Jon Stahl is a working writer, producer and script coordinator, who has served on HBO’s DGA, SAG, WGA and Emmy Award-winning comedy series VEEP. Jon began his career in production, working on projects like Jason Reitman’s YOUNG ADULT starring Charlize Theron, Showtime’s THE BIG C, and IFC’s MARON. He also produced Season 1 of the Emmy-nominated series EASTSIDERS, before getting his first high-profile writers’ room position on the NBC network sitcom MR. ROBINSON with Universal Television. Jon went on to work in the writers' room at Nickelodeon on their show GAME SHAKERS. He’s currently on the upcoming FOX animated series HOUSEBROKEN starring Lisa Kudrow and Will Forte. Jon’s career has hinged on writing quickly and efficiently by using various software and technologies and knows better than most how to use the tools available to enhance your own writing career. Full Bio »
There was once a time when screenwriters solely used typewriters to tell their stories. Obviously that time has since passed, and the tools writers use to create their scripts have drastically evolved. Software like Final Draft, Writers Duet and Fade In has been created to optimize a writers’ experience, help with formatting, and ideally aid writers through their various obstacles and make the process easier. Yet this doesn’t always work out as intended. Too often, technophobia - the tendency to be intimidated by technology - limits writers’ ability to work with efficiency and speed and makes these programs more overwhelming and burdensome than helpful. And with so many different types of writing software out there, how can you know which one is the best fit for you?
We all know that writing is hard enough on its own without the extra burden of navigating difficult technology. The tools you use to write shouldn’t get in the way of creativity. Instead, gaining confidence and proficiency with technology can allow it to fade into the background, allowing you to focus on the task of great screenwriting. Knowing how best to use the tools available to you—and which ones to use in the first place—can serve as a powerful boon to your writing process and overall career. Whether it’s software, hardware, or workflow, moving past the technophobia and embracing the tools that are right for you can allow you to write with more ease, speed and efficiency than might be otherwise possible. First, it’s important to know what’s out there and how to actually use it.
Jon Stahl is a writer, producer and script coordinator, who has served on HBO’s DGA, SAG, WGA and Emmy Award-winning comedy series VEEP. Jon began his career in production, working on projects like Jason Reitman’s YOUNG ADULT starring Charlize Theron, Showtime’s THE BIG C, and IFC’s MARON. He also produced Season 1 of the Emmy-nominated series EASTSIDERS, before getting his first high-profile writers’ room position on the NBC network sitcom MR. ROBINSON with Universal Television. Jon went on to work in the writers' room at Nickelodeon on their show GAME SHAKERS. He’s currently on the upcoming FOX animated series HOUSEBROKEN starring Lisa Kudrow and Will Forte. Jon’s career has hinged on writing quickly and efficiently by using various software and technologies and knows better than most how to use the tools available to enhance your own writing career.
Jon will give you the tools to embrace good technology and use all the technological tools at your disposal to tell an amazing story. He’ll begin with a rundown of the different tools you should have to write, including keyboards, monitors, ergonomics and software. He’ll then delve explain why you need screenwriting software in the first place. Jon will delve into the lay of the land of screenwriting software, including a run through of the main players, free and affordable options, and what the standards and expectations are in the industry. Next he will show you how you know what screenwriting software is the best fit for your specific needs. He’ll go through the strengths and weaknesses of the leading programs and show you what paid software can offer that free versions do not. Jon will then go through a live demonstration of Final Draft. He’ll walk you through Final Draft’s interface and main features, how to start a script on the software, how to set up your workflow through Final Draft, and keyboard shortcuts you need to know to save you time. He’ll also go through other tricks Hollywood writers use to optimize Final Draft, how to write safely and back up your work, and how to use templates. Jon will then do the same live demonstration for both WriterDuet and Fade In. Next he will discuss other types of software to consider, including general purpose writing software, miscellaneous writing tools, and system software. Finally, he will provide you with additional resources you should consider. Expect to leave feeling a lot more confident and a lot less overwhelmed in bringing in good technology to help your writing.
"Screenwriting software is a necessary tool for anyone who wants to write for film and TV. I'm so excited to lead this webinar and help anyone who wants to gain proficiency with these widely-used tools, so you can focus on the craft of storytelling."
