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. Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Spencer has taught numerous webinars, classes and writing labs for Stage 32 and remains one of our most popular and in demand educators. In this lab, he 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, Spencer 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, Spencer 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 Spencer. 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 email@example.com for more information This lab is limited to 10 people ***only 1 spot remains*** 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. Praise from Spencer's previous Stage 32 webinars: "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. "Spencer was amazing!" - Summer K. "Enjoyed the class. Spencer was a good teacher and I appreciated his insight!" - Stephen C. "Had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A. "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.
SORRY, THIS WRITER'S LAB IS FULL - PLEASE STAY TUNED FOR FUTURE WRITER'S LABS! Stage 32 believes in evolving and transforming to continuously put our writers ahead of the competition. Now, no matter where you live in the world, we are giving you the opportunity to work directly with a TV literary manger on a one-on-one basis to help shape your writing through our Stage 32 TV Writing Lab. All classes are taught online and at the end of this 8-week intensive, you will have a completed original TV drama pilot and pitch bible. To teach this TV Drama Pilot & Bible lab, we brought back literary manager Spencer Robinson of Art/Work Entertainment, who represents some of the most critically acclaimed and successful writers of the last few years including writers on Cloak and Dagger, Punisher, Arrow, The Last Ship, Chuck, Justified, as well as feature writers like Eric Heisserer who's films include Lights Out, which has grossed over $150 million and was Oscar-nominated for his Best Adapted Screenplay Arrival starring Amy Adams. Why Spencer? We'll let his last lab students tell you why... TESTIMONIALS FROM SPENCER'S PAST LAB STUDENTS: “Had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!” - Natalie A. “It was a great lab. Spencer’s feedback really helpful!” - A.Z. O. “Enjoyed the lab and Spencer was a good teacher. Appreciate his insight!” - Stephen C. “I wanted the accountability of having assignments due. That combined with the class cost was motivation to write and stay on schedule. This is a lab about story structure, getting words on the page, making strong act breaks. Spencer was great at pointed but useful notes. He doesn't sugarcoat anything. I went from an idea he wasn't on board with developing to a pilot he truly enjoyed reading -- and that was thanks to his pointed notes that got me back on track. Spencer will get those who are ready on their way to a kickass first draft.“ - Erika N. “Spencer was amazing!!” - Summer K. “Spencer Robinson is the perfect person to teach this type of class. His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer. Spencer's teaching style is the best! Thanks Stage 32!” - George P. WHAT TO EXPECT This lab will be very intensive and you will have ongoing executive guidance from Spencer. You will meet once a week with Spencer through an interactive online class or one-on-one meetings and be assigned weekly assignments to further your growth as a writer. We have created this lab so it will be the most hands on, professional atmosphere out there. By the end of this 8-week lab you will have a completed first draft of your TV drama pilot & pitch bible that will grab the industry's attention. This lab is designed for intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. Past lab participants formed supportive writing groups to help one another through the process.
Television today has changed. There’s more of it, thanks to streaming services that make binge worthy television available anytime, anywhere. According to stats recently released by Netflix, shows like BRIDGERTON and THE WITCHER pulled in over 75 million views in 20201. That’s a lot of television. A lot of television means more writer’s rooms. And more writer’s rooms means more opportunity to get staffed. But to find representation and take a seat at the table, you need more than a killer personality. You need a solid portfolio brimming with strong writing samples. Showrunners are looking for a portfolio that demonstrates your ability to tell a story. There’s no time like the present to prep a portfolio with hot samples, cool writing, and even cooler storylines. Showrunners need examples from you to make decisions on who to bring in the room. As an unrepresented writer, you have to demonstrate to them that you’re the one. And to do this, a series of writing samples, known as a portfolio, is a surefire way to show off your ability. You need to convince showrunners to bring you on board. If your writing samples lack luster or you don’t know where your story is headed in future seasons, conversations with managers or showrunners could be short lived. You could miss out on opportunities because your script wasn’t up to par, or your original idea wasn’t original at all. Let's make sure that never happens. Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Spencer will dive deep into the kinds of TV samples writer’s should have ready, as well as exactly what managers and showrunners are looking for as they read through them. He will talk about the kinds of scripts your portfolio needs so that you shine like the crazy diamond you are. Certain elements of your script should stand out. Take useful notes as Spencer talks about these elements and helps attendees better understand the importance of solid and saleable characters. And then sit back and take in the golden nuggets he delivers on what managers and showrunners look for in a writer. If you dream of being in a writer’s room, this webinar was made for you. Praise for Spencer's Previous Stage 32 Webinar "Spencer was awesome! Super informative and detail driven - providing great insights. Packed so much into a short amount of time which I'm super grateful for!" -Eric C. "Spencer Robinson has high energy and packs a ton of information in his lecture. Most importantly Spencer gives realistic advice while encouraging writers to move forward fully informed of the terrain." -Oweeda N. "Spencer opened my eyes to how the TV world works with broadcast and streaming. What a great crash course!" -Ricki L.
