thank you, Sille

Grateful to be among such talented writers! Congratulations, guys!

Thank you, Rodrigo and Congrats to you also!

Brock’s Simple Approach: 1.) Finish Script. 2.) Toss it at the Wall. 3.) See if it Sticks to Aforementioned Wall.

I completely agree with the core premise that successful writers typically find the intersection between their unique perspective and commercial viability.

Your observation about the "sweet spot" being work that feels uniquely personal while fitting into recognizable industry categories is spot-on. This approach isn't selling out - it's strategic positioning that helps your distinctive voice reach its intended audience.

I've seen this pattern repeatedly with writers who secure representation through Stage 32. Those who successfully navigate the industry typically:

1. Develop a consistent, recognizable style across their portfolio

2. Understand their "lane" in the marketplace and can articulate it

3. Research comparable projects without mimicking them

4. Stay true to their authentic interests rather than chasing trends

5. Find ways to bring fresh perspectives to established genres

The advice to "study what's getting made" while ensuring your work "still sounds like you" is particularly valuable. Executives and managers are constantly seeking material that feels both familiar enough to market and fresh enough to stand out.

Your post articulates an essential truth about breaking in: pure originality without market context rarely gains traction, while pure market calculation without personal voice rarely builds a sustainable career.

Would you be interested in sharing specific strategies for writers in identifying their unique voice and finding its most marketable expression?

Absolutely love this perspective. It’s such a delicate balance and honoring your authentic voice while also understanding how to connect with your audience. When both align, that’s where the magic happens. Thanks for the reminder!

Pat Alexander Thanks so much for this thoughtful response. Couldn’t agree more, especially with that list. It nails the habits I see in writers who break through and sustain.

To your question: yes, I’d be happy to share more on identifying voice and finding the right market lane for it.

Look across your own work: What emotional themes, tones, or story types keep showing up? That’s your voice talking, even if the genres vary.

Keep a “You List.”: Name 5 adjectives that describe your writing. (Ex: grounded, tense, character driven, offbeat, romantic.) Those words can guide both branding and pitch clarity.

Study comps - not just for content, but tone: It’s not about mimicking. It’s about placing your work in a conversation with what’s out there. You’re not copying, you’re showing how your voice fits into the canon, then expands it.

Pitch like you know who you’re for: Instead of “this is for everyone,” try “this would sit next to [show/film] on a streamer but with X twist.” It shows you understand both your market and your unique offering.

Ask your readers what sticks: Your voice isn’t always what you intend. it’s often what others receive. Patterns in feedback can reveal what’s resonating most.

Its always fun to read a script that has a clear sense of its own voice and trusts the reader to understand it. It is definitely something where "you need to know the rules to break the rules" otherwise it can become a hinderance to your storytelling, but when done well it can be a powerful calling card.

You're welcomed, Maurice Vaughan. I'd be interested to know your thoughts once you've read it.

I'll let you know what I think of the book, Christina Hammer.

I love this question because I never WANTED to become a screenwriter, but due to the state of literacy education I dedicated my life to evolving our collective relationship with books and reading and in doing so, conveying this concept through a screenplay just made sense. If Chihuahua sales can be effected because of Legally Blonde then book sales to teens can be effected too by The Book of Abel.

I've noticed that with some movies and shows, Daphne Russell. Audiences buy things after they watch movies and shows, like when people bought a lot of chess sets after seeing The Queen's Gambit.

Right! Product placement is real!

Hi Nikki,

I find that realism in books helps the reader feel connected to the character with an honest feel for their emotional situation. And like real life there are always loopholes for making the scene work the way you want.

That's true! I want to stay as real as I can get, but I'd love to be able to find a loophole to take advantage of.

Hi Nikki,

Without knowing the context of your story it's difficult to say but what if they aren't legally married? (For example, one of them could secretly be a bigamist) They wouldn't be legally married and that kind of plot twist could work as comedy or drama, or add some levity to a drama.

As a rule of thumb, I suggest not to go too much against "normal" laws unless there's a specific reason (maybe the genre is magical realism or so). If, in a realistic story, the audience understands that what's happening could not happen in reality, it breaks the suspension of disbelief and prevents them from fully identifying with the characters.

A lot of my feature scripts and short scripts have global appeal, Geoffroy Faugerolas. I'm outlining a TV series that takes place in the U.S. I haven't thought about global appeal for it, but I could easily add things to the show to make it appealing to international audiences. Or I could set the story in another country. Thanks for the info.

You are right Geoffroy Faugerolas

Please compile a list with production companies which work across borders. So we can contact them.

I first wrote my latest script in Swedish. Swedish producerss refused to read. So I translared into American English. American producers refused to read.

So I am preparing to once again create a no-budget film, but I will gladly sell it to anyone.

Such an interesting insight, Geoffroy Faugerolas. It's a very good approach to write with a global audience in mind. For example, limiting humour with references that only people who come from a specific culture and place understand helps a lot.

Geoffroy Faugerolas

If there is a reason to keep the name a secret to the other characters or has a significance to the story, let it be known why that is. If not, then let the other characters say his/her name.

Thanks!

You're welcome, Eric McKeever.

Sharing the real name with the audience is much easier, Eric McKeever. Think of all the spy stories with undercover agents: we know the real names while the other characters have no clue about it. Unless you want to shock your audience and let them know the real identity of the main character during the story, but this doesn't seem to be your case (correct me if I'm wrong!).

Since I have spent a few hundred hours standing next to the camera, directing actors, here is my point of view. Actors want their character to have a name. That is an important reason why characters in scripts often have a name. So use the character's real name, not the name he pretends to have.