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The writers’ room is the beating heart of any scripted television show and the area where writers find their footing and voice within this world. Being a successful writer in the world of television is only possible if you’re successful in a writers’ room setting and breaking into a writers’ room as an assistant or coordinator is often the springboard needed for writers to build their career in the television space. For these reasons, it’s critical to understand how writers’ rooms work and how to best to perform and stand out in one to positively contribute and get noticed for the right reasons. While each show’s writers’ room has unique characteristics, there are specific expectations of a comedy show’s room in particular that differ from their counterparts. You’re not just breaking story in these rooms, but jokes too. This process brings with it a different rhythm and understanding. Finding success in a comedy room requires different skills than others. If you’re an aspiring comedy writer with hopes of breaking into a show’s writers’ room, it’s crucial you understand how exactly these rooms work and how you can best fit in and stay in. Jon Stahl is a writer, producer and script coordinator, who has served on HBO’s DGA, SAG, WGA and Emmy Award-winning comedy series VEEP. Jon began his career in production, working on projects like Jason Reitman’s YOUNG ADULT starring Charlize Theron, Showtime’s THE BIG C, and IFC’s MARON. He also produced Season 1 of the Emmy-nominated series EASTSIDERS, before getting his first high-profile writers’ room position on the NBC network sitcom MR. ROBINSON with Universal Television. Jon went on to work in the writers' room at Nickelodeon on their show GAME SHAKERS. He’s currently on the upcoming FOX animated series HOUSEBROKEN starring Lisa Kudrow and Will Forte. Working alongside the writers of television’s best comedy, Jon not only knows what it takes to write great comedy, but also what is needed to take a seat at the table with the rest of them. Jon will break down how a leading TV comedy writers’ room works and outline how you can break in and find success in one as a script coordinator. He will begin by going through the basics of how a writers’ room runs and the different key players. He’ll show you how to get a job in the writers’ office and delve into the culture of the room and you can navigate. Next Jon will break down the duties of a script coordinator in the room, including, taking notes, scriptwriting, distribution, investigating clearances, using the white board and more. He’ll also give tips on the technical side of the script coordinator, including typing etiquette and using specific software. He’ll go through the art of pitching in a room and how to handle “big personalities”. Finally Jon will give you tips on how to take next steps from the script coordinator position, how to put together writing samples and use your connections to move up. If you’ve always wanted to have a career in TV writing but don’t know where to start, start here.
In a short period of time, the world of podcasts has exploded and become an industry to be reckoned with. Over 100 million Americans listen to podcasts on at least a monthly basis, and individual shows can have millions of fans. An art form in its own right, podcasts have also become a proving ground for stories to be adapted for television or movies. Shows like HOMECOMING, DIRTY JOHN, and LIMETOWN would never have been greenlit or aired if they didn’t first find success and a fan base in podcast form. Yet before you can score that rich TV deal you first need a podcast HIT, but what does that actually take? It turns out to stand out you need more than a great concept and some fancy audio equipment. For a podcast to really pick up steam it needs to be packaged similar to a film or TV series. It usually needs producing partners, it needs banner names and talent, and it needs a distributor or network that is willing to pick it up. So what do you need to do know before you write that first word or produce that first .wav file? How can you put the odds in your favor and still enjoy the ride? Mark Ramsey is the creator, writer, and host of several imaginative, top-ranked podcasts for Wondery including INSIDE STAR WARS, INSIDE PSYCHO, INSIDE THE EXORCIST, and INSIDE JAWS. He wrote and directed POPS! THE INCREDIBLE STORY OF JAZZ LEGEND LOUIS ARMSTRONG starring Reno Wilson (MIKE AND MOLLY, GOOD GIRLS), and THE UNDERCOVERS, hosted by Ed O'Neill (Modern Family). Mark is currently co-producing the upcoming podcast AFTERSHOCK, a full cast fiction audio thriller just acquired by iHeartMedia and starring Sarah Wayne Callies (THE WALKING DEAD, COLONY), David Harbour (STRANGER THINGS), and Jeffrey Dean Morgan (THE WALKING DEAD). He is also writing and narrating a podcast adaptation of THE LAST STONE, a true crime story from New York Times best-selling author Mark Bowden (BLACK HAWK DOWN) and is developing a podcast version of William Kotzwinkle’s classic THE FAN MAN, starring David Arquette (SCREAM). Mark will lay out how to properly develop and package your podcast in order for it to hopefully get picked up by a podcast network and serve as IP for future opportunities. He’ll delve into what the podcast landscape looks like and what it takes for a podcast to become a hit. He’ll share the 4 main ways you can increase your odds for discovery and discuss the need for getting a podcast distributor on board. He’ll also go over how best to bring name actors on board and get them excited on your project. Mark will then teach you how to nail your pitch to networks and podcast distributors, what sort of pitch documents you should prepare and how to communicate your show to get executives on board. Mark will even provide case studies of real pitch documents he’s created for his own shows and go through what about them worked and didn’t. Finally, Mark will discuss the path from hit podcast to IP and what next steps can be. Mark's deep experience in the podcast space and the success he has found through his career has given him the knowledge and understanding of what it takes to make a podcast hit, and he's going to share what he knows with the Stage 32 community. Making a podcast hit means more than a great concept or script. Mark will walk you through what you actually need to do to give your show the platform it needs to find success.
