Learn how to write a query letter that makes people take notice of you and your script so that you can make connections, get repped, and launch your career! Your script is ready. You have a killer logline and an impressive bio. So, why isn’t anyone responding to your query letter? The truth is managers and agents are inundated with daily emails from hopeful writers looking to get their scripts into the right hands. These are “cold queries,” where writers reach out to industry professionals or "gatekeepers," hoping the executive will want to read their script or even meet. Most of the time, these queries are dismissed or ignored, and sometimes can harm your ability to build a relationship with an executive. However, a select few will cut through the clutter and gain attention. So how do you break through? In this exclusive Stage 32 on-demand webinar, you’ll learn what managers are looking for from your query letter, how to find the people to contact, and how to ultimately grab their attention so you can move your career forward. Showing you exactly what representatives want to see in your query letter is Audrey Knox of The Cartel, a full-service management and production company. Audrey has built a successful roster of screenwriting clients who have written for shows including SINGLE DRUNK FEMALE, GINNY & GEORGIA, P-VALLEY, and THE GOLDBERGS, and are writing projects for Netflix, Nickelodeon, Apple TV+, and more. She recently found her client, Heidi Lux, through Stage 32 and produced Heidi’s feature film CRUSHED, which premiered on Tubi this year. Audrey will also show you examples of successful query letters and will provide you with the best format and formula in a handout to keep and use in your future query letters. Don’t miss out on your chance to learn exactly what literary managers are looking for from one of the best in the business! Praise for Audrey's Teaching: "I can't say enough good things about Audrey. She cares about helping her students and provides very valuable information. I wish she was MY manager!" --Sam R. "I didn't realize how much should go into reaching out to reps until I took this class from Audrey. I was doing it all wrong!" -- Morgan B. "Audrey is one of the best teachers on Stage 32. I can't recommend learning from her enough." -- Sydney M.
Learn The Fundamentals Of Writing For Television With A Literary Manager Who Recently Staffed Clients On SINGLE DRUNK FEMALE, GINNY & GEORGIA, P-VALLEY, GROWN-ISH, HACKS, UPSHAWS, and more! Last year, a record number of 559 original scripted shows aired on broadcast, cable, and streaming television. From Succession and The Morning Show to Ted Lasso and Abbott Elementary, the most successful TV shows can capture a generation of fans and generate cultural conversations. And every show started with a great pilot script that launched the series. Television pilot structure can be complex but there are several principles that should always be followed. Writers who dream of that coveted “Created By” credit must first develop a sellable concept and compelling characters, then tell a self-contained story in either thirty or sixty minutes that sets up a larger story with an engine strong enough to carry it for multiple seasons. In this exclusive 4-part Stage 32 on-demand class, Audrey Knox, a literary manager at The Cartel, will teach you all of the basic steps required to write a strong TV pilot script so that you can flourish as a TV writer. Audrey has recently staffed her writers on series such as SINGLE DRUNK FEMALE, GINNY & GEORGIA, P-VALLEY, GROWN-ISH, HACKS, UPSHAWS, and more. Whether your goal is to write a pilot script that sells or to write a sample that gets you staffed in the writers’ room of a TV show, the first step is to learn the basics of writing a TV pilot. Many showrunners only give your script five pages before deciding whether you’re worth hiring, and thousands of writers attempt to get their foot in the door in Hollywood every year. Knowing the challenges new television writers face when starting out in TV is essential for building a writing process and knowledge base that helps you overcome them. This class is ideal for feature or novel writers that are looking to write their first TV pilot, TV writers who are looking to take their pilot writing skills to the next level, and new writers who are looking for how to start writing for TV. Praise for Audrey's Teaching: "I can't say enough good things about Audrey. She cares about helping her students and provides very valuable information. I wish she was MY manager!" --Sam R. "I didn't realize how much should go into reaching out to reps until I took this class from Audrey. I was doing it all wrong!" -- Morgan B. "Audrey is one of the best teachers on Stage 32. I can't recommend learning from her enough." -- Sydney M.
