I'm not even sure if this is the right lounge for this topic! But I wanted to share that recently a creator developing a digital-first series for social platforms reached out to me for guidance on narrative structure and story development.
The project lives natively online and blends art, fashion, and branded storytelling in a way that’s very different from traditional film or television. Very alternative. It reminds me of something Action Bronson would do... what struck me during our conversations is that even in the most alternative formats, the fundamentals of storytelling still apply: point of view, character, momentum, conflict, emotional payoff. Entertainment value!! It honestly delighted me.
The platforms and formats may evolve, but the principles that make audiences lean in remain remarkably consistent. Or at least I think so.
It’s exciting to see creators experimenting with unconventional formats while still drawing from the tried-and-true storytelling foundations that drive film and television.
Curious how others here are thinking about narrative structure when developing stories for digital-first or unconventional formats. Do the same storytelling principles apply, or do you approach them differently? What's the process?
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You're absolutely right that the principles of storytelling (point of view, stakes, emotional payoff) are platform-agnostic. What changes is the rhythm and delivery: digital-first audiences often expect quicker engagement, visual hooks that work without sound, and a sense of immediate, accessible entry into the world. But underneath, they still crave what any audience craves: a reason to care. Action Bronson is a great example, and in general, it reminds me of this mixed bag of online personalities who have managed to crossover to bigger spaces, and the conversation of whether they are valid in those spaces, but we have those who majored in journalism and turned the internet into their own publication! When you're adapting those fundamentals for a project like this, do you find yourself leaning harder into character as the anchor because the narrative structure itself is looser?
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Laura Notarianni Really interesting topic. In my opinion the platforms may change, but the core principles of storytelling remain the same. Whether it’s a film, series, or digital-first content, audiences still connect through character, conflict, and emotional payoff. The format might be shorter or more experimental, but the narrative engine is still built on the same foundations.
As a director - writer, I find that digital platforms actually push creators to be even more precise with storytelling grabbing attention quickly while still delivering a meaningful arc. It’s exciting to see how traditional storytelling tools are being adapted for new mediums.
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I've been working on this exact challenge. I believe storytelling mediums are going to be more interchangeable, with even more focus on visuals and great narrative.
See in the image how we have merged interactive World-building, casting, screenwriting game, and memoir (movie of your life) into a single platform.
You might find it helpful in your own project as well
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I love this point about storytelling fundamentals staying consistent across formats. I’m currently developing projects that exist both as screenplays and prose, and what I’ve found is that while pacing and structure shift depending on the medium, the emotional spine of the story never changes. Character desire, conflict, and payoff remain the engine whether the story lives on screen, on the page, or in a digital format.
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Hello Laura Notarianni just wanted to swing in here and probe you in your expertise in executive producing and development.
I’m a scriptwriter new to the industry and have a variety of questions that could help me on my journey with projects in and outside of my current development pipeline:
When evaluating a script, what makes a project “packageable”?
How much does attached talent influence whether a script gets financed?
What are the typical development stages a project must pass through before greenlighting and how long does it usually take?
Also, at what stage can a writer realistically negotiate creative control or producer credit?
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Areale Hanks These are all fantastic questions…and exactly the kind that get me excited to dig in. There’s a lot of nuance behind each of them, and it’s probably more than can be meaningfully unpacked in a thread like this. That said, this is absolutely the kind of conversation worth having verbally and in more depth.
I will attempt to be brief!
When it comes to what makes a script “packageable,” it can vary depending on whether you’re working in features or television…I tend to approach each medium a bit differently. But at a baseline, it has to be exceptional on the page with a clear, compelling execution. Beyond that, there typically needs to be meaningful auspices involved - whether that’s a producer, studio, or director -who can help anchor the project and signal viability in the marketplace.
Attached talent can absolutely influence financing, particularly on the feature side - financiers are always looking for signals of guaranteed audience. The more star power, the likelier it will get eyeballs and make money!
In television, where I’ve spent most of my time, there have been cycles where high-profile talent meaningfully moves the needle…especially if it aligns with a specific buyer. That said, it can also signal high budget and narrow the field of potential homes, since not every piece of talent is universally appealing. It tends to ebb and flow with the market.
In terms of development, there are many stages, but at its core, you’re working with a buyer to deliver on commissioned materials and respond to notes in a way that aligns with their vision. That process alone can take months to years depending on the project, before getting to green light.
As for creative control and producer credit - those are typically earned with time and experience. Writers who are proven, have a strong track record, or are bringing in underlying IP or key elements of a package are in a much stronger position to negotiate those terms.
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Laura Notarianni thank you for your response and looking into my questions. I appreciate it.