Anna Henry is a Producer and Development Executive who has worked at CBS, ABC, Nickelodeon, and multiple production companies, as well in management at Andrea Simon Entertainment. Her clients have worked on shows such as THE DEUCE, POWER, IN CONTEMPT, TOMMY, VIDA, SEVEN SECONDS, HUNG, CHICAGO FIRE, FEAR THE WALKING DEAD, THIS IS US, and THE FLASH, and have set up projects at AMC, Amazon, Starz, HBO, Sony, Fox, EOne, ITV America, OddLot Entertainment, Corus, and others. Anna has projects currently in development around the world. She is currently developing procedurals, crime thrillers, dark comedies, YA and Millennial-focused projects, character-driven sci-fi, and recent period. She is a member of HRTS Associates and Greenlight Women. Full Bio »
You’ve heard that the opening pages of your pilot script are the most important – hook your audience early and they’ll be invested in your show, fall short and producers, managers and executives might not even finish reading your script. At many companies, your script will be handed off to a member of the development team whose job is to just read the first act, then decide whether to pass or flag your script for further consideration. Having a great first act isn’t just a good way to get your pilot noticed; it might be the only way. When you watch a pilot, though, whether on Netflix, HBO or ABC, it can feel like every show is so different, it’s hard to see a pathway to success. Or even if you master one aspect of your opening act, somehow it can still feel like you’ve not done enough.
In a TV pilot, that crucial first act is the most challenging because there is so much you have to do really well, really quickly: you have to introduce your characters, set up your world, and launch your story. What’s more, the first act sets your pilot on solid footing – nail this section and the rest of the pilot seems to develop and flow easily. Get stuck on how to start, and you might never finish writing the pilot that could launch your career. You’ve probably watched outstanding pilots where 10-15 minutes in you’re already making plans to binge the season. What do all those pilots have in common? What techniques do experienced show creators use to give them that early edge? And what exactly do producers, managers development execs and other professionals expect to see in a first act? We have the answers to those questions and much more.
Anna Henry is a Producer and Development Executive who has worked at CBS, ABC, Nickelodeon, and multiple production companies, as well as a manager at Andrea Simon Entertainment. Her clients have worked on shows such as THE DEUCE, POWER, IN CONTEMPT, TOMMY, VIDA, SEVEN SECONDS, HUNG, CHICAGO FIRE, FEAR THE WALKING DEAD, THIS IS US, and THE FLASH, and have set up projects at AMC, Amazon, Starz, HBO, Sony, Fox, EOne, ITV America, OddLot Entertainment, Corus, and others. Anna has projects currently in development around the world and is incredibly familiar with what goes into a great television pilot.
Anna will analyze pilots more deeply so you can see the tools successful writers use to set their show on the right path from the start. She’ll discuss the ingredients of a pilot in general, including the basic structure, identifying the type or genre of your show, meta-themes, and crafting characters to serve as the audience's entry point. Anna will then delve into the key elements of a first act, as well as a great teaser or cold open, including using framing devices, and a strong out. She will go over tips to writing memorable character descriptions, using physical descriptions, elements of identity, and putting thought into how you name each character. She'll next focus on introduction scenes and using them to generate interest in your characters, using dialogue to establish their voices, and introducing relationships. A vital aspect of a pilot's first act is creating character moments, and Anna will go over effective examples of many different types of these moments, including meeting heroes, meeting villains, meeting supporting characters, establishing the right amount of backstory, and the benefits of having your characters argue. She will then discuss how to create exposition and communicate your world effectively, crafting a mystery and building the rules of your universe, as well as how to avoid overused crutches. Anna will then offer her take on implementing and incorporating tone and themes into the script and how to sneak them in subtly through details and character moments. She will finally lay out how to best use your first act to bring the audience into your story and world, where exactly your story should start, and how to launch your 'A' story and introduce your 'B' and 'C' stories.
Examples will be used from one-hour and half-hour shows on network, cable and streaming platforms, PLUS! you will receive pilots for each after the class:
Praise for Anna's Stage 32 webinar:
"The webinar was fantastic. I am writing my first one hour drama pilot so this webinar was packed with the exact information that I will be immediately putting to use in my rewrite. The slides were clear, concise and informative. The speaker was excellent at conveying the information I needed."
