If you want to work as a TV writer, you need a great writing sample, and these days, that comes in the form of a pilot script. Writing a pilot is hard, though, and writing a great pilot is even harder. One of the most common pitfalls is failing to write a compelling story that showcases your characters and world. But it’s that story that will get a reader to finish the script. It’s that story that can help you get a job. Figuring out the best version of your pilot story often comes down to structuring the script into an A, B and C story. This will allow you to introduce your characters, world, and plot points while still maintaining a pace and shape to the episode. This is harder than it looks though. Writing a great pilot script is such a tricky balancing act, ESPECIALLY for a 30-minute show. In just 30 pages, you need to establish your world, your characters, and your ongoing stories without overloading the audience with exposition and while still injecting the episode itself with its own story and arc. That’s a lot of plates to spin, but if you can’t nail your pilot’s structure, your characters and world won’t reach their full potential. But taking the time to get the story right will let your characters show who they really are and make your creative intent crystal clear. So how can you structure your own half hour pilot into an effective script with a clear A, B and C story? How can you find the balance and spin every plate so you can have a standout pilot script and writing sample that can get you the attention and opportunities you’re looking for? Meghan Pleticha is television writer with ten years of entertainment industry experience who has most recently worked as a staff writer on HBO’s Emmy Nominated comedy series SILICON VALLEY. Her work has also appeared on Cartoon Network’s POWER PLAYERS, and in Escala, AeroMéxico’s official in-flight magazine. Previous to being staffed on television shows, she worked as a writer’s assistant and script coordinator for shows like FX’s MARRIED, ABC’s CHARITY CASE, and VH1’s HIT THE FLOOR. Meghan’s career as a writer as well as her experience teaching other aspiring creatives has given her powerful experience with television story structure, and she’s excited to bring what she’s learned to the Stage 32 community. Over two intensive sessions, Meghan will dive deep into how to effectively structure a 30-minute TV pilot script, focusing on finding the pilot’s story and building it out with an A, B, and C story. In the first session, Meghan will dissect what makes a great A story for a pilot, discussing the goals you should have for this story as well as helpful strategies and secrets to bring it together. In the second session, Meghan will look deeper into B and C stories, how to integrate the into your A story, and how to use them to further define your series and world. Plus! Meghan will be providing the full pilot scripts of FX’s ARCHER, NBC’s SUPERSTORE and Netflix’s GLOW, and will use these three pilots as examples as she illustrates what makes a well structure half hour pilot "Writing pilots is hard! You have to come up with characters, a world, AND a story?! In script after script, I've seen writers spend so much time on the first two, the story gets lost. Even worse, without a strong pilot story, your world and characters won't reach their full potential. I love helping writers find the best structure for their show so their script can most accurately represent them and their idea. And I'm looking forward to doing that with Stage 32. See you in class!" -Meghan Pleticha
HAPPY 100TH WEBCAST! We're jumping in the Writers' Room Pitch Tank for #100 with special guest, Literary Agent Ariella Carmell of PureFlare Talent! Ariella has been specifically tasked with building the literary department from the ground up! PureFlare is one of the fastest growing bi-coastal, boutique talent and literary agencies, representing talent nationwide. They are known for cultural diversity and represent clients across film, television, theatre, and more. Clients have appeared in projects such as GUARDIANS OF THE GALAXY, GREY'S ANATOMY, LEGALLY BLONDE, NO COUNTRY FOR OLD MEN, THE OFFICE, LETHAL WEAPON, and many more. Previously, Arielle held positions at 21 Laps Entertainment and Red Wagon Entertainment. She was named the 2019 Michael Collyer Memorial Fellow in Screenwriting by the Writers Guild of America, East. During this pitch session we heard from writers across the world who pitched a variety of projects including a supernatural and psychological thriller, a sports comedy, a historical series about the Slavic Dark Ages, a "MomCom", and many more!
Jonathan is known as "Oleg," the hilarious sex-crazed Ukrainian cook, opposite Kat Dennings & Beth Behrs on the CBS hit comedy, "2 Broke Girls." He's been in a number of notable supporting roles, including CBS's "NCIS."
