Krista is a manager and producer at First Friday Entertainment, a literary management and production company founded by Krista and Devon Byers and dedicated to showcasing fresh and unique voices. Their client, Victoria Rose, was recently featured in the 2018 YOUNG & HUNGRY list. Their client’s credits include ORANGE IS THE NEW BLACK, SENSE8, IT’S ALWAYS SUNNY IN PHILADELPHIA, TRANSPARENT, PRECIOUS, HOUSE OF PAYNE, and many more titles. Prior to founding First Friday Entertainment Krista was with Circle of Confusion, New Wave Entertainment and Authentic Talent & Literary Management. Krista has built her career around finding and elevating unrecognized voices and will share what she has learned from her side of the table. Full Bio »
So you’ve been writing and practicing your craft for a while. Maybe you’ve placed in some notable writing contests or have gotten great feedback from your peers, or maybe even some producers or executives. You’re ready to take the next big step in your writing career, but you’re not quite sure how to break in. You don’t have the right relationships to get your material in front of those who can bring it to fruition, or maybe you need some guidance as to what will get you noticed by network and studio executives who are staffing the shows you love. What you need is representation in the entertainment industry, specifically a manager who can help open those doors for you. But how do you go about finding and securing the right manager for your team?
The barrier to entry in the entertainment industry has never been higher. Legal policies often prohibit network and studio executives from reading material or listening to pitches from unrepresented writers. And managers are inundated with material from potential clients, queries getting lost in endless stacks of scripts, and that’s if they even accept queries at all! It’s a situation that often puts emerging writers in a tailspin - how do you gain entry to your dream industry when that first step feels impossible? The answer lies in being strategic in how you mobilize your network (which is probably bigger than you think it is); focusing on finding the right fit for your career, rather than taking a scattershot, any manager will do approach; and most importantly, keeping the train running regardless of if you have a manager or not - if you build it, they will come!
Krista is a manager and producer at First Friday Entertainment, a literary management and production company founded by Krista and Devon Byers and dedicated to showcasing fresh and unique voices. Their client, Victoria Rose, was recently featured in the 2018 YOUNG & HUNGRY list. Their client’s credits include ORANGE IS THE NEW BLACK, SENSE8, IT’S ALWAYS SUNNY IN PHILADELPHIA, TRANSPARENT, PRECIOUS, HOUSE OF PAYNE, and many more titles. Prior to founding First Friday Entertainment Krista was with Circle of Confusion, New Wave Entertainment and Authentic Talent & Literary Management. Krista has built her career around finding and elevating unrecognized voices and will share what she has learned from her side of the table.
Krista will walk through how literary managers operate and what you should be doing to ensure you can get the representation you need to get your writing career to the next level. She will begin by giving a rundown of what exactly lit managers do and how they differ from agents and attorneys. She’ll explain why managers are often the first type of representation for emerging writers and how you should know if you’re ready for a manager of your own. Then she will explain what managers generally look for in potential clients, including the type of material they’re searching for, the relationships they’re hoping for what a strong vision looks like. Next Krista will explain how managers go about finding new clients. She will teach you how to find and approach a potential manager for representation. To do this she will go through the tools that are available to you in finding a manger and how you should research potential managers and what kind of information you should look for to make sure they’re the right fit for you. She’ll then give you tips on how to mobilize your own personal network to attract a manager and then will lay out how to best write a query, including what you should also include and what you should never include. Krista will then talk about what you should do if a manager asks to read your material. She’ll explain when and how to best follow up, how to handle rejection if the manager decides to pass, how to handle requests for more material, and how to prepare for a signing meeting, or perhaps multiple meetings. Finally Krista will delve into the process of deciding to work with a lit manager. She will outline what to look for in a signing meeting, how to follow up after a meeting, and what to expect after agreeing to work together. She’ll talk about how to best manage the manager/client relationship and what to do if that relationship isn’t ultimately working. Finding and working with a lit manager can be challenging, but also incredibly important. Krista will give you the tools to navigate the process better and hopefully put the right actions into place to find a great manager for your career.
