Breaking Into the Industry - Creating and Maintaining a Screenwriting Career
Reviews Average Rating: 4.5 out of 5
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Veialu Aila-Unsworth An excellent class. Jam-packed with loads of practical information - I got a sore hand from writing so many notes!
Other education that may be of interest to you:
How to Develop, Pitch and Sell a Kids TV Series for a Streamer or Network
If you've watched Netflix regularly, you are familiar with their top 10 list - and if you watched Netflix in the past few months, you've more than likely noticed that kids TV content like COCOMELON, CARMEN SANDIEGO and HENRY DANGER consistently dominate the platform. The truth is there's never been a better time to get involved in kids' TV, especially since networks and streamers are actively looking for new content. Yet in order to write successfully in this space or find success with your own show, you have to know who you are writing for in order to do it well. When writing for kids, you need to be just as knowledgeable and intentional on your approach as you would with any other audience. Just like adults, there are certain aspects to master on how to craft a good and engaging story that younger audiences will latch on to. When writing for kids, you may feel limited in the elements you can include in the story. However, it’s important to remember that when you are writing for kids, you are really writing for a family experience. Kids often watch television with their parents, therefore, it is important to get an understanding of how to write engaging stories that will appeal to all viewers. In order to do this, you need to know what kids are looking for, and how your story aligns with the market’s demand. You not only need to have a compelling story that connects but the tools to pitch and sell your story to producers to get them interested in bringing your project to life. We have the tools and strategies to help you venture across this bridge. Kirill Baru is a sitcom writer and executive producer who’s staffed on and sold a variety of live-action and animated comedy shows and has written in the adult space, where he’s produced series like Freeform’s BABY DADDY and the critically acclaimed animated show DAN VS. on the HUB. He’s also written and produced several series in the kids space, from Disney’s SYDNEY TO THE MAX to Cartoon Network’s MAD: THE ANIMATED SERIES. When Kirill isn’t staffing on shows, he’s developing projects with networks such as Disney and Netflix. He attributes his career to writing comedy that finds a way to have a lot of edge without ever losing any of its heart. Kirill will provide you with a wealth of knowledge and resources on how to successfully craft your TV series for Kids. Kirill will give you an overview of Kids Comedy series and where your series fits in today’s market and discuss some unforeseen obstacles you may face. He will also give you tips on writing for Kids TV such as what kids are drawn to, how not to talk down to them, the difference between Nickelodeon and Disney, how to use POV to your advantage and much more. In addition, Kirill will also teach important aspects of pitching and selling your Kids TV - what makes it different from pitching adult TV, how to create something that kids have never seen before but that is familiar, and the power of co-viewing. Once you have completed this webinar, you will feel much more confident about writing and packaging your Kids TV series and making it market ready. Kirill will walk you through the pitch document he created for his show EAGLETON ESTATES that he successfully sold to Netflix Kids and provide you with homework of what your next steps should be to sell your own project.
How to Nail the First Act of Your Television Pilot - With Pilot Downloads (Killing Eve, Atlanta, This is Us, Marvelous Mrs. Maisel, One Day at a Time, The Expanse)
You’ve heard that the opening pages of your pilot script are the most important – hook your audience early and they’ll be invested in your show, fall short and producers, managers and executives might not even finish reading your script. At many companies, your script will be handed off to a member of the development team whose job is to just read the first act, then decide whether to pass or flag your script for further consideration. Having a great first act isn’t just a good way to get your pilot noticed; it might be the only way. When you watch a pilot, though, whether on Netflix, HBO or ABC, it can feel like every show is so different, it’s hard to see a pathway to success. Or even if you master one aspect of your opening act, somehow it can still feel like you’ve not done enough. In a TV pilot, that crucial first act is the most challenging because there is so much you have to do really well, really quickly: you have to introduce your characters, set up your world, and launch your story. What’s more, the first act sets your pilot on solid footing – nail this section and the rest of the pilot seems to develop and flow easily. Get stuck on how to start, and you might never finish writing the pilot that could launch your career. You’ve probably watched outstanding pilots where 10-15 minutes in you’re already making plans to binge the season. What do all those pilots have in common? What techniques do experienced show creators use to give them that early edge? And what exactly do producers, managers development execs and other professionals expect to see in a first act? We have the answers to those questions and much more. Anna Henry is a Producer and Development Executive who has worked at CBS, ABC, Nickelodeon, and multiple production companies, as well as a manager at Andrea Simon Entertainment. Her