Spencer Robinson was born and raised in Los Angeles, and got his start in the film industry as a production assistant on glamorous productions like car commercial, cereal commercial, and other car commercial. He then landed a job in the mailroom at MBST Entertainment, where he learned about management from some of the legends of “old-school Hollywood.” Spencer then moved to an assistant desk at Cornice Entertainment, and eventually to Howard Entertainment. At Howard Ent, Spencer worked with actors, writers, and comedians. It was here that not only advanced his knowledge of talent and lit, but he also learned all about managing tour dates for nationally and internationally touring comics. After a 2-year stint at Howard Entertainment, Spencer spent 5 years as a musician touring in a rock ‘n’ roll band, playing for audiences across 15 countries. Once he returned from this adventure, he came back to the film industry, working as an assistant at Verve Entertainment, where he was eventually promoted to manager. When Verve merged with Art/Work, Spencer came along for the ride, and has been there ever since. Art/Work Entertainment is a boutique management company that represents actors, writers, and comedians. They have writers and performers from shows like Workaholics, Eastbound and Down, The Mick, Stevie TV, Will & Grace, The Goldbergs, and many more. They also have writers and actors working on features for major studios. The comedian clients tour nationally and internationally, and several are also hyphenates who act and write in addition to doing standup. Spencer has been a manager for 10 years. He loves to watch TV, and even sleeps sometimes. Full Bio »
Join literary manager Spencer Robinson from Art/Work Entertainment as he talks about the state of the comedy writing industry for film & TV and answers questions exclusively for the Stage 32 community!
You'll spend 60 minutes online with one of the top literary managers in the industry from Art/Work Entertainment, which represents actors, writers, and comedians. They have writers and performers from shows like Workaholics, Eastbound and Down, The Mick, Stevie TV, Will & Grace, The Goldbergs, and many more. They also have writers and actors working on features for major studios. The comedian clients tour nationally and internationally, and several are also hyphenates who act and write in addition to doing standup. Spencer has been a manager for 10 years. He loves to watch TV, and even sleeps sometimes.
Spencer Robinson - Comedy Judge
**Payment plans are available - contact firstname.lastname@example.org for details*** **If you have to miss a class, don't worry. Each class is recorded and you can watch on-demand** 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 comedy pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Character, World This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of comedy pilots and how they differ from network to network. This will include a discussion about Single-Camera and Multi-Camera comedies. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. Also knowing the world your show takes place in. We will also discuss other kinds of TV comedy writing (late-night talk shows, sketch, political comedy talk shows, etc.) The assignment for this week will be to create a document with a detailed description (around half a page) on each of your series regular characters, and an explanation of the world. WEEK #2 – Pilot Outline, Pitch Document This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of comedy pilot (single-camera or multi-camera) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pitch document with characters, pilot outline, and future episode ideas. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline and pitch document before proceeding with next week’s class. WEEK #4– Structure, Scenes, Dialogue, We will discuss both the Single-Camera and Multi-Camera structure. You will decide which works best for the pilot that you are developing. We will address the qualities of effective (and ineffective) scenes, dialogue, and jokes. The assignment for the week will be to write three complete scenes from your outline: the cold open, a scene introducing your main character(s), and a scene with strong jokes. WEEK #5– Pilot Structure This week we will go over all the necessary story beats that exist in a comedy pilot, including traditional page count, act breaks, tags, etc. The assignment this week will be to complete a first draft of your pilot WEEK #6– After You Write Your Pilot Last online class. We will discuss what happens when you take meetings with managers, agents, and showrunners, and how to pitch a comedy pilot. The assignment for the week is come up with a pitch for your pilot WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Each writer will have a 10-minute call to pitch your pilot. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of one-on-one consultations. Each writer will have a 10-minute call to go over notes on the pitch and script. Final notes and next steps for your pilot will be given.
