How to Hook the Executive in the First 10-15 Pages

Writing a Solid Opening
Taught by Lee Stobby

$249

On Demand Class - For immediate download. Unlimited access for 1 year.

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Class hosted by: Lee Stobby

Manager at Lee Stobby Management

About the Your Instructor, Lee Stobby: Lee Stobby is a literary manager and producer who has learned from some of Hollywood’s greatest minds at Misher Films, Double Feature Films, Industry Entertainment, Innovative Artists and Caliber Media. A champion of strong, independent voices and quality cinema, Lee just started his own shingle, Lee Stobby Entertainment, and his clients include: Lindsay Stidham who wrote Sundance hit Douchebag and Spooner, Kate Trefry whose script Pure O made The Black List 2013; Greg Sullivan whose script Erin's Voice made The Black List 2014; Isaac Adamson who is the author of Tokyo Suckerpunch and other books in the Billy Chaka series published by HarperCollins; and Rodney Ascher whose documentary Room 237 was the talk of Sundance and Cannes and is currently in post on his second feature The Nightmare, which was just selected for the midnight section of Sundance 2015. Full Bio »

Part 1 - Importance & Mistakes

Lee discusses the importance of the first 10-15 pages and general mistakes writers make when writing them. Lee then dives into the most important elements of the first 10-15 pages including tone, giving your protagonist an interesting opening, setting up flaws, normal routines and a compelling inciting incident.

Part 2 - Committing to Tone

Lee discusses tone and different ways a writer can make the tone clear in the first 2 pages. Using several movie references, Lee shows the class how each one made the tone clear in the first few minutes. He also explores the use of flash forwards and flashbacks to capture the audience's attention.

Part 3 - Characterization

Lee explores the protagonist's normal routine, the starting point for the character's journey, running through personal experiences on how a writer used normal routine to emphasize character arcs. He runs through how long the normal routine section should be as well as common mistakes writers make during the sequence and some tips on how to hold the executive's attention.

Part 4 - Plot

Lee discusses the importance of the inciting incident, including what page this should take place on, how heightened it should be based on tone and some ways your hero should react to this event. Lastly, Lee covers a number of personal experiences of successful and failed attempts of inciting incidents he has read in scripts.


Summary:

4 part class taught by Lee Stobby, literary manager and founder of Lee Stobby Entertainment! 
AVAILABLE ON DEMAND!

Executives are busy. On average, a production company will have 10-30 projects in various stages of development and production. That's why the first 10-15 pages of your script are the most crucial. They must grab the executives attention, or lose it forever... most won't read past page 15 if they aren't sold on the story. Most writers don't have the tools to strengthen their beginning, and their scripts wind up getting overlooked... don't let this happen to you!

Stage 32 Happy Writers is excited to bring you the previously-recorded 4 part class: How to Hook the Executive in the First 15 Pages taught by Lee Stobby literary manager and founder of Lee Stobby Entertainment. This class will give you the much needed tools to craft a killer opening to keep the executive engaged and excited about your script!

Purchasing gives you access to the previously-recorded live class.
Although Lee is no longer reviewing the assignments, we still encourage all listeners to participate!


About Your Instructor:

About the Your Instructor, Lee Stobby:

Lee Stobby is a literary manager and producer who has learned from some of Hollywood’s greatest minds at Misher Films, Double Feature Films, Industry Entertainment, Innovative Artists and Caliber Media. A champion of strong, independent voices and quality cinema, Lee just started his own shingle, Lee Stobby Entertainment, and his clients include: Lindsay Stidham who wrote Sundance hit Douchebag and Spooner, Kate Trefry whose script Pure O made The Black List 2013; Greg Sullivan whose script Erin's Voice made The Black List 2014; Isaac Adamson who is the author of Tokyo Suckerpunch and other books in the Billy Chaka series published by HarperCollins; and Rodney Ascher whose documentary Room 237 was the talk of Sundance and Cannes and is currently in post on his second feature The Nightmare, which was just selected for the midnight section of Sundance 2015.


Frequently Asked Questions:

Q: What is the format of a class?
A: Stage 32 Next Level Classes are typically 2 to 4 week ongoing broadcasts that take place online using a designated software program from Stage 32.

Q: Do I have to have to be located in a specific location?
A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online class, you will be able to communicate directly with your instructor during the class.

Q: What are the system requirements?
A: You will need to meet the following system requirements in order to run the class software: Windows 7 or later Mac OS X 10.9 (Mavericks) or later.
If you have Windows XP, Windows Vista and Mac OS X 10.8 (Mountain Lion): The class software does not support these operating systems. If you are running one of those operating systems, please upgrade now in order to be able to view a live class. Upgrade your Windows computer / Upgrade your Mac computer 

Q: What if I cannot attend the live class?
A: If you cannot attend a live class and purchase an On-Demand class, you will have access to the entire recorded broadcast, including the Q&A.