Praise for Krista's Stage 32 Webinar
"I thought Ms. Sipp was informative and very detailed. I appreciated her time very much afterwards for taking so many Q&As. I learned quite a bit."
"I thought it was quite informative and she gave us advice that was straight from the source. I loved it"
""Krista laid everything out so clearly and made me feel a lot more comfortable and confident in finding representation for myself"
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute broadcasts that take place online using a designated software program from Stage 32.
Q: Do I have to be located in a specific location?
A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar.
Q: What are the system requirements?
A: You will need to meet the following system requirements in order to run the webinar software: Windows 7 or later Mac OS X 10.9 (Mavericks) or later.
If you have Windows XP, Windows Vista and Mac OS X 10.8 (Mountain Lion): The webinar software does not support these operating systems. If you are running one of those operating systems, please upgrade now in order to be able to view a live webinar. Upgrade your Windows computer / Upgrade your Mac computer
Q: What if I cannot attend the live webinar?
A: If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar. If you cannot attend a live webinar and purchase an On-Demand webinar, you will have access to the entire recorded broadcast, including the Q&A.
Q: Will I have access to the webinar afterward to rewatch?
A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the audio recording, which you can view as many times as you'd like for a whole year!
DOWNLOADABLE STUDIO & PRODUCER PITCH TEMPLATES INCLUDED! Everyone wants to know - How can I sell my sitcom or my sitcom concept to a streamer like Netflix, a premium channel like Starz, or to a network like NBC? We have the answers and the templates to get you there. But here's a hint for you, it all begins with the development and the pitch.There is a literal template for comedy pitches. One that is helpful to you AND the executive you're pitching. This structure will help you focus your idea and underscore what the buyers need to hear in the room. As great as your script or your concept may be, you have to remember the competition is fierce. Your pitch needs to be on point.The great news is that all fantastic pitches share similar structure and in this exclusive Stage 32 webinar, we'll not only teach you how to develop and pitch, but how to handle your meetings, what to do in the aftermath, and even teach you what to do if your pitch sells.Your teacher for all this knowledge is multi Emmy Award winning comedy writer and producer, Mike Gibbons (GREAT INDOORS (CBS), HOOPS (NETFLIX), TOSH.0 (Comedy Central). Mike has sold many shows to the streamers, premium cable, and networks and he will show you how to do the same!
Whether you're controlling some valuable intellectual property, looking to secure IP, or simply have a valuable property in the form of a spec script, TV pilot, webseries, digital series, or other filmed material, you are likely going to be confronted with signing or distributing an option agreement. It is imperative that you understand the various types of option agreements and what information should be included to assure that you are not only protecting your material, but yourself legally as well. As the content gold rush grows, option agreements have become more and more commonplace. It is the vital piece of the paper trail that will ensure you are exercising and getting all your rights as your project gets made. These agreements are designed to protect both sides of a given deal, but can be complicated and sometimes include unnecessary language or clauses that could serve to hold up your content or payment. before you sign on the dotted line, you need to understand what exactly is an option agreement, who has creative control, how much money can be made and what you need to include to protect your rights up front. Lane Shefter Bishop is an Emmy award winning filmmaker and producer who has set up over two dozen book properties - many of them only on book proposals and early partials - with studios, networks and production companies throughout the entertainment industry. She is the CEO of Vast Entertainment, a book-to-screen company with numerous projects at both studios and networks, including feature films for Fox 2000, Silver Pictures, CBS Films & Lionsgate, and TV films for Lifetime, as well as TV series with Phoenix Pictures, Atlas Entertainment, The Donner Company, Storyline Entertainment and Universal Cable Productions. She has been on both sides of option agreements and knows the ins and outs of what you need to take into account for your own option agreement. Lane will provide you essential practical knowledge on the ins and outs of option agreements and break them down step-by-step and section-by-section. You will know what is included in a typical option, what purchase