"It was really great information. Anna was a terrific host, very knowledgeable and shared a lot of information and tips."
"Comprehensive, insightful. Combined a lot of material I had heard snippets of on character, world dev, etc. but artfully stitched together in one presentation."
"It was amazing, enlightening - completely. I learned soooo much - especially as a feature writer who's been asked to turn a feature script into a pilot!! Thank you soooooo much."
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!
Only 15 Spots Available - 4 Spots Remain! Exclusive TV Lab including One-on-One Mentoring with a Veteran TV Executive Develop a Polished TV Pitch Document for Your Own Project in 6 Weeks This is the golden age of television and the appetite for content has never been greater. What does every network and streamer want? Fresh, unique, authentic voices with never-been-told stories. While the door is open to new writers, the competition is fierce. Of course you need a very strong finished script, but before that will be read, you need to be able to communicate what makes your show stand out from the crowd, what will make people want to watch it for years and years, and why you are passionate about writing it. You need a blueprint of what the series will be beyond one episode. That's where a pitch document (AKA bible, AKA treatment) comes in. Whether you are selling your show verbally, sending the pitch to a potential producer, or applying for a fellowship, this document carries the weight of your imagined world with all its inhabitants and stories. That's a tall order! So where do you begin? How do you organize your ideas? What should be in a pitch? How detailed should you get? Should you start with a summary of the pilot? Should you have ideas for future episodes? What should you say about your characters? In this lab we will delve deep into writing an effective pitch for your scripted television idea - one that will clearly communicate your intentions, excite the reader, and convey your voice and your passion. Anna Henry is a producer and development executive who has worked at CBS, ABC, Nickelodeon, and multiple production companies, as well as a manager at Andrea Simon Entertainment. Her clients have worked on shows such as THE DEUCE, POWER, IN CONTEMPT, TOMMY, VIDA, SEVEN SECONDS, HUNG, CHICAGO FIRE, FEAR THE WALKING DEAD, THIS IS US, and THE FLASH, and have set up projects at AMC, Amazon, Starz, HBO, Sony, Fox, EOne, ITV America, OddLot Entertainment, Corus, and others. Anna has projects currently in development around the world and is incredibly familiar with what makes a TV show sell. In this lab, you will be working directly with Anna in a virtual class setting and also during one-on-one online sessions to put together a great TV pitch document to help you communicate your show and get execs and buyers interested. Whether you have a comedy or drama series, 30 minute or 60 minute, animated or live action, Anna is here to help. Anna will walk you through communicating your show's world, creating your characters, and how best to convey your story within the bounds of a TV pitch document. She'll also help you put together your show's logline, comps, leave-behinds, and other tools to help you nail your pitch. Throughout the course of this exclusive online lab, you will have direct access to Anna as a mentor by email and via video conferencing as you develop your pitch document. WHAT TO EXPECT By the end of this 6-week lab, you will have a polished pilot pitch document for your television project This lab is designed for writers and producers of all levels interested in turning their television series idea into a polished pitch document This is an in-depth, practical, and detailed lab with one-on-one time with the instructor and significantly more content than a standard 90-minute webinar. ***Only 15 Spots Available- 4 Spots Left!*** Sessions will vary between 2-hour group settings and personal one-on-one Zoom meetings with Anna. You will be held accountable to take the lessons from each week and move your work forward. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the TV project development process. To see the full TV lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 15 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a TV executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Harrison at firstname.lastname@example.org for more information Praise for Anna's Previous Stage 32 Labs "I thought it was a great course and really helped me understand the format. Anna is knowledgeable and quickly cuts through to what can help your story better. Her notes on my script were insightful and really demonstrated her thorough experience." -Lee L. "Anna’s class was by far the most thorough, well put together, and organized screenwriting class I’ve ever taken. I have an MFA in filmmaking and, after graduating, I still felt as if I didn’t fully understand the structure of pilot writing. Anna’s class laid it out step by step and she went through every piece in detail. She was also extremely available to her students. During our one-on-one sessions, I expected to have a quick 15 minute call with her but she ended up speaking extensively with me about my story from outline through script stages. She really, truly cares for her students and is there to answer any questions, which, given her abundant experience in the industry, is a priceless piece of her labs. Thank you, Anna!" -Jacqueline D. "Anna was concise, and detailed. I've been working on log-lines/treatments/synopsis for 2 years for my scripts and never had it nailed like Anna was able to do. She rocks!" -Cheryl Lynn S.
