Ahh, nostalgia. In Japanese, the word is “natsukashii” – a bittersweet longing for something familiar. The feeling of well-worn boots signaling autumn or rewatching your favorite 80s action flick. These feelings, now more than ever, have inspired a wave of TV and film remakes from the 80s, 90s, and early 2000s set to hit screens over the next year.
The Nostalgia Factor
My guess? People are longing for the days when politics weren’t so front and center, diving deeper into their pathos of distraction and farther away from reality that seems increasingly overwhelming. The target audience seems to be Gen X, Xennials, and Millennials because those are the shows and films being greenlit today.
But these aren’t just remakes, they’re remakes of the remakes or reimaginings of familiar material. Many are even based on classic novels or earlier TV shows, doubling down on the built-in audiences that come with beloved characters.
Maybe this is part of a collective desire to return to a time when technology was exciting but not all-consuming. When we still had one foot in the analog world that felt simpler. When kids played safely outside, read comic books, and played board games instead of being glued to video games and social media.
What’s Being Remade
But I digress. Here’s a list of TV and film remakes, long-awaited sequels, and reimaginings making a comeback:
Tron (1982, 2010, and now 2025)
Gremlins 3 (sequel to the beloved ‘80/’90s franchise)
Freakier Friday (sequel to the 2003 film)
I Know What You Did Last Summer (a sequel to the 1997 original based on a book; the franchise also spawned a 2020s TV series)
War of the Worlds (1953, 2005 and 2025, just to name a few)
Blade (a reboot of the Wesley Snipes-led vampire hunter films. I’m not mad at this one at all.)
Fantastic Four (2005, 2015 and now 2025)
IT (the Stephen King horror classic has already been rebooted, but a new TV series is on the way)
Why Now?
So what’s driving this flood of reboots and remakes? What does it say about the TV and film industry as a whole?
According to a 2024 Nielsen report, 62% of streaming viewers rewatch older content at least monthly. In 2022, over 50% of major studio releases were sequels, reboots, or part of an existing franchise.
As household budgets tighten, it might feel safer to produce films with built-in audiences to help ensure people return to the theaters. Maybe these generations crave the comfort of films they already know.
I don’t have the answers, but I wonder: Has anyone in the industry admitted to using this strategy?
If it is indeed intentional, then the jury is still out on whether it’s going to be a winning strategy. We’ve seen some remakes flop, while others succeed.
In August 2025, several of your favorite screenwriting platforms and resources will no longer be available.
In the last year, I’ve entered several screenwriting competitions, mostly through the platform FilmFreeway. Recently, I’ve used Coverfly for two competitions that are currently ongoing. Today, I received a notification that Coverfly is going offline on August 1st. Meanwhile, two of the competitions I entered won’t issue the next round of announcements until after that date.
Upon further research, I found that a few other screenwriting resources will also be shutting down: ScreenCraft and The Script Lab. It sounds like the industry is looking to consolidate a lot of these competition platforms. I can appreciate that since it is often time-consuming to track competition submissions on multiple platforms.
Luckily, most of my competition entries are on the surviving competition platform FilmFreeway. However, in Reddit conversations around this topic, writers found it convenient to have all of their competition submissions and placements in one place, such as with Coverfly.
Coverfly does give users the option to export their data. It’s very easy to do, so take advantage of that option now so that you don’t lose information from competitions that you’ve entered.
What other screenwriting resources have you used that have gone away?
Everyone’s taken a shot at Gen Z over the last few years. They’ve been accused of laziness, short attention spans, narcissism (thanks, social media!), and now the “Gen Z stare.” It’s generational warfare and I want to send these guys some love from a generation that remembers dial-up internet ;).
Nine of my nieces and nephews and countless family members are Gen Z (with the exception of one who is Generation Alpha, but he won’t be able to read this article for a couple of years from now). I feel like this makes me somewhat of an expert on the matter. Let’s say I’m a gardener offering tips to a farmer. Not quite qualified, but I’ve been around for a few harvests.
Like the generation before them, the Millennials got much of the same treatment from the generations before them (no offense to the Baby Boomers and early Gen X crowd). While Millennials were accused of wanting to be the boss on day one of their internship because they provided feedback on processes that could be improved by technology, Gen Z have been accused of the opposite: a lack of motivation.
Some of the accusations are true: Gen Z do not believe in loyalty to a company just for the sake of keeping a “good’ job. They’ve even been accused of ghosting jobs, calling out sick at the drop of a hat, or ignoring low-wage job postings entirely.
