Marla is former head of TV for Emmy Award winning writer & producer Peter Tolan's Fedora Entertainment with experience producing prime time series and award nominated television movies in multiple genres. She's worked with writers who have sold pitches to Fox, TNT, CBS, NBC and ABC and have been staffed on premium cable dramas. Clients include writers who have won awards including a Nicholl Fellowship finalist, as well as published novelists. Companies like CAA and Oxygen rely on her skills as a story analyst and story development expert for people who are ready to take their writing to the next level.Writers who have worked with Marla have said, "Marla's approach has changed the way I will pitch forever" and "She has incredible ideas, tremendous patience, and a true sense of character, tone, and place" While one client called her "a fun, hip, whip-smart fairy godmother."When she's not reading scripts or selling projects, you can find her indulging in a cozy mystery, working in her garden or out at the ranch on her horses. Full Bio »
Staffing season is a high-intensity, high-stakes time. With more shows than ever looking for writers, the opportunities have never been greater, but that also means the competition has never been higher. To be considered to be part of a writing staff, you need to not only show your chops as a screenwriter, but display what you'll be like in the room. So how can you stand out to the executives and producers hiring and prove that you're going to be a team player, while bringing an original, independent voice to the table?
To be staffed in the competitive world of TV writing, you must first understand what opens the door and what keeps you in the room. Your writing must not only be on point, but you have to also be able to display a comprehension of the art of the meeting. Executives and producers are going to meet dozens if not hundreds of writers. You have to learn how to connect with them, fill their needs, and make their jobs easy! In short, you and your writing need to be sharp, interesting and memorable.
Over her very decorated and successful career as a development executive, Marla White has sat across more writers than she can remember. Marla was not only the development executive for Emmy-Award Winner Peter Tolan's Fedora Entertainment, but she's also worked with hundreds of writers who have sold pitches and shows to, and/or been staffed by, Fox, TNT, CBS, NBC and ABC and just about every premium cable channel and streaming platform you can name.
Marla will discuss what executives are looking for in your writing. Whether "good" is good enough to get you in the room. Whether it's better for your work to be more memorable or sellable. She will take you through the thought process of what executives are looking for when you walk in the room. She'll discuss all aspects of a general meeting and a staffing meeting and arm you with all the tools necessary to be "good in the room" in all situations, each and every time. Plus, she'll also talk about "do's and don'ts" and how you can get invited back for the all important pitch meeting.
This webinar provides pertinent and actionable information for every level of writer. If you're just starting out in your career, what you'll learn will not only prepare you for everything mentioned above, but for preparation when speaking with managers and agents. If you're a working writer on a show looking to move to a new show and need tips on playing the networking game and how to navigate the politics, this one is for you as well!
This is some straight shooting, no B.S. information. I'm grateful that Marla pulled no punches and told it like it is. Next meeting I get, I'm owning it!
- Samantha W.
Plus, a live and in-depth Q&A with Marla!
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We've brought in veteran development executive Marla White to give you an ultimate guide on dissecting the first 10 pages of a TV script from her perspective as an executive. In addition, by looking at specific examples from great scripts like “Justified,” “Weeds,” “How I Met Your Mother,” “Grey’s Anatomy,” “Modern Family” and more, she's going to break it down for you why and how those pilots succeed where others failed and how to apply that to your script. Marla has worked with writers who have sold pitches to Fox, TNT, CBS, NBC and ABC and have been staffed on premium cable dramas.
Founded in 2011 by Richard "RB" Botto, Stage 32 is the world's largest online platform connecting and educating film, TV and new media creatives and professionals worldwide. Stage 32 works with over five hundred industry professionals and executives who provide education, instruction and professional opportunities for members of the platform. Stage 32 currently has over 1,200 hours of exclusive film, television and digital craft and business education in its library. Stage 32 members use the platform daily to build their network, take online webinars, classes and labs, find work and cast and crew their projects. Stage 32 members range from students to Emmy, BAFTA and Academy Award Winners. We work tirelessly to ensure that you know that Stage 32 is your online home to stay connected with over 600,000 creatives and professionals from across the globe. Now, we are excited to present a virtual panel featuring some of the top minds in the Stage 32 community to discuss the current state of television, as the industry adapts to a new development and production landscape after the COVID-19 pandemic and a continuing battle between the WGA & ATA. In this roundtable discussion you will hear the point of view of a production company (Tracy Mercer, Senior Vice President, Television at Amasia Entertainment), a television packager (Stuart Arbury, Director of TV & Episodic Content at Ramo Law), a literary manager (Raquelle David of Elevate Entertainment), a writer, producer, Stage 32 CEO (Rich “RB” Botto), all moderated by producer, writer, and the Stage 32 Director of Script Services (Jason Mirch). Stage 32 is proud to be putting the "social" in #SocialDistancing. Please share this event on your social media and tag @stage32 on Twitter and @stage32online on Instagram.