Q: Will I have access to the class afterward to rewatch?
A: Yes! After the purchase of a live or On-Demand class, you will have on-demand access to the audio recording, which you can view as many times as you'd like for a whole year!

Questions?

If you have a generic question about Stage 32 education you can take a look at our frequently asked questions section on our help page, or feel free to contact support with any other inquiries you might have.
 

Reviews Average Rating: 4.5 out of 5

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How to Make Sure Your Act Two Is a Page Turner

      Week 1– This is an all inclusive look into act two. Lee will go over some of his biggest pet peeves when reading act two’s and what he tells his own clients when they are revising the middle of their story. • The Break into Act Two -How to establish your hero’s journey clearly. -On what page this should occur and how many pages this turning point should take. -How to make sure the break into act two matches your tone. • Set Pieces to Call Back -The importance of creating set pieces to call back at the end of the story to reflect change in perspective. -Lee will take a couple examples from his favorite movies on how they successfully called back set pieces to help portray the characters’ arcs. • Overall Basics of Act Two -Roughly how many pages should act two take up. -The inclusion of other characters brought in during act two that weren’t set up in act one. -What development executives and studios look for in an act two. -The importance of an emotional crescendo in act two. HOMEWORK #1- Write a one page synopsis of your act two highlighting the conflict and protagonist’s journey. Week 2– This week will cover conflict and tone. Lee will give examples of scripts he has read where the conflict successfully crescendoed and make the script a page turner. Lee will also discuss the importance of tonal consistency. • How to Create Ongoing Conflict -Establishing conflict that directly affects your protagonist’s journey. -How supporting characters can also add conflict that mirrors the protagonist’s journey. -How to make sure your conflict matches the tone of your film. -Tips on how to avoid lulls in act two with the help of conflict. -External conflict vs Internal Conflict -The importance of each and how both should complement each other. -What types of obstacles should face your protagonist. How to Use Tone to Showcase Your Unique Voice -Tips on how to make sure you use set pieces to showcase your unique voice no matter what genre you are writing in. -How to make sure your tone feels fresh and examples of scripts Lee read that felt dated due to the writer’s commitment to a certain kind of tone. -Overall tips on how to make sure your tone is consistent in act two. HOMEWORK #2- Outline 3-6 conflicts in your act two and how it directly affects the protagonist. Week 3 -This week will dive deeper into the writing process and how to start putting all your thoughts on the page and how to edit your own work. • Streamlining -How many twists is too much? -Tricks to avoid an executive from putting down your script in the middle of act two because of sloppy storytelling. Subplots -How to successfully layer your act without it feeling too dense. -How to make sure your protagonist’s throughline continues to stay in the foreground. • The Break into Act Three -What plot points should be established right before the break into act three. -How to crescendo your story so it seamlessly leads the reader to this important act. HOMEWORK #3- Write the first 10 pages of your act two . Week 4- The final week will dig deeper into your writing process as well as give you the steps to pitch your concept and prepare your concept for the marketplace. Lee will give tips on how to make sure act three compliments your act two and they don’t end up feeling like two separate movies.   • Trimming Your Pages -Tips on how to analyze your own work and how to decipher what to keep and what to cut. -Around how many pages should lead you to the midpoint and how many pages after should lead you to the break into act three. • Pitch -How to properly pitch your film. -How to make sure your act two shines in your pitch and avoid getting the dreaded pitch note that “your story feels too thin”. • Sales strategy. - Getting it out to the right people. How to figure out who is right for your project. Networking tips. • Final thoughts and advice!

The Rewrite Process: What Do I Cut?

To see a video sample of the class, see below! 3 part class taught by Lee Stobby, Manager and Founder of Lee Stobby Management! One of the most challenging parts as a writer is getting your story, ideas and dialogue into a script that is a respectable length. When you're looking at a completed draft that is facing a rewrite, how do you know what to cut? Many times you may think nothing can go without killing the story, but keeping the length is not always a good thing. A development executive's job role varies day to day and with a constant barrage of responsibility, longer scripts usually end up drowning to the bottom of the "to-read" pile. The truth is that executives sometimes even ask how long a script is before committing to read it. As a writer you will lose the battle if turning a page ends up being a struggle for any industry professional. Which brings up the very important question: what can be cut without sacrificing the heart of the script? Stage 32 Happy Writers is excited to bring you the previously-recorded 3 part class: The Rewrite Process – What Do I Cut? taught by Lee Stobby, literary manager and founder of Lee Stobby Entertainment.   Purchasing gives you access to the previously-recorded live class.Although Lee is no longer reviewing the assignments, we still encourage all listeners to participate!