price can be expected, what royalties can be expected, what reserved rights are and how to handle publishers releases, notarized addendums and author assignments. This is vital for authors and screenwriters who currently have or expect to have their own material optioned and want to know what monies they can expect to make, when, and how. But it is also highly beneficial for producers, directors, and talent looking to acquire their own underlying material for development- books, short stories, graphic novels, articles, etc. Lane will provide you with a comprehensive, but easy to understand deep dive on option agreements. She will remove the fear and anxiety which will allow you to clearly and decisively protect yourself and ask for the important items that need to be included in all your agreements. Praise for Lane's Stage 32 Webinar “Very impressed with Ms. Bishop, both her formal presentation and the Q & A that followed.” - Steve Weintz “The seminar was informative, insightful, well documented, entertaining, well thought out and delivered with a touch of humor. Wonderful!” - Katharine Carter
Learn from one of the most successful and in demand directors of the past few years, Tyler Gillett (Devil's Due, Ready or Not, upcoming Scream reboot) exclusively on Stage 32. If you’re reading this and you’re an aspiring storyteller, you’re probably well aware that no path in this business follows a straight line. There’s no recognizable ladder to climb. No standardized “five-year” plan. There are so many questions – How do I get my start? How do I tell stories that inspire me? What’s the right story to tell? How do I find an audience? How do I get recognized? So many questions and no hard and fast “right” answer. With the rise of digital technology, storytellers now have access to a new and incredibly valuable set of tools to help sell their ideas. Shooting a compelling short film, web series, or proof of concept has never been easier – and it is one of the most effective ways to practice your craft, showcase your voice and set your work apart from the rest of the pack. But there’s a catch – the increased accessibility of these tools has lead to a dramatic increase in the amount of content created and it has become much harder to cut through the noise and really stand out. Tyler Gillett is a film, television and new media writer, director and producer. He has recently been tapped to direct the new SCREAM reboot feature film for Spyglass Media Group. Prior to SCREAM, Tyler directed the 2019 hit READY OR NOT, which was one of the biggest successes for FOX Searchlight with a budget of $6MM and grossing over $57MM worldwide. He also directed DEVIL'S DUE for 20th Century FOX and The Orchard's SOUTHBOUND. As one of the founding members of the filmmaking collective Radio Silence, Tyler got his break with the Sundance hit V/H/S, which originated with short form content he created. He has made an impressive career which launched from directing his own short form content and he's here to show you how to do it. Tyler will share his own path and how utilizing these tools helped him move from directing zero-budget digital shorts to directing and producing feature films for studios. Tyler will go over the 4 main benefits to create a short film and how to choose the right idea or genre the compliment your talents to get you noticed. He will get into the script phase and discuss what works and what doesn't as it relates to your characters, tone, style, scale, runtime and more. He will teach you how to design your production model and by giving you 4 huge tips to use heading into production. And, as we all know there are limitations on a smaller production, and to that point, Tyler will present 3 things you need before you get on set to assure a successful production. To prepare you for post production, Tyler will show you how to obtain quality VFX on a budget. And of extreme importance, Tyler will discuss the best places to release your work and why. To illustrate all of these teachable points and more not even mentioned, Tyler will be citing examples from over 10 features including Boogie Nights, District 9, Leviathan, Whiplash, Chronicle and more! Tyler will discuss how to conceptualize and create low-budget, high-quality short-form content that will wow financiers and producers and help you sell yourself and your ideas to a larger audience. Praise for Tyler: "Tyler is so humble considering all the success he has had. He truly made me feel like I can do anything and that no project is unattainable." - Kevin M. "A unique look at short form content as your calling card. It's a fundemental creative shift that can actually HELP you get work from your short work. Bravo Tyler." - Anne N. "Another superstar in the Stage 32 lineup. What a thrill to learn from someone of Tyler's caliber. I hope he continues to come back." Jenna G. "I loved READY OR NOT. And I loved Tyler. So much good information." - Susan M.
