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!
Learn directly from Lee Stobby whose clients include writers on films that have premiered at Sundance and Cannes, as well as a stable of multiple writers on the Black List! Stage 32 is here to give you an honest, no B.S. look at how managers actually approach signing writers, straight from the mouth of a respected Hollywood manager himself. If you’re looking for a sugarcoated opinion on why you haven’t been signed yet, this webinar isn’t for you, but if you’re serious about wanting to take your career to the next level and can handle the blunt and honest truth, buckle up and get ready to learn! In this Stage 32 Next Level Webinar, host Lee Stobby will provide insight into how he as a manager looks for material and clients. He will discuss the most common turn offs and red flags that kill his interest, even if he liked your script or writing (such as not in LA, “bad” personality, not having a script that is ready to go, or soft concepts). He will then go over ways to overcome these things and accent your strengths. You will learn what types of scripts play best on script hosting websites, how to utilize coverage services, how to get executives to read your script and subsequently refer to reps, how to write scripts that get attention in contests, other ways to get attention on your script, and why being in the relentless search of representation may not be the best use of your time. You will leave with a clear understanding of the mistakes you’ve been unknowingly making and directions on how to avoid continuing to make them, giving yourself a better chance of finally getting signed! Your host Lee Stobby has learned from some of Hollywood’s greatest minds at Misher Films, Double Feature Films, Industry Entertainment, Innovative Artists and Caliber Media; the lattermost is where he began representing literary clients in 2011. Lee is a champion of strong, independent voices and has a knack for finding some of the most in-demand spec scripts on the market. Lee just started his own shingle, Lee Stobby Entertainment, where his clients include writers on films that have premiered at Sundance and Cannes, as well as a stable of multiple writers on the Black List. Lee knows what makes a great client / writer and is here exclusively for Stage 32 to partake some of his knowledge, energy and passion to help writers increase their chances of finally getting representation.
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!
Learn directly from Morgan Long, TV Literary Department for a “Big Six” Agency This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. With the TV market exploding right now, one of the most in demand formats is the 1-hour TV drama pilot. Many, if not all, managers and agents are looking for writers that can write in this space, and with more and more production companies heading into TV, knowing how to write a strong 1-hour TV drama pilot will give you a competitive advantage and help you find success as a TV writer! Due to popular demand, Stage 32 is thrilled to bring back our 8 Week Intensive TV Drama Pilot Writing Lab taught by Morgan Long, a TV development coordinator at a “Big Six” Agency! This hands-on intensive lab will guide you through picking a concept, creating engaging characters, structuring and outlining your pilot and writing the first draft! The main objective of this 8-week lab will be to have a first draft of your script. You will meet online with Morgan for 2 hours a week in a class setting, plus have phone consultations during some of the weeks when you don't have an online class. This will be accompanied by weekly homework assignments to guide you on your way to creating a marketable, unique pilot that will grab the industry's attention. Payment plans are available - please contact email@example.com for more information. This Lab is Limited to 20 People. Please Note: Participating in this lab does not mean you are writing for or pitching to Morgan or her company. 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.
To see a video sample of the class, see below! 3 part class taught by Jordan Barel, who works TV Coordinator for Verve Talent and Literary Agency! In the past four years, we have seen The Avengers, Batman Vs Superman, Deadpool, Captain America, Man of Steel, The Amazing Spider-Man, Guardians of the Galaxy, Iron Man, The X-Men, The Dark Knight and many other comics turned into major studio films that smash the box office. There is no doubt that there is a demand for super hero and comic-based stories. Have you found a comic that you think would make a great film? Have you ever read a Marvel or DC comic and thought “how did they screw up the movie so bad?” Do you have your own comic series that you think would make a hit movie? Do you dream of being a writer but don’t yet have your angle? Or do you want to write a Major Summer Tentpole based off an original idea? Stage 32 is excited to bring you the previously-recorded 3 part class: How to Write a Film Based Off an Original Idea or Comic Book Adaptation taught by Jordan Barel, who works in Development at Paul Scheer's company, Abominable Studios. Jordan gives you a how-to on translating comic books into film writing, and how to write a summer Tentpole based off an original idea. He covers everything from story structure and dialogue, from legal issues to pitch packets. Here's a sample of what to expect in this exciting Stage 32 Next Level Class: Purchasing gives you access to the previously-recorded live class. Although Jordan is no longer reviewing the assignments, we still encourage all listeners to participate.
Learn from Lee Jessup, Screenwriting Career Coach and author of best selling book 'Getting It Write: An Insider's Guide to A Screenwriting Career'! First impressions are everything. And in today's industry, where screenplays are not easily read and many writers are competing for every rep's or executive's attention, screenwriters deliver their best first impression with their loglines, one-sheets, pitches and all-important personal narrative. This is how an executive becomes interested not only in reading a particular script, but also in working with the content creator behind it on assignments, adaptations, or future works. True story: One of my coaching clients was pitching via Happy Writers. His material was strong, but represented some subject-matter challenges right out of the gate. However, he kept getting screenplay requests. I called up one of the managers who requested to read the work, and asked for her impression. "The work has issues" she said "but the presentation was so strong, the writer's identity was so clear, I just wanted to read for voice." Careers are rarely built on any one script these days; instead, they are build on the writer's identity and voice, and nowhere are those more powerful than in the materials you use to introduce yourself. In today's shifting industry climate where single script sales present a challenge, agents, managers, development executives and producers are seeking to get involved with content creators who will deliver again and again, complete with a strong understanding of not only how to market their work, but also how to position their personal narrative and brand, the sort that executives want to work with, and reps want to sell. Remember: Executives get in business with people, not with a piece of paper. They want to know that you understand how to present both your material and yourself. In order to take you on as a client or a creative partner, they want to know that they can send you on a general meeting or a pitch assignment in which you will thrive and impress. Those are the skills that will get you into the room again and again. Stage 32 Next Level Webinars is excited to present Developing Your Marketable Identity: Loglines, One-Sheets, and the Critical Personal Narrative presented by Lee Jessup, career coach for professional and emerging screenwriters. Lee is the best-selling author of Getting It Write: An Insider's Guide to A Screenwriting Career, whose clients include television fellows, contest winners, produced screenwriters, and more. Lee will discuss the various materials you should prepare for meetings, pitches and events, and provide practical examples and guidelines for each. She will also explore the often-under-prepared personal narrative, which will allow you to effectively communicate who you are as a person and a writer, and the critical life events that inspired you to explore the specific themes, wounds and worlds that will set you apart in your work. This webinar is for screenwriters aiming to present their work to the professional space, be it via Skype or in-person pitches, general meetings or screenwriting events.