You see, while employers are complaining about these behaviors, Gen Z is silently manifesting work environments that reflect a shifting society. One that values work/life balance over hustle culture, ease over stress, and vibes over conformity. They’re a key reason why there’s more salary transparency on job listings now, and why job-hopping no longer prevents you from advancing in your career.
Now if Gen Z manages to reverse the return-to-office mandates, they’d get more than just a participation trophy, they’d get awards, of the financial kind. Just kidding. I don’t have that kind of power.
I predict Gen Z will finally be vindicated, and soon. They’ll be able to take the credit for shifting the nature of the workforce from one that only benefits the employer to one that sees the value in each individual employee as a person to be invested in, not used.
So, let’s give these kids a break. After all, they may one day be responsible for our elder care. I’ll take them over the machines any day.
If my career up to this point has taught me anything, it’s that you can and should use every bit of personal and professional experience you have toward your career path as a creative and professional writer.
In the past, I would’ve shrugged off these experiences as part of a winding road that I hoped would make sense to a future employer whenever I was on the job hunt. Now I look at them as breadcrumbs that led me to where I’m headed now in my creative career. How did it all start?
I’ve spent the last 15+ (I stopped counting) years as a professional communicator and public affairs specialist. The core skills in this profession range from being able to write compelling content, such as press releases, articles, and briefings for the media and executives.
Ten years ago, I received my Master of Fine Arts degree in Writing Popular Fiction, which is where I learned about writing genre fiction (sci-fi, fantasy, horror, romance, etc.) and wrote a thesis novel for the young adult audience. This experience taught me about deciding which feedback to act on from critique sessions, working with professional author mentors, and pitching to the publishing industry.
After graduation, I also worked with my alumni association on our annual writing workshop as the guest liaison, where I invited authors, literary agents, and editors to participate. I also personally guided them on the cozy Hogwarts-style campus and throughout their stay in our sleepy college town.
I was surprised by how approachable and willing many of these professionals were when it came down to giving back to the writing community. Some of them offered to read the workshop participants’ manuscripts, and many simply listened to their pitches and provided feedback. Some people got representation from their novels, but many of the participants simply appreciated the opportunity to pitch in a friendly setting as opposed to a big conference.
I’ve had rich cross-cultural experiences that expanded my knowledge of various cultures. I studied abroad in Russia, taught English in Japan, and worked with New Zealanders and Maori for a few years as a public affairs and events manager.
There is a depth of knowledge about the language and cultures that I wouldn’t have known by just Googling for information. I feel so fortunate to have had these opportunities to make some deep and enriching connections with the people that I worked with. Some of them are still lifelong friends.
In the last year, I’ve been preparing myself for a new career as a screenwriter in the film and television industry. I’ve taken screenwriting classes, written two screenplays for TV and film, and entered contests.
Looking at all of these experiences, you might think that they have zero connection to each other, but that’s not true. I’m the connection. I have to see how I can use my international, education, cultural, and communications background to serve me going forward.
Here are some tips and takeaways that I think might be helpful to you too:
Never turn down an opportunity to expand your skills. Does the job as a telemarketer sound like a drag? Maybe it’s actually preparing you for pitching your book to the publishing industry.
Don’t be so rigid in your professional aspirations that you only take jobs that are safe. This one is pretty self-explanatory, but if you’re a professional communicator and don’t dip your toes into the “dark side” of marketing, you might be missing out. While these two career paths might require similar skillsets, the approaches to reaching audiences are quite different. Marketing skills is yet another way to pitch your stories, products, or ideas.
Take on volunteer or internship positions to break into your new industry. If someone doesn’t want to hire you because you don’t have years of experience or education in a certain area, take on roles that are lower barrier to entry, e.g. unpaid or part-time paid positions.
How has it been going for me so far? Pretty good. I’ve placed in a few of the screenplay contests that I’ve entered, but no monetary rewards thus far, just the joy of knowing that I did that!
I’ve published three short stories in anthologies in the last two years and got paid a small amount for one of the publishing contracts. I would’ve published more, but that’s just because I haven’t submitted stories in a while. Right now, I’m just focused on submitting screenplays over short stories, but I’ll get back to it! Imagine how much I can accomplish if I put all of my energy into it.
The moral of the story is that you truly should be mining your experiences for how you can apply what you’ve learned in your personal and professional life to your new career path. Make a simple tree of knowledge to show the experience and compare it to what is needed to enter the industry that you’re interested in.
My tree of knowledge might look like me using my communications skills to write blogs and articles about my writing projects and promoting it on social media and podcasts. It might mean that I don’t have to pay someone to do these things, which ultimately saves me money.
It might also look like me using my media pitching skills to pitch my novel and screenplays to agents and managers. The sky is truly the limit.