Congratulations – you’ve finished your first draft! But now comes the real work. The old adage goes that ‘writing is rewriting’ and that is absolutely true in film and television. A big part of screenwriting is learning how to receive feedback and how to implement it. Most professional writers go through numerous drafts and rounds of feedback before taking their scripts to the market. Just think about the first time you tried anything new – a new instrument, a new workout program, or a new screenplay. Unless you’re a natural, your first attempt isn’t usually your best. It’s the practice – or in this case, the rewriting – that helps you get better and will allow you to create something truly special. Too many aspiring writers think the hard work is over after the first draft. A first draft is a milestone accomplishment, but ultimately just one rung up the bigger ladder. But rewriting and polishing is not always an intuitive process – it’s hard to determine what to change or how much to change it. A big part of rewriting or polishing is learning how to listen to others, and realizing that even a solo screenplay can become a collaborative process. Steve Desmond is a WGA screenwriter whose screenplays have been voted onto the prestigious industry Black List four times in the past five years, including in 2020 with his latest script, The Saturday Night Ghost Club. He sold his sci-fi adventure screenplay, Harry’s All-Night Hamburgers, to Warner Bros in a bidding war, with an Oscar nominated producer attached. FilmNation (Arrival, The King’s Speech) hired him to adapt the Stoker-award-winning horror novel The Cabin at the End of the World. He’s also been hired to work on projects for Legendary Pictures, Sony, Blumhouse, Mandalay, and IM Global, amongst others. His short film, Monsters, that he wrote and directed, has amassed over two million views online and screened in over 100 film festivals worldwide, winning 45 awards. Steve has found his voice as a sought-after screenwriter by mastering the art of the rewrite and his excited to share what he knows with the Stage 32 community. Exclusively for Stage 32, Steve will give an in-depth and practical deep dive of the art of rewriting and polishing that you can take back to your own screenplay or pilot. Steve will share how best to utilize feedback and explain the difference between a rewrite and a polish. He will go through the psychological components of rewriting and show you how to make an effective plan to go through the rewrite process, and then how best to execute it. Next Steve will talk about how to actually trim your script by focusing on scenes and characters and how to work with producers and executives, including how to receive notes and maintain communication. He will then give you tools you can use to determine when you’re actually done. Expect to walk away with a slew of tools and ideas you can use to rewrite your own project and make it the best it can be. Praise for Steve's Previous Stage 32 Webinars: "This was fantastic. Steve offered so much insight, dozens of little nuggets that rang true or gave me pause to think of something I'd never considered before."-Ed K. "Perfectly laid out, clear and concise material taught by a genial host!"-George P. "Steve was fantastic. His examples and insights were on point. Thanks!"-Adam H. "I made 3 pages of notes; good pertinent topics with simple fundamental answers presented. Very helpful, worth the time and fee."-Thomas W.
In very little time, drone photography has become widely—perhaps too widely—used in countless films, television shows, commercials, and other media projects. And along with this wide adoption of drones has come a demand for those who can successfully and artfully operate them. This presents a potentially lucrative and rewarding opportunity for cinematographers looking to expand their reach and build their skill set. Yet with the clear overuse of drone photography in media today, each to varying effects, it’s evident that not all drone shots are created equal, and standing out requires a deeper level of skills. Adding drone cinematography to your film, TV or new media project can breathe new life into shots that may, in the past, have cost your budget heavily. But finding success with drones requires more than knowing simply how to pilot one; a cinematographer needs to understand how to properly use the tool and work with clients and artists to get those perfect shots. The truth is, for as often as drone camerawork is used in film, television and new media today, you can still stand out as a cinematographer in a big way by using drones smartly, artfully, and effectively. But what turns drone photography from mediocre to great? And how can you use this tool to stand out and not only enhance your current project but also help you get more work in the future? Chris Tangey is one of the most sought after drone cinematographers in the world. His impressive career as a cinematographer has him working for Netflix, Warner Bros. Columbia Tristar, BBC, National Geographic, Discovery, Lonely Plant and more. He recently won "Best Aerial Cinematography" in the European Cinematography Awards, and both "Best Drone" and "Best Scenography" In the New York International Film Awards. He was also awarded a Jury Commendation in the