David Shecter has has been in the industry for over a decade. David was first acclimated into TV production when he worked on season 5 of “IT’S ALWAYS SUNNY IN PHILADELPHIA". Eventually David landed on the pilot of the CBS show 2 BROKE GIRLS where he worked his way up as a staff writer on the 6th and final season of the show. He has written and produced two episodes of 2 BROKE GIRLS. From his early years in the industry he has cultivated strong relationships with Emmy winners Michael Patrick King (SEX AND THE CITY, THE COME BACK, 2 BROKE GIRLS) Max Mutchnick & Dave Kohan (WILL AND GRACE), Greg Malins (WILL AND GRACE), and John Riggi (30 ROCK, THE COMEBACK). He is currently developing a female driven action comedy cop show with New Form and STX Entertainment. Most recently David was named one of the WGA TV Writer access honorees for his script FOR WORSE. Full Bio »
It's an undeniable fact, we are living in a gold rush of comedy content featuring lead female characters. Just think about the major box office and streaming successes we've seen over the last few years. On the feature film side, you have movies such as Late Night, Girls Trip, What Men Want, Rough Night, Bad Moms, and Trainwreck to name a few. On the networks, premium cable channels, and streamers Fleabag, 2 Broke Girls, Mom, Glow, Russian Doll, Insecure, The Marvelous Mrs. Maisel, and Unbreakable Kimmy Schmidt have drawn huge audiences and many have won major awards. Is it any wonder why development executives, managers, agents, producers and financiers are looking for writers who have the ability to write screenplays and teleplays featuring memorable and iconic female characters?
There are many inroads to breaking and staying in the industry as a writer, but one of the most important factors is understanding what's hot in the marketplace. And right now, thanks to the massive buying power of the streaming platforms along with other major feature film and television production companies looking for comedies, it's never been a better time to understand how to write female driven comedies that pop.
David Shecter has has been working in the industry in production, development, and as a writer for over a decade. David has written on many shows, including season 5 of It's Always Sunny in Philadelphia. His experience and success on that show landed David on the pilot of the CBS show. 2 Broke Girls where he worked his way up as a staff writer on the 6th and final season of the show. David is currently developing a female driven action comedy cop show, Lady Copped, with New Form and STX Entertainment. Most recently David was named one of the WGA TV Writer access honorees for his script For Worse.
David will teach you everything he's learned about writing female driven comedies throughout his career. He will show you how to avoid the all to common cliches that seemingly find their way into every female driven script. He will show you why sex sells, but how to properly write sex and sexuality into your screenplay to make it unique. He will teach you the practice of gender flipping and role reversals. He will show you how you can bring a personal connection to your female characters no matter whether you're a male or female. He will show you how to examine your plot and your characters before you begin writing to make the process flow more smoothly. He will show you the difference between one dimensional vs multi-dimensional characters and how easy it is to fall into the former, but how important it is that you learn the latter. Finally, David will present a case study of his latest screenplay Lady Copped which is now in development with New Form and STX.
Whether you're a feature or TV writer, you will learn all the important factors in writing a female driven comedy that will get you reads and attention.
"Another incredible and insightful webinar presented by Stage 32. I have received notes on my screenplays in the past that my female characters fell into cliche. As a female, that pissed me off! But now I understand why and I'm already on the path to changing things for the better. Thank you, David, and bravo, Stage 32!
"Can men write female driven comedies? I often asked myself that question. I'm not any longer. Loved this presentation.
- Kyle P.
Who the H*ll is this GUY and What is He Doing Teaching About Writing Female Characters?
The Difference Between Men and Women When Writing Comedy
How to Identify Your Female Driven Concept and Make the Comedy POP
How to Write Multidimensional Characters:
Don’t be Cliché:
Case Study: David's comedy pilot LADY COPPED in Development with STX Entertainment & New Form
Pitching Your Female-Driven Comedy Project
Q&A with David
Q: What is the format of a webinar?
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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!
This week we welcome playwright and TV writer who is the author of over forty plays! His television credits include Executive Story Editor on Season 2 of the Starz drama "MAGIC CITY", and serving as Executive Story Editor on two seasons of the HBO television show "HUNG". He wrote and directed the film EXILES IN New York, which played at the A.F.I Film Festival, South by South West, The Santa Barbara Film Festival and The Latin American International Film Festival in Havana, Cuba. He has also has sold his original television projects to Starz, Amazon and AMC, among others. During this incredible Executive Hour, Eduardo talks about working with Oscar-winner Al Pacino on the film SCARFACE in his early 20's, how to write compelling characters for stage and screen, what it is like being in a writers room for HBO, and offers a exercise in breaking character and story that brought one of our members to tears!
Many times in writing our projects do not have a strong enough inciting incident to effectively kick off the narrative. During this webcast we will look at moments everything changed for our protagonists and they were launched on their journey. Every event that happens subsequently will be traced back to this one monumental event. We will examine the inciting incidents of films as well as television shows and explain how they changed the world in an irreversible way. Examples include films such as Monsters Inc., Saving Private Ryan, "The Sopranos," "Breaking Bad," and more!