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!
***Lab spots filled - Join our TV writing lab next week with TV literary manager Spencer Robinson - learn more here*** You’ve heard the phrase “the content gold rush” get bandied about much these days, but as it relates to TV, it’s never been more true. Drama television is at it's peak with such iconic shows like OZARK, KILLING EVE, BETTER CALL SAUL, THIS IS US, THE HANDMAID'S TALE, MR. ROBOT, STRANGER THINGS, BLACK MIRROR, BIG LITTLE LIES and so much more. With the influx of networks and streaming platforms either moving into or expanding their original content libraries, the demand for dramatic TV ideas and pilots has never been greater. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. But not only is the quantity increasing, so is the quality, as companies are funneling an unprecedented amount of money, resources, marketing and talent into their shows. And the impact of COVID-19 is even having an impact that could benefit writers all over the world as many shows are planning to implement virtual writer’s rooms. In short, there has never been a better time to write for TV. Now it’s just a matter of breaking in. The opportunities are plentiful and the prospects have never been more exciting, but if you want to write dramatic television you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sensibility. This is your calling card, your way in, the piece of material that will fire you off the launch pad. The intention of this lab is to help you create that piece of material that stands out, gets you the right meetings, and, ultimately, gets you representation, meetings with decision-makers, and/or a coveted seat in a writer’s room. Over the course of a 15+ year career, Anna Henry has read thousands of television scripts and worked with hundreds of writers. Anna began her career as a development executive at Nickelodeon, then crossed over to prime-time television working at CBS and ABC in drama development and programming before working in management and establishing herself as an independent producer. Anna was Head of Development at Andrea Simon Entertainment, a boutique literary management and production company representing writers and directors. Anna has set up projects at Sony, 20th Century Television, EOne, Starz, Amazon, Netflix, Corus, ITV America to name just some. Anna’s client credits include Netflix's SEVEN SECONDS; Starz' VIDA; BET’s IN CONTEMPT; HBO's THE DEUCE, BIG LOVE, and VINYL; Showtime's THE CHI; NBC's THIS IS US; The CW's JANE THE VIRGIN; DirecTV's KINGDOM, AMC’s FEAR THE WALKING DEAD; PBS' MERCY STREET; and more. Anna has taught numerous webinars, classes and writing labs for Stage 32. She remains one of our most popular and in demand educators. In this lab, she will be working directly with you in a class setting and also during one-on-one sessions with the goal of helping you write a fantastic, market-ready pilot. To do so, Anna will guide you through picking a concept, creating engaging characters, perfecting your structure, constructing an outline and, finally, writing your pilot. If you already have a concept or even a completed pilot, Anna will use the same tools to help you hone and sharpen your material. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed drama television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Skype meetings with Anna. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information This lab is limited to 10 people ***Lab spots filled - Join our next TV writing lab with literary manager Spencer Robinson - learn more here*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot. "My passion is helping writers make their work better. I’m not a screenwriter, so I don’t try to insert my voice into your work. With 20 years of experience as a development executive and literary manager, I consider myself to be your advocate and guide. I know the marketplace and know what will make your project successful. But my goal is to tell YOUR story in your voice. I don’t give vague “reviewer” notes, and I am brutally honest. If you want a cheerleader, I recommend you get notes from your friends. If you want to put in the work to elevate your writing, you’ve come to the right place." - Anna Henry Praise from Anna's previous Stage 32 writing labs: "Anna exceeded my expectations, both in terms of quality (and quantity) of information and overall value. Anna was personable, knowledgeable, and organized. Anna and Stage 32 delivered the goods." - John R. "What a thoughtful, thorough and inspiring class. Not only was the content there, but the structure was also superb. Thank you Anna for your genius and your generosity." - Crispin L. "Anna was so generous with her time, so knowledgeable, so encouraging...very grateful. It feels like there's a stronger wind at my back after that. Thank you!" - Michael L.
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.