So, don’t see your past as a maze of bill-paying jobs, see them as the building blocks to your future. Best of luck to you!
This May, I participated in Story Summit’s Hollywood Field Trip in Los Angeles—a thoughtfully curated experience that brought together aspiring screenwriters, affectionately known as The Write Stuff, from across the U.S., Scotland, Australia, and Canada. The program was organized by David Kirkpatrick, founder of Story Summit and former president of Paramount Pictures, along with his incredible support team.
As I prepare to transition into a new industry, I’ve taken screenwriting classes and immersed myself in researching the world of TV and film. So when this program came across my radar, I jumped at the opportunity. I began my screenwriting journey last year with a supernatural drama TV pilot called The Bryant Women. I submitted it to a few smaller contests and was thrilled when it earned some placements. This year, I adapted my unpublished young adult science fantasy novel, Worlds Apart, into a feature-length screenplay.
The weeklong program included a behind-the-scenes tour of Paramount Studios, a visit to the Academy Museum of Motion Pictures, and a Pitch Fest with agents and managers. I connected with so many incredible up-and-coming screenwriters, as well as professionals already working in the TV and film industry—many of whom are authors eager to see their books adapted for the big screen.
I’m going old-school and blogging about the experience. Come along for the ride—read to the end, leave a comment, and don’t forget to like my Facebook author page!
Day 1: Meet + Greet + Words of Wisdom
Day 1 was a travel day for many of us, and we checked into the historic Hollywood Roosevelt Hotel. Although we had met virtually before arriving, it was such a treat to get dressed up and finally connect in person at the Welcome Reception, hosted by David Kirkpatrick.
David brought along his friend Gary Lucchesi, President Emeritus of the Producers Guild. Mr. Lucchesi shared some inspiring words as we embarked on our journeys as screenwriters. He told us how he started out in the mailroom and worked his way up in the industry. Stories like his are always refreshing—and a powerful reminder that everyone starts somewhere.
Day 2: Paramount Studios VIP Studio Lot Tour
Given David Kirkpatrick’s deep history and connection to Paramount Studios, we got special acccess to see behind the iconic gates of Paramount and dive into 100+ years of Hollywood magic. We got to see legendary movie props, sets, and original films in the Archive and Backlot Operations Departments. Paramount Studios was my favorite highlight of the field trip. If those studio grounds could talk!
Don’t mind me, I’m just enjoying traveling through time and space in this Star Trek Beyond set piece.Helmet from Top Gun: Maverick
We ended the evening on the rooftop of the hotel right beneath the suite where Marilyn Monroe once lived at the Hollywood Roosevelt. We could see Hollywood Boulevard, TCL Chinese Theatre, and the Hollywood sign from up there. The evening was magical and I had the opportunity to learn more about my group’s screenplay projects.
Me and my fabulous screenwriting sisters enjoying ourselves and practicing our pitches on the rooftop.
Day 3: Pitch Fest + Academy Museum Visit
On the morning of our Pitch Fest, I did my best to calm my nerves. After all, this could be my one shot at finding representation for my TV and film projects.
Each of us had just 10 minutes to pitch to the agents and managers in attendance. I met with three agents, most of whom were primarily looking for feature film projects. It seems TV is a tougher sell at the moment.
Still, I was able to pitch my TV project—which is my most developed—to a couple of them, so we’ll see if anything comes of it. I also realized that the world-building in my feature film project is pretty complex to convey in such a short pitch, so I’ll be exploring how to best present that one moving forward.
The Pitch Fest was a great opportunity to get a sense of what sparks interest among Hollywood reps. I’m proud of myself for putting my work out there and stepping into the arena.
Pitch Fest!A girl can dream. Let’s pray this bad girl gets produced in real life. You guys would love it!
The second half of the day was much more relaxing. Many of us were still processing the responses from the agents and managers to our pitches. When you spend days, months, and years dreaming about such an opportunity, you do your best and then it’s over in no time.
Academy Museum of Motion Pictures
Next, we visited the Academy Museum of Motion Pictures. I had originally planned to visit back in January, but that trip was canceled due to wildfires. This time, I was thrilled that the museum visit was included as part of our program—and even more excited to experience it purely for pleasure rather than work.
When you think about it, film and television are just a little over 100 years old, yet look at how far we’ve come—in technology, genre, creativity, and the countless ways we’ve learned to express ourselves through this medium.
I was in awe learning how some of our favorite films were made. I highly recommend a visit to this museum—you’ll want to give yourself at least 2 to 3 hours to take it all in.