Learn directly from Gotham Award-winning Producer Shaun O’Banion who's worked with Steven Spielberg, James Cameron, Joe Wright and Judd Apatow. Everyone will tell you filmmaking is a collaborative process and comes down to relationships. Possibly the most important relationship? The one between the writer and the producer or exec. This partnership is critical and is often the first spark that can get a project going. But this relationship doesn’t just materialize without any work put in. The truth of the matter is the collaboration and trust that’s built between the writer and producer, starting with the optioning or hiring process and going through all of development and production can be just as important as the script and production itself in how successful the film turns out to be. If you’re a writer, it can be challenging to find a producer who is the right fit and actually get on their radar or get them to read your work in the first place. As a producer, getting your hands on the script that you actually connect with and that you can feel confident in producing can be quite an undertaking. And whether you are the writer or the producer, navigating this creative relationship through the murky development process is complicated but absolutely crucial. So how does a successfully writer-producer relationship actually work? How do producers find scripts and how can you set up your own screenplay for success? And once you’re on your way, what steps can you take to ensure the relationship, and therefore the entire project, doesn’t fall apart during development? Let’s explore. Shaun O'Banion is an award-winning producer and the founder of production company Ravenwood and has worked with writers and filmmakers such as Steven Spielberg, James Cameron, Joe Wright and Judd Apatow. O’Banion produced DAKOTA SKYE which became a cult hit and remained in the Top 100 Most Viewed on Netflix. He also produced GIRLFRIEND, the first film in North America to star an actor with Down Syndrome in the lead role. The film premiered at the Toronto International Film Festival, sold to Strand Releasing and won O’Banion an IFP Gotham Award. He joined the Producers Guild of America and co-produced THE AUTOMATIC HATE which made its World Premiere at the SXSW Film Festival. The film was released theatrically by Film Movement. Shaun has also worked as a post production project coordinator on some of the industry's leading films in recent years including JOJO RABBIT, TERMINATOR: DARK FATE, THE AFTERMATH and OPHELIA. Shaun is well versed on building relationships to get films made and is ready to break down what he knows In this exclusive two-part class, Shaun will walk you through process of getting material produced from the producer's perspective. He’ll go through what producers look for, how doing your research matters, and how collaboration with your new partner is the key to it all. Plus, expect to learn the differences between setting up a short and setting up a feature. Shaun will also delve into the development process and give you a new set of tools to get your material in top form. The development process is murky and hard to navigate, but Shaun will go in-depth on how exactly to see it through to the end by building a strong relationship with your producer. Praise for Shaun’s Stage 32 Class "Loved the up-front examples of how long it took to develop different films and whys behind it. Super informative." - Gina G. "For people trying to break into the business, these kind of webinar chats where the info and experience rolls off the cuff is important and very effective for me. If you can't be around the industry and executives, having the opportunity to 'be in the room' and hear about process and how things are done is really important." - Diana L.