As the world of television continues to fragment, streaming platforms (Netflix, Amazon, Hulu, Disney+, Apple TV) have become major players. More and more of these platforms are moving into original content, which means the number of new shows being produced has never been higher. However, these platforms have different needs, different expectations and different boundaries and mandates than those of traditional broadcast networks. So how does a creative navigate this brave new world? And how does a writer stand out to get staffed or sell a standout drama series? This webinar will explain in comprehensive detail how drama series are pitched, developed, and sold to streaming platforms and what you can do as a writer to position yourself to get noticed. The world of streamers is changing quickly. New platforms are coming online seemingly by the month, and with each one, the rules and the mandates continue to change. In many ways the world of TV streaming platforms is like the Wild Wild West, overwhelming and hard to nail down. At the same time, that's what makes it so exciting - the opportunities are limitless. But with so many writers vying for an opportunity to sell or be staffed on a show, it’s incredibly important to understand the changing landscape and know the best ways to operate within it. Having a clear sense of how executives at streamers think and what they’re looking for will give you a distinct advantage in adjusting your script to pique their interest or in presenting yourself more effectively to sell your show or get staffed on one of their growing number of series. Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Spencer will use his extensive experience working with writers and selling their shows to streamers to share some of the do’s and don’ts of writing a drama pilot for streaming television and outline how to tailor your script to make the best impression with the executives at these platforms. He will do this by first laying out how the streaming platforms differ from one another and what exactly they're looking for. Not all streaming platforms are created equal and it's imperative you know the difference. From there, Spencer will dive into script structure and formatting, specifically analyzing what you should be considering before you write your pilot. Next, he will tackle staffing and sales, so no matter what your goal whether to be in a writer's room or selling your pilot, you have all the information you need to position yourself correctly and with the best chance of success. Spencer will even get into the difference between streaming platforms and broadcast networks so you can determine where your material might be a best fit. Expect to leave this class with a comprehensive understanding of the shifting industry of streaming television and a toolkit to better excel within it. Like what you heard from Spencer during this webcast? Send your script to Spencer and speak with him for an hour by clicking here. Praise for Spencer's Stage 32 webinar: Spencer was awesome! Super informative and detail driven - providing great insights. Packed so much into a short amount of time which I'm super grateful for! -Eric C. Spencer Robinson has high energy and packs a ton of information in his lecture. Most importantly Spencer gives realistic advice while encouraging writers to move forward fully informed of the terrain. -Oweeda N. Spencer opened my eyes to how the TV world works with broadcast and streaming. What a great crash course! -Ricki L. "Very enlightening. Gave a realistic view of how difficult it is to get a pilot made but was just inspiring enough to give hope. :)" -Clive M.
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 drama pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Pitch Docs, Character 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 drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) 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 series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline 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 outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given. Payment plans are available - please contact firstname.lastname@example.org for more information.
Finding the right manager is as important as honing your craft as an actor. Your manager is an essential teammate for helping you find opportunities, get you in rooms to audition and guide your career as an artist. But, how do you know if you're representation-ready and how do you know what to expect (or what questions to ask) when you're given the opportunity to be repped? With so many actors vying for the chance to work in film, TV and digital it's harder than ever to stand out.. Assuring that you are bringing your "A" game to every audition and situation, understanding what you can do to improve, and knowing which auditions are right for you are key components toward becoming an actor who works time and time again. Attracting and securing the right manager can help you do just that. Whether you're on the search for your first manager or stuck in a manager/talent relationship that you don't think is best for your career, it's important to know what steps you can take to assure that you secure representation that works in your best interest and as a vital member of your team. Spencer Robinson has been a leading talent manager of actors for almost 2 decades. His clients have been in films directed by Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski, and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, TBS and more. Spencer’s clients have also recurred on series for Freeform, TNT, AMC, Showtime and many more. He reps everyone from actors who are just starting out to acting veterans with 30+ years of credits. He also represents many multi-hyphenates who are both writers and performers and understands what makes a successful talent-manager relationship. Spencer will teach you everything you need to know about securing meaningful representation. He'll cover how to identify the right manager for your career, how to approach that manager, what questions to ask, how to grow your relationship and how you can, as a team, form a plan for a long career in the business. You'll learn about the do's and don'ts of blind submissions, how to stand out in the sea of requests a manager gets daily, and how to best impress potential representation. Spencer will also provide tips on the audition process including selecting the right auditions and understanding which roles are best suited for you so that you're not wasting time, energy and your passion on dead ends. This is a blueprint for you to take control of your acting career and to help you sustain a career in the business. Praise for Spencer's Stage 32 Webinar "I highly recommend taking a course with Spencer. He is one of the most knowledgeable and informed people I've met. His enthusiasm for artists made me feel at ease. Spencer's ability to relate with artists made the material instantly click with me. I will not hesitate to enroll in another course with Stage 32 and Spencer." - Devin H. "I loved everything about this webinar! Spencer was so helpful with everything. I was able to apply everything he said directly to my career. It was definitely a great experience and can’t wait to keep improving with everything I learned. Thank you Spencer and Stage 32!" - Krista C.