ONLY 2 SPOTS LEFT TO WORK WITH AUDREY - GRAB YOUR SPOT NOW Write the first draft of your female-driven feature screenplay while being mentored by literary manager Audrey Knox, whose clients have written features for Lionsgate (ALICE, DARLING), Tubi (CRUSHED), Lifetime (SINGLE BLACK FEMALE and SINGLE BLACK FEMALE 2) and more. PLUS! You'll receive the scripts for female-driven films including THE MENU, EVERYTHING EVERYWHERE ALL AT ONCE, THE DEVIL WEARS PRADA, LEGALLY BLONDE, PROMISING YOUNG WOMAN, ARRIVAL, ZOLA, SHE'S GOTTA HAVE IT, and ANNIHILATION ***Flexible Learning: if you cannot attend any of the sessions live don't worry - you will be sent the links to the recordings of each session within 48 hours of the live session and you will have direct access to Audrey on email to ask her any questions so you can keep up at your own pace and schedule.*** Payment plans available - contact email@example.com for details Are you a writer with a great idea for a female-driven movie? Then it’s time to write your feature and bring your unique voice to the industry! Audiences are hungry for movies that center on complicated and diverse women. BARBIE is shattering records. Comedies like BOOKSMART and BOTTOMS are launching careers. Horror films like M3GAN and BARBARIAN have been breakout hits. NO HARD FEELINGS and SHOTGUN WEDDING are proving that the female-driven mid-budget rom-com is finally back. There has never been a better time to tell entertaining stories about compelling women. But to take your character and story from an idea all the way to the theater, you’re going to need to know how to write complex women and understand what producers, executives and buyers are looking for in your screenplay. In this exclusive Stage 32 8-part screenwriting lab, you will work one-on-one with a top literary manager to take your female-driven feature film from concept to completed first draft. You will receive direct and personalized feedback on your work throughout the eight weeks, so you walk away from this course with a solid first draft of your screenplay in hand. Taking you through this professional-level training is Audrey Knox, literary manager at Cartel Entertainment, a company with hundreds of writer and director clients with films like JOY RIDE, HAPPY DEATH DAY, 1982, CHRISTMAS WITH THE CAMPBELLS, and more. Audrey represents writers and directors in film and TV, across all genres. She has found recent success bringing female-driven scripts to production companies and studios. Audrey has a wealth of knowledge from her decade of experience in the industry on how to create long-lasting, compelling, female-led stories that sell. She will teach you practical structural guidelines to carry your reader expertly from the first page, through the complex second act, and all the way to a satisfying climax and conclusion. This hands-on experience goes much further than other classes and webinars. You will study successful movies and their scripts alongside a small group of passionate writers in an interactive setting. You’ll also workshop your script and your classmates’ work as a group in sessions and have take-home assignments, so your movie is always progressing and getting stronger. PLUS! Audrey will provide you with a series of successful female-driven feature scripts to learn from. Downloads include: THE MENU THE DEVIL WEARS PRADA LEGALLY BLONDE EVERYTHING EVERYWHERE ALL AT ONCE PROMISING YOUNG WOMAN ARRIVAL ZOLA SHE'S GOTTA HAVE IT ANNIHILATION Only 2 spots remain to work with Audrey on your female-driven feature film screenplay. Once they’re gone, they are gone for good. Grab your spot and don’t miss out on your chance to write your script and work one-on-one with a top literary manager today! Praise for Audrey's Teaching: "I can't say enough good things about Audrey. She cares about helping her students and provides very valuable information. I wish she was MY manager!" - Sam R. "I didn't realize how much should go into reaching out to reps until I took this class from Audrey. I was doing it all wrong!" - Morgan B. "Audrey is one of the best teachers on Stage 32. I can't recommend learning from her enough." - Sidney M.
While the scene will be heavy with exposition, disguise the exposition in dialogue and conflict as much as possible. How does the character make the complex simple? What props does the person use? How does the character who receives the info react?
