Anna began her 20-year career as a development executive at Nickelodeon, working on the development and production of animated television series, pilots and features, including the cult hit “Invader Zim.” She crossed overto prime-time television working at CBS and ABC in drama development and programming, and freelanced as a creative consultant for a number of production companies. She was most recently Director of Development at Andrea Simon Entertainment, a boutique literary management and production company representing writers and directors. Her clients have worked on shows at virtually every broadcast and major cable television network, and have set up projects at ITV America, Sony, 20th Television, EOne, Starz, Amazon, OddLot Entertainment, Corus, and others. As a script consultant, she enjoys having a close collaboration with writers in refining scripts, expanding their range of material, and finding the best home for each project. Anna is a graduate of USC’s School of Cinematic Arts. Full Bio »
“I have some notes” is perhaps the most dreaded phrase writers hear. “Here it comes… they want to change everything; they want to destroy my masterpiece!” And yet, you the writer, asked for these notes. “They read and they didn’t pass! They want to work with me!” Or, “they read – and yeah, they’re right, I need to rethink this, it will be better if I change it.”
Film and television are the ultimate collaborative medium. You write alone (or in a team), but to make the final product, the work of dozens to hundreds of people is required, and they all have some contribution to make. And the work is a product to be sold to buyers and an audience, and they get a say in what they want to purchase and consume. Screenwriting is also the ultimate iterative process. No script is ever perfect on the first draft, and scripts evolve and grow even during production itself. So you will be receiving notes – lots and lots and lots of them. Some you will ask for, perhaps pay for: notes from other writers, professional consultants, managers and agents. Some you will hope for: producers, executives, directors and stars. Some you will agree to: showrunners, studio and network executives. And some will remind you that necessity is the mother of invention: from line producers, casting directors, set dressers, and costume designers.
But what should you do with those notes? How to take the sting and how to accept them as a gift? How to think about executing them when you agree, and what to do when you don’t? And most importantly, what do all those terms mean? Some of them sound like some sort of spy code: expo dump, let it breathe, contrived, mining, building, leaning, rules of the universe, on the nose and come in later – say what? In this webinar we will pull back the curtain on the notes process, discuss how to take notes, how to begin to address them, and what notegivers really mean by all those terms.
Anna Henry, TV Executive
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!
Network TV is dead, right? All good shows are on cable and streaming! Not so fast! Network TV is alive and well, as demonstrated by the critical success and healthy ratings of new shows such as This is Us, Designated Survivor and Speechless, as well as powerhouse veterans such as Big Bang Theory, Empire, Modern Family, Scandal, and NCIS. Broadcast networks are increasingly having to compete for top talent and ideas in a crowded marketplace. While landing a series order from ABC or FOX is no easy feat, the networks’ deep coffers mean they can buy and develop a high volume of shows, season after season. Producers of course enjoy the prestige of developing ideas for HBO or Amazon, but they are equally eager to find the next network hit, which can yield huge financial dividends with multiple season orders. What’s more, agents and managers judge prospective clients based on their original pilot scripts, and the right network pilot can demonstrate to a potential representative that you are ready to staff and ready to sell. As a manager, I always recommend writers have at least two or three finished scripts ready to go, and a mix of cable and network samples increases the number of producers and executives who may be interested in your work. In this webinar, you will learn about the brands and programming models of broadcast networks, how to know what ideas they will find appealing, what you need to include in your network pitch, and the do’s and don’ts of writing your network spec pilot.
***Sorry, the lab is filled!*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. With the TV market exploding right now, 30-minute and 60-minute TV drama and dramedy pilots are in demand. Many, if not all, managers and agents are looking for writers that can write in this space, and with more and more production companies heading into TV, knowing how to write a strong TV pilot will give you a competitive advantage and help you find success as a TV writer! Stage 32 is thrilled to have our Writing Lab: Write Your TV Pilot and Lean How to Pitch it in 10 Weeks taught by Anna Henry who is a veteran TV development executive that's worked with ABC, CBS, Nickelodeon, SONY, 20th Century FOX Television, Amazon, Starz, EOne, OddLot Entertainment, Corus, ITV America and more. This hands-on intensive lab will guide you through picking a concept, creating engaging characters, structuring and outlining your pilot, writing the pilot, polishing and pitching it! You must have a solid understanding of screenwriting to participate. We will not be going over the basics. The main objective of this 10-week lab will be to have a solid completed script that is market-ready to start pitching. You will meet online with Anna for 2 hours a week in a class setting, plus have phone or Skype consultations during some of the weeks when you don't have an online class. This will be accompanied by weekly homework assignments to guide you on your way to creating a marketable, unique pilot that will grab the industry's attention. Payment plans are available - please contact email@example.com for more information. This Lab is Limited to 10 People.