Barbie and Ken’s outfits from the feature film.Humphrey Bogart, my grandmother’s favorite actor, and Ingrid Bergman in Casablanca.
We ended Day 3 with a cozy night in for Classic Cinema Night at the Cinegrill, located in the Hollywood Roosevelt. We watched the 1950s classic All About Eve, starring Bette Davis, Anne Baxter, and a young, up-and-coming Marilyn Monroe.
It was fascinating to see Monroe in a small role early in her career—but even more captivating to watch Bette Davis in her prime, commanding the screen with her sharp delivery and presence.
The program had provided the script in advance, allowing us to follow along and see the words come to life on screen—a thoughtful touch that deepened the experience.
The Cinegrill entrance looks like a library of books.
Day 4: Final Day
The final day of the program was very relaxed. Juan Pineda of the Hollywood Roosevelt gave us a special tour of the historic hotel. There were many stories about how the first Oscar ceremony was held there (it was less than 15 minutes!) and the famous residents like Charlie Chaplin and Marilyn Monroe.
Marilyn Monroe during one of her early photoshoots at the famous Hollywood Roosevelt Tropicana Pool.Yes, there were ghost stories from the hotel staff. This is Marilyn Monroe’s haunted mirror.
The rest of the day was free time. I spent it visiting Madame Tussauds Wax Museum, exploring the Hollywood Walk of Fame, and organizing a group viewing of Ryan Coogler’s Sinners in 4D at the TCL Chinese Theatre.
I had seen the film before, but experiencing it in 4D was something else—the moving seats and bursts of air added a whole new dimension. It felt like a pretty solid substitute for missing it in IMAX.
Seriously, you will not be prepared for how lifelike these wax statues are. It’s a little creepy!Second time’s a charm. Team viewing of Sinners in the theatre. Loved it!
The program wrapped up with a thoughtful farewell dinner hosted by David K. We shared journal entries aloud and reflected on the incredible week we’d had—gathered together at the iconic Musso & Frank Grill, a legendary spot once frequented by classic Hollywood stars like Charlie Chaplin, Humphrey Bogart, and Marilyn Monroe.
The historic venue also served as a filming location for Once Upon a Time in Hollywood, featuring Brad Pitt and Leonardo DiCaprio in scenes directed by Quentin Tarantino.
Here is my farewell speech and I’ll leave it at that:
There are moments you dream about doing “one day”—and then there’s the moment when you’re actually living the dream. This week was that moment for me.
What I’ll never forget is the opportunity Story Summit gave us to pitch our stories—and the feeling of rising to meet that opportunity.
I did it. I sat down, wrote my screenplays, and pitched them.I did that. And I’m so proud of myself for betting on me.
I’m also deeply grateful for the community that formed around this field trip. I hope to stay connected with my fellow screenwriters as we move forward.
It felt like many of us were standing at the same crossroads in life—that do or die moment when we choose: continue as we always have, or be bold and step into a new journey as screenwriters, directors, producers, and dreamweavers.
Whether we create from scratch or help bring someone else’s vision to the screen, we won’t be the same after this experience.
We’ll always have this time—when we moved closer to the lives we’ve been dreaming of.
And just like that, Fantasy magazine is back online and it looks like they’ll be taking submissions this until January 29, 2025. That means that you have a few more days to submit. What’s great about Fantasy magazine is that they are a paying publication at 10 cents/word for short fiction and $50 for original poetry. Take a look at the full submission guidelines and send your stories right away!
Last year, I spent the last quarter of the year focused on writing and submitting short stories to various publications. I’ve had some success with this process, so I decided do another write-submit cycle recently only to find that some of my favorite publications have closed.
It takes a lot of energy and effort to keep a publication going and the options to monetize content are diminishing with each new platform that readers use to consume content. Can publishers keep up with all of the ways to attract readers? Or are readers simply not reading as much as they used to?
In 2021, the Pew Research Center conducted a survey of U.S. adults and found that 23% had not read a book in the past 12 months. That was during the pandemic, so I assumed that more people were reading books during quarentine. So what did those non-readers do instead? I’m going to take an educated guess that many of them watched more television with their free time.
Anecdotally, I’ve noticed that the list of publications permanently closing to submissions on Duotrope is getting longer depending on the week. There are still many new publications popping up, but how long will they stick around?
Tip: Writers, make sure you notice the fine prints on the author rights section of the publisher’s contracts before signing to ensure that you retain your rights no matter what happens to the publication.
Whatever the case my be heading into 2025, whether publications are closing due to rising costs, low readership, or video games dominating the attention spans of youth audiences, we’re seeing content preference segmentation like we’ve never seen before.
