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Allen James Roughton is the Stage 32 Script Services Coordinator, a screenwriter, reader and development researcher who has consulted on over 100 projects, scripts, books, comics and films and conducted research on life stories, exposés, professions and locations for development at major production companies. Nick Assunto is part of the Stage 32 script services team and a repped screenwriter himself. He was previously a reader for the Austin Film Festival, a writer for the 2017 CBS Diversity Sketch Comedy Showcase, co-host of the Sunday show B.Y.O.T. at UCB, and dabbled in acting, having been featured on Late Night with Jimmy Fallon, an eHarmony commercial directed by Limp Bizkit's Fred Durst (for real), and is infamously known as Tony, the annoying party member from the 'Four Friends' Elder Scrolls spots. Full Bio »
Every great pitch starts with a great logline and every script you write has a perfect logline, it's your job to discover it. This month we challenged you to write, rewrite or polish your logline(s) and send them our way!
We discussed the anatomy of a logline, the difference between loglines, taglines and more, what makes protagonists, goals, and antogonists interesting, and much more as we broke down some of the best submissions received from our writers and discussed best practices on how to break through the sticking points associated with the challenge.
The Write Now Challenge
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We're back in the Writers' Room for the Write Now Challenge Webcast: The Gang's All Here! In this challenge - using the Breakdown Webcast: Writing Ensembles members were asked to assemble their own ensemble for a story. They simply had to consider which type of ensemble group they would like to have (The "Fan Club" Ensemble (Harry Potter), The "Gang" Ensemble (Avengers, Ocean's 11), The "Vast" Ensemble ("Game of Thrones")) and then decide which narrative they would like to put them in (Tandem Narrative (Parenthood, Love, Actually), Multiple Protagonist Narrative aka "The Gang's All Here", or the Double Journey Narrative (The Departed)). Members came up with some fantastic ideas for ensemble stories!
A first ever for the Writers' Room! Audrey Knox will critique the logline submissions she finds the most intriguing. Audrey Knox is a TV literary manager at The Cartel - a management and production company. Audrey staffed her client on the series "UPSHAWS" for Netflix. She also co-represents the Showrunner behind Mindy Kaling's "THE SEX LIVES OF COLLEGE GIRLS" on HBO Max.
Using the principles learned in the Breakdown Webcast: Breaking the 4th Wall, this month members were challenged to write a short scene in which the character(s) break the fourth wall to drive the plot forward, reveal character and deliver exposition. As part of the webcast, Jason turns the microphone over to the writers to read their projects aloud for the other members in the group.
It's like 10,000 spoons when all you need is a knife...well, actually it's more like the Write Now Challenge Webcast: Isn't it Ironic coming at you this afternoon at 4pm (Pacific)! In this challenge, members were asked to write a short scene (no more than 5 pages) using one of the examples of irony from the Breakdown Webcast: Dramatic Irony. As a reminder the examples for irony are below: Dramatic Irony: A literary and theatrical device in which the reader or audience knows more about a situation, complication, or conflict than the characters they are following. Classical Irony: This term describes irony as it was used in ancient Greek comedy—to highlight situations in which one thing appears to be the case when, in fact, the opposite is true. Cosmic Irony: Cosmic irony highlights incongruities between the absolute, theoretical world and the mundane, grounded reality of everyday life. Socratic Irony: Socrates would feign ignorance of a subject and ask seemingly innocent—but actually leading—questions to draw out information he already knew. Socratic irony differs from verbal irony because it involves intentional deception. Verbal irony, on the other hand, does not connote insincerity or deception. Situational Irony: occurs when there is a difference between what is expected to happen and what actually happens. With situational irony, our discovery that our expectations haven’t been met are the same as the characters in the story. Verbal Irony: is when a character says something that is different from what he or she really means, or how he or she really feels. This is the only type of irony where a character creates the irony.
In this challenge, you were asked to use The Breakdown Webcast: What the *&%$ is a Dramedy? as a guide to write a short scene (1-5 pages) that uses all of the principles discussed. Make sure to watch the Breakdown Webcast for those tips! You can find that by clicking here. We received some excellent submissions that all attempted to ride that fine line of truly being a "Dramedy."
Using the Breakdown Webcast: Writing Horror you are challenged to scour the internet, libraries, news articles, folklore, mythology, or your own personal experiences to find a core of an idea to develop into a Horror, Thriller, Mystery, or Suspense.