It's Introduce Yourself Weekend at Stage 32! Head over to the Introduce Yourself section of the Stage 32 Lounge and let everyone know who you are, what you're working on, your dreams and aspirations. And be sure to peruse other member's threads. You never know when you're going to make a connection that changes your life!
Writing a film for television has a ‘unique set of skills’ which are different from writing a traditional screenplay. If you never learn how to write for the BOOM!, act break structure, number of locations, and characters, you’ll get stuck in re-writing hell or worse yet, never have your script read. Understanding script structure, outlining, and deliverables prior to writing will give you a leg up on the competition. Each network has its own set of rules and you want to ask the right questions prior to typing ‘Fade In’. In this Stage 32 Next Level Webinar, you will get an in-depth look into successfully writing "Made for TV" films. You will learn what your script has to have in order to draw the attention of a network and the importance of creating moments that push the story forward to the commercial break while leaving audiences wanting more. You will learn how to create a clear, compelling, and informative outline which is required by most networks. The webinar will identify and explain key deliverables, timelines, and expectations which you can use as guidelines for your own project.
Learn directly from Melissa Daykin Cassill, Vice President of State Street Pictures (Faster, Beauty Shop, Barbershop, Notorious, Nothing Like The Holidays) The Hangover, Bridesmaids, Little Miss Sunshine. What is it, exactly, that makes these comedies stand out from the crowd? With so many different types of comedies in the marketplace, it is becoming the toughest genre to break into. More executives are turning to A list comedians to write than actual screenwriters, so how do you get an executive's attention? How do you get past executives that have different senses of humor, jokes that don't translate internationally, and storylines that can easily get deemed outdated a year later? Stage 32 Happy Writers is excited to bring you our 4 week online intensive class How To Write A Fresh, Stand Out Comedy taught by the Vice President of State Street Pictures, Melissa Dayin Cassill. In this hands on 4 week course, you will learn the importance of the emotional crescendo of a comedy script, how to balance the comedy with the humanity of the characters, and how to pitch your comedy script once you're ready, all while molding your pages under Melissa's supervision. With interactive lectures and weekly homework assignments directly geared towards strengthening your pages, this class will help you craft your writing into a fresh stand out comedy script that will grab executives' attention! Purchasing gives you access to the previously-recorded live class. Although Melissa is no longer reviewing the assignments, we still encourage all listeners to participate.
Most screenwriters who have been at it for any length of time know the mechanics of writing a screenplay. But not everyone knows the specific steps one must take to go from screenwriter hitting the keys in off hours to become a working screenwriter working within the industry structure. Utilizing knowledge gathered over years in the industry working both in development and directly with emerging and professional writing clients, as well as insights from countless industry sources, during this 3-week session we will set correct expectations for the construction of a screenwriting career, and identify the various paths and opportunities available to writers eager to break into film or television.
Literary Manager Jon Hersh has read thousands – yes, thousands – of screenplays in his career. Starting at CAA he was a story analyst covering screenplays, manuscripts books and television pilots, which helped him get a crash course on effective structure for a project. He moved on to be a development executive at Broad Green Pictures and helped develop feature material for their slate. Being around so much material Jon learned one thing – you MUST have solid screenplay structure to get past development and get your project greenlit. In this exclusive webinar Jon is going to show examples and break down beat by beat what needs to be in your outline, plus go in detail on the 13 steps you need to follow to nail your screenplay structure.
As a television writer, staffing season is a high-intensity, high-stakes time. You not only need to show your chops with your writing talent, but you also need to show what you will be like in a writing room. Many writers are vying for the same spots, so how do you stand out? How do you make an impression in front of the executives and producers hiring? We've brought in Marla White, the former development executive for Emmy-Award Winner Peter Tolan's Fedora Entertainment who has sat in on hundreds of writer meetings from the executive side of the table. She's worked with writers who have sold pitches to Fox, TNT, CBS, NBC and ABC and have been staffed on premium cable dramas. Marla will take you through the thought process of what executives are looking for when you walk in the room. She'll walk you through the difference between a general meeting and a staffing meeting and arm you with all the tools necessary to be "good in the room" for each case. Plus, she'll also talk about "do's and don'ts" and how you can get invited back for the all important pitch meeting. This webinar will be useful for every level of writer, whether you’re just starting out in your writing career as preparation to talk to agents or managers, or if you are a working writer on a show looking to move to a new show and need tips on playing the networking game. You don't want to miss out on learning from one of the industry's top executives!
There's a fine line between introducing a writer to a new world or ruleset and spouting exposition. We’ll break down how writers created the fantasy world of “Game of Thrones”, the frigid winter of WIND RIVER, the digital dystopia of THE MATRIX, and the 1919 England of "Peaky Blinders".