Join literary manager Spencer Robinson from Art/Work Entertainment as he talks about the state of the comedy writing industry for film & TV and answers questions exclusively for the Stage 32 community!
Payment plans are available - contact email@example.com for details 4 Spots Left! If you have to miss a class, don't worry. Each class is recorded and you can watch on-demand PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your comedy pilot. Start to prepare for your pilot pitch. Class #1 – Introduction, Character, World This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of comedy pilots and how they differ from network to network. This will include a discussion about Single-Camera and Multi-Camera comedies. Then we will delve into character – what makes for strong characters and weak ones. Also knowing the world your show takes place in. You will have a writing assignment this week. Class #2 – Pilot Outline, Pitch Document This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of comedy pilot (single-camera or multi-camera) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your pitch document. This will include incorporating your character descriptions as well as the pilot storyline, and arc of your show. You will have a writing assignment this week. One-On-One Consultations - Pilot Outline Review (No Online Class) This week will consist of one-on-one consultations regarding your pitch document. Each writer will send in their pitch document in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the pitch document before proceeding with next week’s class. Class #3– Structure, Scenes, Dialogue. Time to Write your Pilot! We will discuss both the Single-Camera and Multi-Camera structure. You will decide which works best for the pilot that you are developing. We will address the qualities of effective (and ineffective) scenes, dialogue, and jokes. We will also go over all the necessary story beats that exist in a comedy pilot, including traditional page count, act breaks, tags, etc. After this class, you will have 3-4 weeks to complete the first draft of your pilot. Spencer will be available during this time with any questions you have during the process. One-On-One Consultations - Pilot Notes (No Online Class) The assignment this week will be to incorporate any notes given on the pilot before proceeding with next week’s class. Class #4– After You Write Your Pilot Last online class. We will discuss what happens when you take meetings with managers, agents, and showrunners, and how to pitch a comedy pilot. We will also discuss other kinds of TV comedy writing (late-night talk shows, sketch, political comedy talk shows, etc.)
Learn directly from Joe Russo, an Independent Producer who has worked on projects with FOX, SyFy, A/E, Lionsgate Films and Universal Studios! You’ve spent days, weeks, months, maybe even years, toiling away on your screenplay. You’ve read all the books. You’ve taken the seminars. You’ve work shopped your script to death. You’ve crafted a sharp pitch and logline for your script – and now someone in the industry wants to READ your work! You celebrate this long awaited victory, but what happens next? What if they don’t just like the script you’ve poured your heart and soul into, what if they WANT it. In this Stage 32 Next Level Webinar, Joe Russo will shine a light and give an executive’s opinion and advice on a Hollywood process you’ve all heard of, but probably don’t know nearly enough about – Development. Joe has been recognized for his “firm grasp of the craft, solid storytelling, and compelling characters”, as well as developing many acclaimed projects. The path to taking your written words and turning them into a major motion picture is a tricky, windy road. You all know the coined phrase “Development Hell”, and too many projects fall into this pit simply because the process isn’t clearly understood at the outset. So join Stage 32 as we explore the complicated and fascinating world of Development, and all of the small victories and bumps along the road that you can experience on your way to the green lighting of your screenplay into a movie.
This week Jason welcomes screenwriter Tripper Clancy, who wrote the summer's smash comedy hit, Stuber for 20th Century Fox! Tripper went on to write comedies and dramas of all shapes and sizes for Columbia Pictures, 20th Century Fox, Amazon, Netflix, MGM, Fox Animation, Paramount Animation, and Hasbro. He recently adapted the New York Times’ bestselling novel, The Art of Fielding, and writes on Season One of "I Am Not OK With This", a half-hour show for Netflix and is currently developing a series with Quibi. During the webcast, Tripper talks about finding an agent, selling and developing Stuber, being in the writers' room of a Netflix series, and the best advice he ever received!
Agustine’s day-to-day role is to help develop screenplays and projects. Whether it’s shaping the story of a script in order to attract a director or actor, breaking down a script in an effort to maximize its marketability, or simply working with the writer to ensure that the script has the best chance of success, Augustine is hands on in every step of the creative process. But before Augustine, or any other executive, can get to work, he has to love and see the potential of the material. And that raises the question: What makes someone like Agustine interested in a script? Understanding every aspect of how and why a film goes from the page to the screen is crucial to being a professional in the film industry. It truly can make the difference between a “Pass” or a “Yes”. If you are a writer looking to learn what exactly gets a Development Executive interested in your material or if you are a producer and want to understand the mindset of a Development Executive as it relates to developing your project, look no further – you will learn the entire truth straight from someone working in the trenches every single day. This is material designed to give you a competitive advantage in a crowded marketplace! And as if that wasn’t enough, Agustine hosted a Q&A session as well!
We take a look at how writers put together montages to explain complex plots in V for Vendetta, makeover a character in Crazy, Stupid Love, bring levity and character to the dark comedy of Groundhog Day, make working out interesting in Rocky, drive home a theme in The Godfather, and tell us an entire, moving prequel in Up.