As creatives, we tend to focus on the writing, the directing, the creative producing, basically all the creating aspects of a film or television series. But it’s important to understand what happens after a film is released or TV series is aired. All those big box office numbers sound great, but who gets all that money and in what order? Who gets paid and in what order is called the “recoupment schedule” also known as “the waterfall.” It’s important to understand this schedule, so that you know your place in the waterfall. Some people may find the recoupment schedule confusing, because there are several factors and various agreements that go into determining the order of recoupment. Those includes sales agency agreements, co-production agreements, finance agreements, talent agreements, interparty agreements, security agreements, and collection account management agreements. Plus there’s the consideration of domestic and international revenue, and what gets allocated through the waterfall. But if your head is already spinning, fret not. With the right guidance, all of this will make much more sense and David Zannoni is the best at breaking this down. David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David is going to help you understand the ins and outs of a recoupment schedule and how to make sure you are on top of your finances for your own project. He will first go into what exactly a recoupment schedule looks like and what kind of projects they are normally used for. He will delve into the agreements that recoupment schedule is based on. He will also go into how the payments are executed, how to determine the order of payments, and which funds you should be allocating. You’ll walk away with a solid foundation and understanding of “the waterfall” and where you may fall in the waterfall.
Whether it’s epic battles between giant robots, a street fight, or someone chasing after the love of their life at the airport, the vast majority of movies and television use at least a bit of action writing. So we are challenged you to write an original or polish a scene with action, and really focus on making those moments of movement pop!
As the world of independent television and film continues to shift, international co-productions are becoming more common. That’s because crossing borders is often an effective way to find better funding, better locations, and ultimately a wider audience. But international co-productions are not always a slam dunk. Partnering with other countries is a complicated endeavor and brings with it challenges and hurdles you wouldn’t have to face otherwise. Potential pitfalls are plentiful, but then again, so are opportunities. It comes down to putting in the work ahead of time, covering your bases, and making sure you know what you’re doing before diving in head first. Working across countries is hard enough when you’re part of a studio or large corporation. There are still contracts to hash out, politics to navigate, and differences in cultures to understand. But when you’re an independent producer or filmmaker looking to cross country lines, it can feel impossible, an overwhelming prospect where you don’t even know where to start. After all, you don’t have the backing of a legal department and you don’t have experts on payroll. You just have you. So where do you start? Is an international co-production worth it for you? What steps should you take to get the ball rolling and how can do you protect yourself along the way? With more than twenty years in the industry, Alexia Melocchi has worked in nearly every aspect of the entertainment industry. Alexia is currently a producer at Little Studio Films, a representation and production company with more than 25 films and series credits. She serves as Partner and Producer, involved in all aspects of company operations, including distribution and co-production deals, managing production activities, and film and television marketing. Alexia is well versed in the art of international co-productions and will share the secrets, tips, and lessons she’s learned over her two decades in the industry exclusively with the Stage 32 community. Alexia will walk you through the nitty gritty of starting international co-productions and the things you need to know before jumping in. She will begin by going over the pros and cons of producing overseas, both for film projects and television, and when to determine if an international co-production is the right call. She’ll tell you the four aspects of your project you should focus on before making this call. She’ll then discuss what makes a story international and how to use this to your advantage. Alexia will then go over the advantages of having international settings in your script. Next she will focus on tax subsidies and credits in different countries, how these can be targeted, the challenges that come with claiming them, and the rules and requirements you’ll generally need to meet to qualify for them. She’ll also discuss the prospect of working with international broadcasters or producers. Then, Alexia will give an in-depth and detailed rundown of the benefits and challenges of producing in six major countries: Italy, Spain, Canada, UK, and Australia. She’ll offer a breakdown of the specific costs that go into overseas productions, as well as the legal ramifications of these projects, including how international cooperation might affect ownership of your IP and rights. Alexia will discuss what an effective timeline of a successful co-production deal might look like and will finally give you tips on how to work international markets like Cannes to find the partnerships you need. This webinar is useful to producers considering an international co-production as well as writers, actors and directors who feel their talent or material might work well on an international scale Like what you heard from Alexia during this webinar? Send your script to Alexia and speak with her for an hour by clicking here. Praise for Alexia’s Webinar “Alexia had so much specific and helpful information that I’m going to be able to use moving forward” -Karen H. “Alexia is the best! I’m so glad I got to see this webinar” -Hannah E. “I was impressed with how much the instructor knew about this topic. I have a lot of ideas and tools I can take with me for my own projects now” -Jerry B.