To some this may seem obvious, or a situation where I need to figure it out for myself, but what would you all recommend to get the most use out of Stage32?
Screenwriting : Making the Most Out of Stage32? by William Smith
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Hey Will, what are stuck with? I have been taking webinars, some live, others recorded. This is in addition to the many, many books in my collection all on one form of screenwriting or another.
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Pitches are the best value at $35.
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Hey, William Smith. Check out these two blogs:
www.stage32.com/blog/navigating-stage-32-for-your-best-experience-3095
www.stage32.com/blog/how-to-network-successfully-on-stage-32-3356
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Hi William Smith - here's a link that should help. All the best to you. How To Navigate Stage 32: www.stage32.com/blog/navigating-stage-32-for-your-best-experience-3095
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Join the Writer's Room.
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Anthony McBride The Writer's Room is awesome.
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William Smith, I also suggest you shoot an email to our development team at success@stage32.com and let them know about your screenplays and overall goals. They can help point you in the right direction regarding all the resources we have on the platform.
Another great blog with advice and tips can be found here:
https://www.stage32.com/blog/keeping-up-the-momentum-from-introduce-your...
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William Smith create a budget for yourself to take advantage of the pitches and Writer's Room as @John Murphy sagely suggested above. Also, enter the contests, get feedback! But as far as freebies go, dive into the blog and network the hell out of this place. Posting here was a great first step!
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Take some courses, connect with people. and, write!
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William Smith Networking with all the awesome S32 creatives. Reaching out instead of up. Onward and upward.
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Networking and education! The forums here are a great place where you can ask other creatives in the industry anything you like and get useful feedback.
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I sort of feel the same...I haven't been on here very much because I am not exactly sure how to connect with people.
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I feel like the best stuff is consults, webinars and chatting to other members
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oh and the writer's room assignments if I can capitalise on that at some point
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My advice is to treat Stage 32 like a film meet at a festival. It's best to go in with a mantra that isn't overly cynical and hyper-focused on certain results like getting meetings, selling scripts, being offered assignments, etc.
Personally, I've never gotten any significant directly out of being here, but it's been one of the most powerful places for me spiritually and creatively. It's my happy place and I owe a tremendous amount of my motivation and determination to being here for what's just shy of ten years now.
In terms of gaining knowledge, there's classes and stuff you can take, which are great from what I've seen, but even just using the site for free means you're talking to people with names and bios you can do a bit of due-diligence on.
FWIW it's worth, I connected with a legendary director here (someone who made one of Tarantino's favourite movies) and the assistant to a director who helped launch a billion dollar franchise. In both cases, we're just friends, but being connected to people like that feels so empowering.
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I used it as a way to be entertained (the posts are amazing and can get the gears churning) and workshop loglines/concepts as well.
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Many things:
A) Making connections with people who are involved (or not) in the industry.
B) Getting advice from experienced people.
C) Getting coverage and feedback.
D) Educating yourself on the world of film and television
E) My personal favorite: getting to learn and know all of the experiences people go through in this industry.
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@William Like all answers above there’s no one path to getting the most out of Stage 32. Fired by creativity (on the whole) it’s kinda it’s own vortex, you get back what you put in often in unexpected ways but usually positive. I love feedbacks unpaid & paid having a group who confer notes aswell as attending pro execs meetings. Another rewarding aspect, collaboration & friendship from artists in other countries who don’t see UK an outcast cos of geographical boundary. Naysayers said “why network with people you won’t meet?” We live in an age where most things on film are possible digitally. I’ve collaborated on Indie projects in USA & India never having being there. One of the first things I learned in budget filmmaking. Film an outdoor location & get permission to film a cool building (preferably with at least one of the actors present) & rest of the following scenes are done main film set somewhere else entirely.