clients have worked on shows such as THE DEUCE, POWER, IN CONTEMPT, TOMMY, VIDA, SEVEN SECONDS, HUNG, CHICAGO FIRE, FEAR THE WALKING DEAD, THIS IS US, and THE FLASH, and have set up projects at AMC, Amazon, Starz, HBO, Sony, Fox, EOne, ITV America, OddLot Entertainment, Corus, and others. Anna has projects currently in development around the world and is incredibly familiar with what goes into a great television pilot. Anna will analyze pilots more deeply so you can see the tools successful writers use to set their show on the right path from the start. She’ll discuss the ingredients of a pilot in general, including the basic structure, identifying the type or genre of your show, meta-themes, and crafting characters to serve as the audience's entry point. Anna will then delve into the key elements of a first act, as well as a great teaser or cold open, including using framing devices, and a strong out. She will go over tips to writing memorable character descriptions, using physical descriptions, elements of identity, and putting thought into how you name each character. She'll next focus on introduction scenes and using them to generate interest in your characters, using dialogue to establish their voices, and introducing relationships. A vital aspect of a pilot's first act is creating character moments, and Anna will go over effective examples of many different types of these moments, including meeting heroes, meeting villains, meeting supporting characters, establishing the right amount of backstory, and the benefits of having your characters argue. She will then discuss how to create exposition and communicate your world effectively, crafting a mystery and building the rules of your universe, as well as how to avoid overused crutches. Anna will then offer her take on implementing and incorporating tone and themes into the script and how to sneak them in subtly through details and character moments. She will finally lay out how to best use your first act to bring the audience into your story and world, where exactly your story should start, and how to launch your 'A' story and introduce your 'B' and 'C' stories. Examples will be used from one-hour and half-hour shows on network, cable and streaming platforms, PLUS! you will receive pilots for each after the class: THIS IS US - NBC ONE DAY AT A TIME - Netflix / Pop MARVELOUS MRS. MAISEL - Amazon ATLANTA - FX KILLING EVE - AMC THE EXPANSE - Syfy / Amazon Praise for Anna's Stage 32 webinar: "The webinar was fantastic. I am writing my first one hour drama pilot so this webinar was packed with the exact information that I will be immediately putting to use in my rewrite. The slides were clear, concise and informative. The speaker was excellent at conveying the information I needed." -Bobby C. "It was really great information. Anna was a terrific host, very knowledgeable and shared a lot of information and tips." -Marla H. "Comprehensive, insightful. Combined a lot of material I had heard snippets of on character, world dev, etc. but artfully stitched together in one presentation." -James F. "It was amazing, enlightening - completely. I learned soooo much - especially as a feature writer who's been asked to turn a feature script into a pilot!! Thank you soooooo much." -Kristin G.
Masters of Craft: The Screenwriter's Process with FIGHT CLUB Writer Jim Uhls
A MASTERS OF CRAFT WEBINAR - ONLY ON STAGE 32! It takes a special person to be a screenwriter. It takes a lion's heart, discipline, patience and perseverance. It also takes a willingness to learn from those who came before, found success in their craft and developed the skills necessary to navigate the business. FIGHT CLUB. Need we say more? OK. How about JUMPER? Or the in development THE DESTROYER to be directed by Shane Black. And, of course, any number of scripts for which this legendary screenwriter has collected hefty paychecks on and which never have seen the light of day. (Oh, he'll be teaching about that as well.) Jim Uhls knows what's what. For over 30 years, Jim has been a working writer in the industry. He was there during bull market for screenwriters, through the independent movement, through the studio resurgence, and into the here and now of the indie renaissance and the dawn of digital and the streamers. Now Jim is bringing his extensive knowledge of the craft and the business to teach exclusively for Stage 32 and our Masters of Craft series. In this meticulous step-by-step presentation, Jim is going to show you how you can mine for great ideas and bring them to maturity. He will teach you how to bring unparalleled depth to your characters. He'll show you how to write by seeing the trailer in your mind. How to use stream of consciousness as a tool to outline your script and find your beats. How to use emotional logic to power your work and much more. How to make sure your material is as attractive as possible to managers, agents, talent, producers, and financiers. He's even going to show you how to adopt a book, using FIGHT CLUB as an example! Most of all Jim is going to show you how to channel the passion and remove the cynicism and blocks that were not present when you first started. "I've never quite met anyone like Jim. His skills are undeniable and revered in the business. But it's his approach, his consistency, his way in to the material and the characters and his ability to see the entire landscape in a clear, calm matter that sets him apart. He's a true original and an inspiration to so many including yours truly. I've learned so much from him." -Richard "RB" Botto - CEO Stage 32, Screenwriter This is a masterclass you will not want to miss. Jim will leave you laughing, full of energy, and ready to write!
