Stage 32 Screenwriting Lab: Write Your Female-Driven Feature Film Script In 8 Weeks
Other education that may be of interest to you:
Stage 32 Screenwriting Class: How to Better Approach and Sign With a Literary Manager to Advance Your Screenwriting Career - With a Query and Writing Sample Workshop
Learn how to approach managers the right way to get the representation you need to further your career from a literary manager at The Cartel, with clients on IT'S ALWAYS SUNNY IN PHILADELPHIA, THE UPSHAWS, LUCIFER, and more! All writers think they have the next great screenplay or series. And maybe you do! But to get the proper feedback, get the script into market shape, and have a confidant on the business side of your pursuits to get your work out there, having a great manager who's plugged in can make all the difference. It’s your manager who often is the key to getting in front of execs, getting staffed on a TV show, and building your career to writing full-time. But as most writers can attest, finding a manager can be HARD. That doesn’t mean it’s impossible, though. It’s more in your power than you may think. Most managers will tell you that most newer writers make the same mistakes when looking for a manager that can prevent them from ultimately finding representation. The good news is that these mistakes are easily avoidable and can be replaced with effective strategies and actions that can greatly help your chances. It’s time to hear from a successful literary manager herself on how she finds clients and what you can do to find the representation you need for your own career. Audrey Knox is a TV literary manager at The Cartel, a premiere management company with clients on shows including the Emmy-nominated IT’S ALWAYS SUNNY IN PHILADELPHIA, Golden Globe winning CALIFORNICATION, THE VAMPIRE DIARIES, BONES, LUCIFER, HAPPY!, BLACK LIGHTNING, STAR TREK: DISCOVERY, and more. For years, Audrey has been helping clients get their work in front of execs and networks and most recently staffed one of her clients on THE UPSHAWS for Netflix. As an established and successful literary manager, Audrey has seen more than her fair share of queries and writing samples and has met her fair share of hungry writers. She knows very well what mistakes most writers make and how the writers she ends up working with find success. And now she’s going to lay it all out for the Stage 32 community. In a special and exclusive 2-part on-demand class, Audrey will give you the tools you need and the strategies you’ve been lacking to put your best foot forward and better your chances of getting a great literary manager for your own screenwriting or TV writing career. In the first session, Audrey will walk you through how to approach managers the right way and explain the proper approach to query letters, writing samples, bios, and loglines. She even dissects brave volunteers’ own query letters and writing samples. After laying out this approach, Audrey will leave you to put these skills to use and actually reach out to managers on your own! The second session will discuss how the new approach worked and then dive into next steps you can take as a writer once you have an interested manager, including signing, how to be a good client that your manager will want to keep on board, and the other members of your team you may or may not need, like agents and lawyers. If you’ve been struggling to find representation, there are likely things you can be doing differently to better your chances. here’s no one better than Audrey to help you adjust your approach and ultimately get the representation you’re looking for. 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.
TV Writing 101
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.
How To Write A Query Letter That Gets You Past The Gatekeepers
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.
The Pitch Tank Webcast with Special Guest Literary Manager Mike Diaz
During this webcast, the Writers' Room welcomes special guest, Literary Manager Mike Diaz of The Coronel Group to critique members' pitches. The Coronel Group is a literary and talent management company based in LA that has a roster of A-List Actors, including Alan Tudyk (Disney Animated Films), Adan Gillen ("GAME OF THRONES"), and Robert Patrick (TERMINATOR -franchise). Mike focusses on project development for Coronel Group's screenwriters and directors through the literary division. Mike has over 10 years of experience representing Actors, writers, and Directors, and he had some excellent insights for those members who pitched. This month we heard pitches for television and features, including a Thriller, Drama, Coming-of-Age story, and more! And two members had their scripts requested by Mike after the session!
Film Contracts: What You Need To Know (5 Downloadable Templates)
"Very informative and complex concepts were broken down so folks without a law degree could understand them." - Elisha B. When you are putting together a deal as a writer, producer or filmmaker there are many things to think about when it comes to your contracts - between option agreements, purchase agreements and negative pickups it's important you understand what deal you're getting yourself into before you start development. Your Stage 32 Educator is entertainment attorney Jordan Barel, who's a California attorney that has worked with AMC, New Line Cinema, Generate and Alloy. He is also a producer who develops projects based off IP and started out as the television coordinator at Verve Talent & Literary Agency. You will cover three different types of contracts: purchase agreement, option agreement, and negative pickup. Jordan will discuss terms in both a legal and practical matter so that you get the information needed to be prepared to negotiate your next agreement. Such things will include material and boilerplate terms, what can or can't be negotiated, and how lawyers themselves will be reading and reviewing your agreement. This will be an in-depth, but accessible, legal discussion walking you through each part of a standard purchase and option agreement. Plus! You'll get 5 contract templates to download! Whether you're a producer, filmmaker or writer learn the overview of contracts to give you a competitive advantage in your next negotiation! **All materials have been prepared for general information purposes only to permit you to learn more about certain types of contracts within the entertainment industry. The information presented is not legal advice and is not to be acted on as such, please consult your lawyer for issues specific to your contract. PRAISE FOR JORDAN'S TEACHINGS: "Very informative and complex concepts were broken down so folks without a law degree could understand them." - Elisha B.
Understanding Global Tax Incentives
Learn directly from Simon Graham-Clare (Producer) and Ricky Margolis (VP) at Future Films USA (Over 200 films & TV shows financed and produced)! In this Stage 32 Next Level Webinar, Simon Graham-Clare and Ricky Margolis will demystify global tax incentives and highlight some of the many other factors to take into consideration when looking at different locations. They will look at current example incentives from around the world and also enlighten you on ways these incentives can trigger additional investment into your project. Filmmakers will learn more about international independent film financing and how tax incentives are a key element to the business plan and can open doors to a slew of potential partners, helping to plot a ‘road map’ to production. Writers will learn why they need to be thinking about the locations in which they set their stories, and how it affects the attractiveness of their scripts to producers and financiers. Having a clear understanding of today’s global tax incentives will leave your project looking more professional and further advanced, hopefully increasing your chances to move the project into production. Your hosts Simon Graham-Clare and Ricky Margolis are Producers at Future Films USA, having financed and produced over 200 films and TV shows! The Future Film Group was established in London in 2000 as a film financier, utilizing the expertise of its principals in both the entertainment and business worlds. They quickly established themselves on the UK scene through their involvement in films such as Bend it like Beckham (starring Keira Knightley), The Queen (starring Dame Helen Mirren) and Mrs. Henderson Presents (starring Dame Judi Dench and Bob Hoskins). At Future Films USA, Simon works as a producer, assessing film and television projects that Future Films might board to finance or produce. Ricky works in the role of Development Executive, continuing his work on the financing side whilst also becoming a more integrated part of the Future Film Group’s production activities. PRAISE FOR SAM AND RICKY'S TEACHINGS: “I felt like Simon had a concise step by step study guide on the process of getting to the green light…it's no longer a jumble!” – Russ G. “Excellent presentation! Organized, well-spoken.” – Brent B. “Very well presented with a personal take on the business.” – Glenn C. “Great seminar, thanks!” – Augustus L.
Register / Log In