World Drone Awards in Siena Italy and has 2 Gold and 4 silver awards from the Australian Cinematographers Society. Chris has quickly become a leader in the field of aerial imagery and is ready to share what he knows exclusively with the Stage 32 community. Chris will continue his drone cinematography education by expanding into the more intermediate and advanced elements of creating a great drone shot and using your work to help you get work. He will begin by going over the nuts and bolts of operating a drone, including preparation and safety checks, proper thumb and finger placement, and what the 180 degree shutter rule is. He’ll also explain how to maintain the shutter rule with ND and PL filters and teach you how to properly take off and land. He will also give you tips of how to eliminate variables and trip points when planning your flight and will show you how to continue to improve. Next Chris will break down the anatomy of a good drone shot. He will explain when drones are useful and when they should actually replace a jib or dolly shot. He’ll talk about the importance of getting the shot you’re after and how to tell if you’re overshooting. Next Chris will discuss different types of cinematic drone shots, including landscape shots, dolly shots, and lift shots. Then he’ll go more in depth of when you SHOULD use a drone and when you SHOULDN’T, including questions you should ask yourself before using the drone, how best to plan your shot, and what situations are most effective for drones. Finally, Chris will go over how drones work in the industry and how this particular skill set fits in. He’ll teach you the best ways to show off your talent and get noticed and give you tips on pathways to find work, including networks and communities, forums and drones for hire databases, and how that intersects with representation. Chris will leave you with a lot more context, skills, strategies, and knowledge to start using drones for your project and stand out from the pack while doing it. This is Part 2 of Chris Tangey's Drone Cinematography Webinar Series. To check out Part 1, now available on demand, click here. "My career as a cinematographer has been “elevated" greatly by incorporating drones and knowing how to use them properly to get the best possible shot. I'm so excited to share my experiences with the Stage 32 community and give everyone the knowledge to use this powerful tool to their creative and financial advantage" -Chris Tangey
SORRY, THIS WRITER'S LAB IS FULL - PLEASE STAY TUNED FOR FUTURE WRITER'S LABS! Stage 32 believes in evolving and transforming to continuously put our writers ahead of the competition. Now, no matter where you live in the world, we are giving you the opportunity to work directly with a TV literary manger on a one-on-one basis to help shape your writing through our Stage 32 TV Writing Lab. All classes are taught online and at the end of this 8-week intensive, you will have a completed original TV drama pilot and pitch bible. To teach this TV Drama Pilot & Bible lab, we brought back literary manager Spencer Robinson of Art/Work Entertainment, who represents some of the most critically acclaimed and successful writers of the last few years including writers on Cloak and Dagger, Punisher, Arrow, The Last Ship, Chuck, Justified, as well as feature writers like Eric Heisserer who's films include Lights Out, which has grossed over $150 million and was Oscar-nominated for his Best Adapted Screenplay Arrival starring Amy Adams. Why Spencer? We'll let his last lab students tell you why... TESTIMONIALS FROM SPENCER'S PAST LAB STUDENTS: “Had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!” - Natalie A. “It was a great lab. Spencer’s feedback really helpful!” - A.Z. O. “Enjoyed the lab and Spencer was a good teacher. Appreciate his insight!” - Stephen C. “I wanted the accountability of having assignments due. That combined with the class cost was motivation to write and stay on schedule. This is a lab about story structure, getting words on the page, making strong act breaks. Spencer was great at pointed but useful notes. He doesn't sugarcoat anything. I went from an idea he wasn't on board with developing to a pilot he truly enjoyed reading -- and that was thanks to his pointed notes that got me back on track. Spencer will get those who are ready on their way to a kickass first draft.“ - Erika N. “Spencer was amazing!!” - Summer K. “Spencer Robinson is the perfect person to teach this type of class. His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer. Spencer's teaching style is the best! Thanks Stage 32!” - George P. WHAT TO EXPECT This lab will be very intensive and you will have ongoing executive guidance from Spencer. You will meet once a week with Spencer through an interactive online class or one-on-one meetings and be assigned weekly assignments to further your growth as a writer. We have created this lab so it will be the most hands on, professional atmosphere out there. By the end of this 8-week lab you will have a completed first draft of your TV drama pilot & pitch bible that will grab the industry's attention. This lab is designed for intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. Past lab participants formed supportive writing groups to help one another through the process.