Limited spots available - only 10 students accepted - 5 spots remain Payment plans available - contact firstname.lastname@example.org for details You’ve been using your voice your whole life, but do you really know how to use your voice? There are so many factors that go into having a successful voice acting career, but building a strong foundation and learning the basics is a must if you want to get anywhere. There are a few things every voice actor must learn before getting started, and we’ve got a veteran voice actor to teach you step by step through the entire process all you need to know! Van Gunter has been a Cannes Gold Lion award-winning voice actor for over 20 years and co-owns Boutwell Studios, a Post Production Audio Facility. Boutwell produces commercials for television, does custom sound design for video or motion pictures, original music scoring for jingles or soundtracks, and works on specialized projects, such as ADR, podcasts or radio dramas. He’s voiced for NASA, Valvoline, BBVA Bank and Pandora, among many others. Van is a true voice over professional and is excited to share his years of experience with the Stage 32 community. He will be taking a small group of 10 creatives through an 8 session interactive and intensive lab to get you set up from start to finish working on a professional voice session. This is an exclusive opportunity to work one-on-one with a professional like Van that you will not find anywhere else. This lab will fill up, so make sure to grab your spot today before it's gone! "Van was engaging, humorous, and very knowledgeable at his craft, with plenty of helpful notes to help me understand the career very well." - John M.
In this Executive Hour we speak with screenwriter Lorien McKenna! Lorien is a former Pixar Story Manager who worked on such features as Oscar-winning UP, Oscar-winning BRAVE, Oscar-winning INSIDE OUT, and THE GOOD DINOSAUR. She also served as a producer for Paramount Animation where she oversaw development for WONDER PARK. Lorien, along with Oscar-nominated writer Meg LeFauve, sold their romantic comedy anthology, THIS THING CALLED LOVE to Hulu with Dan Lin producing; as well as a half hour sitcom, POOG to NBC and WBTV. Lorien also wrote HOW TO SET A FIRE AND WHY, based on the book of the same name by Jesse Ball, for Straight Up Films. Previously, she served as the Co-EP for Hulu's CURIOUS GEORGE series, and has developed projects for Disney Jr., Funko, and Netflix. She is the co-host of the podcast The Screenwriting Life with fellow screenwriter Meg LeFauve. During the webcast, Lorien discusses her unusual career trajectory, working in the "Brain Turst" on Oscar-Winning animated films at Pixar, battling "Imposter Syndrome", tackling adaptations, writing for television vs. features, how hard it is to take notes even as an established writer, and much more!
When making an independent film, finishing the film is only half the battle. You need people to actually see the film you’ve worked so hard on. When it comes to distribution, it’s important to know how to get your film into the worldwide marketplace. Once it’s there, you need to know how to generate interest toward it so the film can make its money back for the investors and back-end participants. Distribution comes in all shapes and sizes, but what kind of distribution is right for your indie film? Sometimes it means getting your film distributed by a studio; sometimes it’s creating a self-distribution path. Sometimes —- most typically — the distribution lands somewhere in between. Every film is different and therefore requires a different marketing plan, release strategy, and team behind it that have the passion and drive to get the most out of its release amongst the myriad other movies available. In this on-demand Stage 32 Next Level Webinar, host Tiffany Boyle will get into the details of what the independent distribution process looks like. She will go over how to get the right representative, foreign sales agent, and domestic distribution, and the different options for each based upon the size, genre and execution of a film. She will also discuss what the key points are to look at when reviewing a foreign sales agent and/or domestic distribution deal. Filmmakers should be making an informed decision when choosing who will be handling the licensing of their film for the next 3-25 years, and Tiffany is here exclusively for Stage 32 to help you navigate the ever-evolving world of indie distribution. Tiffany Boyle is the President at Ramo Law and works with producers, financiers and writer clients to bring their new material to life. Having been a Director of Sales at Crystal Sky Pictures, Tiffany has an extensive background in foreign sales. She now works with the attorneys to review, collaborate, develop, submit and supervise creative materials on behalf of clients within the firm. Tiffany has worked on over 100 features including, Stuck In Love, Pawn, Gimme Shelter, Maladies, and I-Lived. She has been to AFM, Berlin, Tribeca, TIFF, Sundance, and Cannes and is constantly expanding her knowledge of how to match films with production and distribution companies.