Here are some of the genre fiction publications that I recently found out have closed for good or closed to submissions. Many of them cited closing due to a decline in readership and financial challenges.
Sirens Call Publications closed in October 2024. This makes me sad because it was my first writing credit.
Fantasy Magzine closed in October 2023. This was a shock to me because it’s a well-known publication. I had been building up my publication credits (and my courage) to finally submit to them. Bummer.
Uncanny Magazine is currently closed to submissions and have no scheduled open periods. While this is not evidence of a future closure, it does concern me that even the more established publications are going through uncertainty right now.
Some of the publications that I’ve seen closing will not be missed. Not because the publications are not good, but because they probably didn’t enjoy wide readership anyway.
What’s a Writer to Do When the Market is Shrinking?
Evolve. There are many ways to get your content out there. Maybe you can start self-publishing on platforms with a built-in audience, or submit to fiction publications on platforms like Medium.com .
Explore alternative ways to share your brilliant stories. Does your short story have the potential to be a short film instead? Could your romance novel be turned into a RomCom movie on a streaming platform? There are many ways to work in different industries as readers and viewers’ preferences shift.
Start your own publication. I’m sure this is a heavy lift, but there are many pathways to digital publication. And if you’re a part of the writerly community, you’ve likely got friends who want to be a part of your vision.
Don’t despair, sometimes challenges lead to opportunities. While the publication industry is on shaky ground, you will always find a way when you’ve got writing skills.
There’s a new story out there in the wild. My short story, “The Time Killer,” is a mashup of horror and time travel about the main fictional character who encounters serial killer Ed Gein in his own time. The Jane Nightshade’s Serial Encounters anthology includes 18 short stories from authors like me. Serial Encounters can be purchased on Amazon here.
Recently, I’ve expanded my writing journey from genre fiction for publication to screenwriting. I’ve been watching books to TV and film projects in hopes of unpacking the characterization in print form to screenplay format.
Being a speculative fiction writer, I’ve chosen to examine Stephen King’s books to film, Vampire Diaries, True Blood, and obviously I’ll expand into literary fiction to film projects eventually. I’m picking the low-hanging fruit first so that I don’t mire myself in symbolism and other literary devices.
The aforementioned content has enjoyed a second life on streaming recently and confirmed that even the current generation finds pleasure in popular (genre) fiction. Final Girl Jamie Lee Curtis winning an Oscar for Best Supporting Actress in 2023 was actually a celebration of genre films and fiction. I’m sure I am not alone in that sentiment, but I digress.
When you’re writing a story, you get to build your world in solitude, and only after you’ve completed your first and sometimes second draft, you come up for air and ask your community, “Is this ready for submission?” It’s a sensitive early stage of creation that you eventually grow thick skin to handle rejections early on in your writing career, but the collaborative nature isn’t nearly as dynamic as TV and film production. You’re either accepted or rejected and if you’re accepted, you’re only responsible for addressing the editor’s notes and promotion of your work after publication.
I’ve brought my fiction writing skillset over to the screenwriting ideation process: brainstorming, outlining, and drafting the manuscript. My ideas almost always come from dreams that are like little films in my mind while I slumber. Then I’m ready to pluck the idea and set my mind to shaping the idea into a story that readers might enjoy.
Going through this process, I’m finding that screenwriting requires the ability to set up characters, conflict, context, and tone to tell a story in a visual and efficient way. It’s not all that different from writing a manuscript, but there’s not a lot of room for description. You’ve got to provide minimal direction to set up a scene to empower the production team with the opportunity to interpret the words on the pages. You have to give up creative control (tough for a fiction writer!) after you’ve delivered the script to the production team so that they can make the best possible creative choices.
One of the things that I’m so impressed by throughout this examination is how everyone from the director, screenwriters, production designers, and actors all come together to execute a vision for a movie or TV series. Sometimes with books to film, the final screenwriter(s) and production team take creative license to make changes that might upset book fans, while trying to deliver engaging content that keeps the viewer watching.
I wrote an unpublished fiction novel that I can’t wait to tackle as a TV or film script, but for some reason, I’ve held off on starting the process. I feel like I’ll relive the critique sessions in my head and the reimaging of characters, and I wonder if I’ll ruin the process or my own vision of my novel for the screen.
As a fan of my own work, will I disappoint myself? Maybe. But I realize that it’s nonsense to doubt myself because the material is already there. Going through the process of looking at books to TV/film has opened my eyes to just how much of a collaborative effort a production requires of all involved to have a unified vision. I’m deep in the writing stage of my first project and I’m loving it!
Share in the comments if you’ve recently tried your hand at writing for the screen.
Gina N. Anderson 