Sorry, this lab is fully sold out. Keep checking back for upcoming labs and other education! You’ve heard the phrase “the content gold rush” get bandied about these days, but as it relates to TV, it’s never been more true. Drama television is at its peak with such iconic shows like OZARK, KILLING EVE, BETTER CALL SAUL, THIS IS US, THE HANDMAID'S TALE, THE QUEEN'S GAMBIT, STRANGER THINGS, BLACK MIRROR, THE UNDOING and so much more. With the influx of networks and streaming platforms either moving into or expanding their original content libraries, the demand for dramatic TV ideas and pilots has never been greater. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. But not only is the quantity increasing, so is the quality, as companies are funneling an unprecedented amount of money, resources, marketing and talent into their shows. And the impact of COVID-19 is even having an impact that could benefit writers all over the world as many shows are planning to implement virtual writer’s rooms. In short, there has never been a better time to write for TV. Now it’s just a matter of breaking in. The opportunities are plentiful and the prospects have never been more exciting, but if you want to write dramatic television you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sensibility. This is your calling card, your way in, the piece of material that will fire you off the launch pad. The intention of this lab is to help you create that piece of material that stands out, gets you the right meetings, and, ultimately, gets you representation, meetings with decision-makers, and/or a coveted seat in a writer’s room. Over the course of a 15+ year career, Anna Henry has read thousands of television scripts and worked with hundreds of writers. Anna began her career as a development executive at Nickelodeon, then crossed over to prime-time television working at CBS and ABC in drama development and programming before working in management and establishing herself as an independent producer. Anna was Head of Development at Andrea Simon Entertainment, a boutique literary management and production company representing writers and directors. Anna has set up projects at Sony, 20th Century Television, EOne, Starz, Amazon, Netflix, Corus, ITV America to name just some. Anna’s client credits include Netflix's SEVEN SECONDS; Starz' VIDA; BET’s IN CONTEMPT; HBO's THE DEUCE, BIG LOVE, and VINYL; Showtime's THE CHI; NBC's THIS IS US; The CW's JANE THE VIRGIN; DirecTV's KINGDOM, AMC’s FEAR THE WALKING DEAD; PBS' MERCY STREET; and more. Anna has taught numerous webinars, classes and writing labs for Stage 32. She remains one of our most popular and in demand educators. In this lab, she will be working directly with you in a class setting and also during one-on-one sessions with the goal of helping you write a fantastic, market-ready pilot. To do so, Anna will guide you through picking a concept, creating engaging characters, perfecting your structure, constructing an outline and, finally, writing your pilot. If you already have a concept or even a completed pilot, Anna will use the same tools to help you hone and sharpen your material. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed drama television pilot script ready to be shown to reps, development execs and other executives and professionals. This class is geared towards the writing of half-hour and hour-long single camera series. While the focus and the examples that Anna will provide are rooted in these types of shows, many of the exercises and lessons can also be helpful for multi-cam sitcoms, limited series, animated series, and short-form webseries. Sessions will vary between 2-hour group settings and personal one-on-one Zoom meetings with Anna. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Harrison at email@example.com for more information This lab is limited to 10 people This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot. "My passion is helping writers make their work better. I’m not a screenwriter, so I don’t try to insert my voice into your work. With 20 years of experience as a development executive and literary manager, I consider myself to be your advocate and guide. I know the marketplace and know what will make your project successful. But my goal is to tell YOUR story in your voice. I don’t give vague “reviewer” notes, and I am brutally honest. If you want a cheerleader, I recommend you get notes from your friends. If you want to put in the work to elevate your writing, you’ve come to the right place." - Anna Henry Praise from Anna's previous Stage 32 writing labs: "Anna exceeded my expectations, both in terms of quality (and quantity) of information and overall value. Anna was personable, knowledgeable, and organized. Anna and Stage 32 delivered the goods." - John R. "What a thoughtful, thorough and inspiring class. Not only was the content there, but the structure was also superb. Thank you Anna for your genius and your generosity." - Crispin L. "Anna was so generous with her time, so knowledgeable, so encouraging...very grateful. It feels like there's a stronger wind at my back after that. Thank you!" - Michael L.