Most screenwriters who have been at it for any length of time know the mechanics of writing a screenplay. But not everyone knows the specific steps one must take to go from screenwriter hitting the keys in off hours to become a working screenwriter working within the industry structure. Utilizing knowledge gathered over years in the industry working both in development and directly with emerging and professional writing clients, as well as insights from countless industry sources, during this 3-week session we will set correct expectations for the construction of a screenwriting career, and identify the various paths and opportunities available to writers eager to break into film or television.
Learn directly from Jen Grisanti, acclaimed Story/Career Consultant, Writing Instructor for Writers on the Verge at NBC, and a former 12-year studio executive, including VP of Current Programming at CBS/ Paramount and Spelling Television! Many writers wonder what it’s going to take to get them from being a non-working writer to a working writer. You’ve written great scripts. You’ve entered competitions and writing programs. You may have placed, been a finalist, or even won. However, you’re still waiting for your professional career to start. What is it that makes a TV pilot or screenplay hit it out of the ballpark and get sold? What can you do to your writing to make it more sellable? In this Stage 32 Next Level Webinar, your host Jen Grisanti will teach you the 7 Pillars of Story. What exactly is that? It's the fundamental story components necessary to take your script from good to great. Jen will teach you from the studio executive/analyst perspective how to see your story differently and identify what is currently missing in your script. Jen herself has gone through analyzing countless Oscar and Emmy award-winning scripts and has applied that to her writer's techniques. This has led to over 30 of her clients selling pilots, five of which went to series. After being mentored by Aaron Spelling for 12 years, Jen has emerged as a pro in breaking down story and helping you, as a writer, get the most out of your script. Plus, for Stage 32 members, she will provide case studies for you to learn from! She will be using examples from her clients’ work and how they successfully implemented the 7 pillars to get their scripts sold. Under the guidance of Jen, you will leave this webinar fully prepared to write a marketable story that can help you go from good to great and make the move from non-working to working writer!
The spec market is alive and well and with new players like Netflix and Amazon as well as other studios, the appetite for content is at an all-time high right now. We’re excited to bring in screenwriter Matt Duffett who has capitalized on these opportunities to teach you what makes a stand out spec. Matt’s scripts have been shortlisted on the BlackList and have been on the Hot List and the Young and Hungry List. As a result he’s now penned a script for Sylvester Stallone to star in and direct, he’s penned a feature script that attached Hansel & Gretel: Witch Hunters director and he’s now adapting a New York Times’ Book of the Summer. Throughout the journey he’s mastered the art of getting in the room, winning the job and delivering the goods. In this exclusive Stage 32 webinar he’ll go over how you can make your spec stand out and how it can help you land your next job!
Stage 32 CEO, Producer, and Screenwriter Richard "RB" Botto joins our Panel as we listen and read your pitches live to help educate the Writers' Room screenwriters on what is and isn't working in their pitch.
In the current TV landscape of serialized dramas, complex comedies, and sprawling genre epics, series bibles are becoming important selling tools to help writers illustrate their visions. A dynamic and intriguing bible can create interest in your project, and push your pitch or spec script over the edge to a sale. It’s your chance to lay out the larger arc of your story, list examples of future episodes, and explain the broad themes your show will explore. It conveys confidence to producers and executives by saying: “I've thought about this in the long run, and I have a slew of awesome ideas to explore in series.” Because there is no standard industry way to format your bible, they can be extremely confusing to create. Executives receive bibles as small as 4 pages (a mini-bible, really) and as long as 27 pages. Should it include your personal connection to the material? In-depth character bios? Visual motifs? Artist’s renderings of the setting and characters? Although bibles can vary greatly from project to project, there are some general rules and strategies to follow to make sure yours stands out from the pack as professional, polished, and powerful. In this Stage 32 Next Level Webinar, Michael Poisson will talk about the very exciting, sometimes harrowing, process of creating TV Series Bibles. In this webinar Michael will cover everything you need to know to craft your TV series bible, from format, to arc, to how to introduce characters, all the way to how to create a strong closing beat.