As a writer, receiving notes on your material may be a difficult part of the process but, ultimately, it's part of your job. And understanding how to deal with and apply those notes to your writing may be your most important job of all. Make no mistake, all writers are precious about their work, and taking notes is never easy, but the sooner you open yourself to receiving and understanding your notes, and the note behind the note, the more likely your work will become tighter and you'll signal that you're a writer that people want to hire and/or pay for your work. Film and television are the ultimate collaborative medium. You write alone (or in a team), but to make the final product, the work of dozens to hundreds of people is required, and they all have a contribution to make. The work is a product to be sold to buyers and an audience, and they get a say in what they want to purchase and consume. Screenwriting is also the ultimate iterative process. No script is ever perfect on the first draft, and scripts evolve and grow even during production itself. So you will be receiving notes – lots and lots and lots of them. Some you will ask for: notes from other writers, professional consultants, managers and agents. Some you will hope for: producers, executives, directors and stars. Some you will agree to: showrunners, studio and network executives. And some will remind you that necessity is the mother of invention: from line producers, casting directors, set dressers, and costume designers. The bottom line is you need to understand what these notes mean and how to execute them when you agree and what to do when you don't. Anna Henry is a Producer and Development Executive. Anna has set up projects at Sony, 20th Television, EOne, Starz, Amazon, Netflix, Corus, ITV America and more. 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 a Producer. Anna has been on the giving and receiving end of script notes of literally hundreds of scripts throughout her career. She has developed a strong understanding on the "lingo" of script notes and what the note behind the note means when it comes to your script. Now, you will learn how to dissect the feedback you get on your script from an executive's perspective. Anna will take you through the entire process of receiving notes. She will take away the anxiety of the entire process and teach you how to accept notes with professionalism and grace. She will explain to you who you should be getting notes from and how listening to the wrong voices can set you back. She will teach you what notes you should think about and when you should take a note as gospel. She will explain what notes are worth challenging and which you should absolutely adapt. She will help guide you through what it means when you get notes that go over structure, plot, stakes, character and exposition. She will take you through logic and clarity, cuts, action lines, dialogue and scene notes. And, she'll even go over what you should do if you get vague notes, nit picky notes and when you get suggestions and alternatives. Anna will remove all the fear and apprehension one feels when asking for and receiving notes, giving you a comprehensive guide to reference every time you get notes on your work. You will learn how apply them to tighten your work and put yourself in a position to sell your material and/or get hired! PRAISE FOR ANNA'S TEACHINGS: Great webinar and Ms. Henry really shines as a very knowledgeable and caring professional. -Angela U Great presenter. She provided a wealth of information. -Karen B
Hosted by Spencer Robinson, a Literary & Talent Manager with over 20 Years of Experience PLUS! You'll receive exclusive handouts & tips on crafting your A & B Stories! In this essential Stage 32 on-demand webinar, you will examine the important parts of the script that exist between the dialogue: the descriptions. Comprising everything from location headings, character briefs, action lines, transitions, and act breaks, your descriptions should be formatted properly and written succinctly and with your personal flair that convey your message in a tone that is consistent with your story. How much detail should you include when describing your characters? Is a transition needed between every scene? How much direction and camera work should you include in your writing? All these questions and more will be answered by your host, Spencer Robinson. Spencer is a literary and talent manager at Art/Work Entertainment whose clients have worked with top directors like Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and with major networks and streamers such as Netflix, HBO Max, Amazon, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS. Spencer will discuss how to properly use descriptions to really make your script come alive. He will cover details that will help make your pieces stand out to agents, managers, and producers. This webinar will leave you with a new understanding of how to use several important tools of storytelling, and ultimately make your script a more smooth and exciting read. Many screenwriters only focus on dialogue when they think of writing their screenplay. While dialogue is certainly a critical component of your script, it’s not the only part of your work that you need to deliver at the highest level. Be great at description writing and level up your screenwriting. Praise For Spencer's Webinar "Spencer Robinson's "Writing Descriptions" webinar filled in a whole lot of blanks for me and shone a light on most of the newbie mistakes I have been making when writing/formatting my screenplays. A valuable lesson! Thank you Spencer, and Stage 32." -Margaret A. "This webinar was very informative! Spencer Robinson presented the material clearly. He was also very generous with his knowledge about the business." -Carmen R.