Hello, Creative Army. It's been a busy few months around the Stage 32 offices and for yours truly as it relates to my personal projects. I'm excited to share with you what I'm hearing, what I've learned, and what I've experienced since we last got together. As always, my AMA's are always free! Watch as many times as you'd like. Cheers! RB
To kick off your directing career with Roger Ebert calling your film "One of the best films of the year" you can pretty much be assured you're on a path to success. We are proud to present to you the director who has done just that - Michael Polish. After his Sundance darling Twin Falls Idaho garnered Roger Ebert's critical acclaim he has gone on to direct over 10 feature films including: The Astronaut Farmer, starring Billy Bob Thornton and Virginia Madsen Northfork, starring Nick Nolte and James Woods The Smell of Success, starring Billy Bob Thornton, Tea Leoni & Ed Helms Hot Bot, starring Zack Pearlman and Danny Masterson Stay Cool, starring Winona Ryder and Sean Astin (Nominated for best feature at Tribeca Film Festival) Big Sur, an adaptation of the Jack Kerouac novel starring Kate Bosworth For Lover’s Only starring Stana Katic (CBS’s hit show Castle) 90 Minutes in Heaven, starring Hayden Christensen Amnesiac, starring Wes Bentley The upcoming Sharon Tate biopic adapted from Greg King’s book Sharon Tate and the Manson Murders Michael will be teaching the 2nd installment of our Stage 32 Masters of Craft series - The Indie Filmmaker's Toolkit: Maximize Your Resources, Creativity and Profits. In this online event Michael will share with you how a professional director approaches a film from inception and carries it through to post-production including a discussion of available distribution options. The goal is to give you the agency to make your films without the necessity of the Hollywood studio system (though this information will be handy if that's your path as well). He will go in-depth about the director’s process from finding superior scripts and setting your priorities in pre-production to the challenges of running your set, leading your crew and balancing the demands of your producers. He’ll explain how to interact with everyone vital to your film’s success from producers and film executives to actors, cinematographers, and editors to get the best version of your film. Finally, Michael will share insider knowledge on effective methods to market and distribute your film that will give you the power to maximize your profits. From his experience writing and directing 10 feature films, he’ll share his war stories (like losing vital funding in the middle of a shoot) and his strategies for dealing with any obstacle that arises. You’ll be better equipped to deal with mishaps and avoid filmmaking pain points. If you want to make your film and you want to know where to start, how to proceed and how to ensure you walkaway with a masterpiece, this is the webinar for you! You’ll leave with a comprehensive understanding of what is necessary to succeed as an indie director and gain control over the direction of your career.
In today's world of independent filmmaking, the VOD, SVOD & AVOD distribution strategy becomes a stronger option for many filmmakers. We've brought in 15 year executive Chad Miller who has worked with hundreds of filmmakers on their distribution strategy through his working relationship with platforms such as Amazon, Hulu, Netflix and iTunes to teach for Stage 32 Next Level Education. In this exclusive webinar, Chad will break down the very important topic of how to window the release of your film. Making sure that you are going to market during the most opportune time is key to a successful distribution strategy. Chad will give you an overview of VOD, SVOD & AVOD and explain the evolution of windowing strategies and why & when it makes sense to break with the traditional windowing strategies. He'll also go over the revenue expectations, deal strategy basics and give you a comprehensive look so you are prepared when it's time to release your film.
Learn directly from Morgan Long, TV Literary Department for a “Big Six” Agency 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, one of the most in demand formats is the 1-hour TV drama pilot. 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 1-hour TV drama pilot will give you a competitive advantage and help you find success as a TV writer! Due to popular demand, Stage 32 is thrilled to bring back our 8 Week Intensive TV Drama Pilot Writing Lab taught by Morgan Long, a TV development coordinator at a “Big Six” Agency! This hands-on intensive lab will guide you through picking a concept, creating engaging characters, structuring and outlining your pilot and writing the first draft! The main objective of this 8-week lab will be to have a first draft of your script. You will meet online with Morgan for 2 hours a week in a class setting, plus have phone 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 firstname.lastname@example.org for more information. This Lab is Limited to 20 People. Please Note: Participating in this lab does not mean you are writing for or pitching to Morgan or her company. 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 drama pilot. Start to prepare for your pilot pitch.