How To Find Distribution For Your Indie Film
When making an independent film, finishing the film is only half the battle. You need people to actually see the film you’ve worked so hard on. When it comes to distribution, it’s important to know how to get your film into the worldwide marketplace. Once it’s there, you need to know how to generate interest toward it so the film can make its money back for the investors and back-end participants. Distribution comes in all shapes and sizes, but what kind of distribution is right for your indie film? Sometimes it means getting your film distributed by a studio; sometimes it’s creating a self-distribution path. Sometimes —- most typically — the distribution lands somewhere in between. Every film is different and therefore requires a different marketing plan, release strategy, and team behind it that have the passion and drive to get the most out of its release amongst the myriad other movies available. In this on-demand Stage 32 Next Level Webinar, host Tiffany Boyle will get into the details of what the independent distribution process looks like. She will go over how to get the right representative, foreign sales agent, and domestic distribution, and the different options for each based upon the size, genre and execution of a film. She will also discuss what the key points are to look at when reviewing a foreign sales agent and/or domestic distribution deal. Filmmakers should be making an informed decision when choosing who will be handling the licensing of their film for the next 3-25 years, and Tiffany is here exclusively for Stage 32 to help you navigate the ever-evolving world of indie distribution. Tiffany Boyle is the President at Ramo Law and works with producers, financiers and writer clients to bring their new material to life. Having been a Director of Sales at Crystal Sky Pictures, Tiffany has an extensive background in foreign sales. She now works with the attorneys to review, collaborate, develop, submit and supervise creative materials on behalf of clients within the firm. Tiffany has worked on over 100 features including, Stuck In Love, Pawn, Gimme Shelter, Maladies, and I-Lived. She has been to AFM, Berlin, Tribeca, TIFF, Sundance, and Cannes and is constantly expanding her knowledge of how to match films with production and distribution companies.
The Executive Hour with Special Guest Pixar Screenwriter Lorien McKenna
In this Executive Hour we speak with screenwriter Lorien McKenna! Lorien is a former Pixar Story Manager who worked on such features as Oscar-winning UP, Oscar-winning BRAVE, Oscar-winning INSIDE OUT, and THE GOOD DINOSAUR. She also served as a producer for Paramount Animation where she oversaw development for WONDER PARK. Lorien, along with Oscar-nominated writer Meg LeFauve, sold their romantic comedy anthology, THIS THING CALLED LOVE to Hulu with Dan Lin producing; as well as a half hour sitcom, POOG to NBC and WBTV. Lorien also wrote HOW TO SET A FIRE AND WHY, based on the book of the same name by Jesse Ball, for Straight Up Films. Previously, she served as the Co-EP for Hulu's CURIOUS GEORGE series, and has developed projects for Disney Jr., Funko, and Netflix. She is the co-host of the podcast The Screenwriting Life with fellow screenwriter Meg LeFauve. During the webcast, Lorien discusses her unusual career trajectory, working in the "Brain Turst" on Oscar-Winning animated films at Pixar, battling "Imposter Syndrome", tackling adaptations, writing for television vs. features, how hard it is to take notes even as an established writer, and much more!
Silence - A Quiet Place, The Departed, Lord of the Rings, Drive
Show, don't tell! We take a look at how screenwriters use silence in the horror film A QUIET PLACE, the caper film THE DEPARTED, the action-drama DRIVE, and the adventure of LORD OF THE RINGS.
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