This was by far the best webinar on pitch documents that I have experienced. I've seen others where they give certain advice that she warned not to do! - Tiffany C. This is the age of peak TV and you have an incredible, original idea for a show! You have it all planned out: the setting, the characters, what the show will be about... maybe you've even written the pilot script. Now it's time to pitch! Perhaps you have a meeting with a manager or a producer, or someone is already interested in your idea and has asked you to send some "pages." Or you've signed up for a Stage 32 pitch session with the perfect exec who's looking for a show just like yours. In this webinar you will learn how to write a professional pitch document that can serve as the outline for your in-person pitch to a manager, producer or studio executive, or be sent after your meeting - using the template and requirements the big agencies and studios use. You will also learn how to translate that into a shorter version for Stage 32 pitch sessions, contests, or just to be able to briefly pitch your idea as you're networking. Handouts include: Stranger Things Pitch Document New Girl Pitch Document New Girl Short Pitch Document Example Lookbook Example
Many of us are familiar with the tropes made popular by screenplay gurus like Syd Field and Blake Snyder. Yes, it's true that many great films can be broken down into three clean acts or thirteen story beats. But the same can be said for many unwatchable films too. What are the elements that differentiate the great screenplays from the purely mediocre? In this Stage 32 Next Level Webinar, creative executive from Zucker Productions (director Jerry Zucker's production company), Farrell Ingle will define the importance of the ever imposing first act of a feature screenplay. He will show you how much of the groundwork for your story needs to be laid in the first act of your screenplay. If those early pages aren't up to snuff, the rest of your story will suffer, no matter how fantastic the ending is. Your host, Farrell will lay out the many pitfalls writers stumble into without necessarily realizing it while they craft the set-up of their story. Using examples of classic films, you will understand how top notch writing creates multitudes of subtext, character development, and plot advancement with each scene. We will also discuss what constitutes an "act" and why it's so very dangerous to hold yourself within the box of a rigid structure. By the end of this lecture, you should be able to go back through your own writing and break down each scene in your script to ensure that you're putting yourself in a position to succeed. After all, the first act is the most important act for readers and executives when evaluating your ability as a screenwriter. Plus, you will break down the first acts beats of well-known movie scripts as Farrell leads you through an in-depth analysis of films such as Raiders of the Lost Ark, The Professional, Die Hard and more!
Learn directly from Rachel Chervin, former Development Department at Broadway Video (Saturday Night Live, Portlandia, Man Seeking Woman), Gersh Agency and Imagine Entertainment! A screenwriting journey of a thousand miles begins with a single page, to paraphrase an old saying. Well, more accurately, ten pages - that's the amount of space a typical writer has to grab the attention of the anonymous, overworked reader that picked their script off a pile for evaluation. If a writer's sample script is excellent enough, the pieces start to fall into place: an entire script read, the writer recommended, the agent's decision to represent, the long and fruitful thousand-mile career. None of it happens, though, if the script never makes it to the agent's desk. But who are these mysterious readers? Who decides which scripts go on to consideration or representation - and maybe one day fame and fortune - while others get a stone-cold pass? It's not exactly who you might think: while the agents and managers of Hollywood excel at their jobs, they only have so much time in the day and most of it is not spent seeking out new talent. That job falls to the Gatekeepers, the assistants and pro readers who tackle stacks of scripts every week hoping to find the diamond in the rough: a script they can confidently recommend. In this Stage 32 Next Level Webinar, host Rachel Chervin will bring you an insider's perspective on agency submissions and what you can do to maximize the impact of your writing on the unsung decision makers of Hollywood. Rachel will discuss fun and informative strategies for giving yourself the best chance possible to make a lasting impression on everyone who reads your script. There are so many ways that writers can take themselves out of the running with easily avoidable mistakes, but fortunately, there are just as many ways to stand out from the pack and deliver a calling card script that demands recognition. The key, besides great writing, is knowing the Gatekeepers' game plan - and then blowing it out of the water. Rachel Chervin has been on both the buying and selling sides of the business and has extensive experience with what industry executives are really looking for and the language they use to talk about scripts under consideration. She has worked in development for Broadway Video (Saturday Night Live, Portlandia, Man Seeking Woman) in both features and television, working to find and promote up-and-coming comedic voices in the industry. She has previously worked for several years at Imagine Entertainment and the Gersh Agency on several feature films including The Rite (2011) and Katy Perry: Part of Me (2012).
One of the common complaints with scripts is on-the-nose writing. This month, we're challenging you to convey a series of emotions without using the actual words (or synonyms - no cheating!).