A hot topic of conversation in our current COVID-19 world is how film, television and new media productions will resume production safely and effectively. The entire entertainment legal landscape has changed as a result of the world’s pandemic. Producers, filmmakers, directors and crew need to think about protection before you can ever step on set to say “action.” It’s important to take a deeper look at the legal agreements that tie parties together on a project as we contemplate the future. Contract provisions that parties wrote off as “boring” or “boiler plate” will significantly change moving forward. It’s important you understand how this affects your project. You don’t want to get stuck with a production or financial nightmare if you’re not protected legally to move forward on your film, TV or new media project. There are five basic provisions in a legal contract that many dismissed as “boring boiler plate” that now will have significance moving forward. It’s important that you know the basic purpose of these provisions, why they are drafted and what purpose they serve for all parties. With each provision, you will need to know the impact and implications as it relates to COVID-19 and how these provisions will continue to change to comply with government and guilds, insurance coverage and mitigation of risk for both parties. You need to make sure to contemplate unlikely scenarios so that contracts are comprehensive to whatever may occur. Elsa Ramo is one of the top entertainment attorneys in the industry today and the managing partner of Ramo Law. Recently named to Variety’s 2019 “Dealmakers List,” Elsa Ramo has represented over 100 films and 50 television scripted and unscripted series in 2019 alone, including Emmy award-winning shows and films which debuted at the 2020 Sundance Film Festival.Her clients include Imagine Entertainment, FOX, Balboa Productions (Sylvester Stallone’s production company), Scout Productions (creators and EPs of QUEER EYE), Boardwalk Pictures (EPs for CHEF’S TABLE) and Skydance. Elsa has her finger on the pulse of the legal side of the entertainment law and works non-stop to protect her clients in all deals. Elsa will go through the nuts and bolts of contractual provisions in the entertainment industry and a walk through of how these should and will change due to the COVID-19 pandemic. Elsa will start by offering a basic understanding of five contractual provisions that are now much more important in the wake of the pandemic: Force majeure, suspension/termination provisions, assumption of risk and related indemnification provisions, medical releases and disclosures, and scheduling and payment provisions. She’ll discuss why they are drafted and what purpose they serve among the parties. Then, with each provision, she will discuss the impact and implications as it relates to Covid-19 and how these provisions are and will continue to change to comply with government compliance, guild compliance insurance coverage and mitigation of risk for both parties as they contract during a pandemic. Elsa will distill what we can learn from changing these ‘boring provisions’ that we can apply to better prepare ourselves for future unlikely scenarios and ensure contracts are comprehensive to whatever may occur. Finally, Elsa will teach you how to flag and ensure that the modifications placed on these contracts comply with government legislation, union compliance, and other worst-case scenarios.You will be fully prepared to understand how “boring boiler plate” provisions can affect your project and how to best protect yourself. Praise for Elsa’s Stage 32 Webinar: "This was one of the best webinars I have taken so far. Thank you again. I look forward to the next one!" -Romina S. "Awesome presentation - great speaker, made complicated issues much clearer, lots of great info! Great info for anyone in the industry in all positions. Thanks!!" -Ron H. "This webinar was absolutely brilliant! Elsa is clearly a pro, but her manner was so calm and approachable. She didn't talk down to us and explained all these intricacies so that I believe everyone was able to understand them. Bravo! More Elsa Please!" -Becca G. "Elsa is always amazing and legal is always a fantastic topic, now more than ever!" -Lisa G.
What's going on, Creative Army? It's been a moment since we last had the time to interact in a live setting. Let's remedy that with another AMA (Ask Me Anything), pre-Cannes style. We got together for another inspiring, motivating and energy-packed question and answer session. For 2 hours I left you with tips, tricks and actionable information to help you move forward with your 2019 (and beyond) goals. Remember, no matter what your discipline, skill level, geographical location, etc, this AMA is for ALL! As always, registering for my AMA is completely free. Spreading some positive vibes. Cheers! RB
Writing a film for television has a ‘unique set of skills’ which are different from writing a traditional screenplay. If you never learn how to write for the BOOM!, act break structure, number of locations, and characters, you’ll get stuck in re-writing hell or worse yet, never have your script read. Understanding script structure, outlining, and deliverables for television films prior to writing will give you a leg up on the competition. Additionally, each network has its own set of rules and you want to ask the right questions prior to typing ‘Fade In’. With more television networks producing their own content and films, the need for content is higher than ever. However, TV films have their own structure and layout, especially when dealing with networks that have commercial breaks. Additionally, working with producers and executives is a different animal than working with producers and executives in the independent world. Courtney Miller Jr. is a 5-time award winning director who has worked with the biggest names in entertainment including Michael Jackson, Beyonce, Usher, and Britney Spears. He's a staff writer for the hit show Saints & Sinners on Bounce TV and recently completed his first feature film A Stone Cold Christmas for Bounce TV, where he served as the co-writer and director. Courtney has development deals with TBS, Lionsgate, MGM, Legendary, Weed Road, Viola Davis' company Juvee, Bounce TV, and Will Packer. His award winning short film REPAIRations! - The Musical, received the Director's Choice Diversity in Cannes Best Musical. He has directed commercials for Nike, Apple & Hewlett Packard. He knows the television writing and directing landscape inside and out and he's ready to share his knowledge with you. Courtney will dive in by explaining all the differences between writing a TV and a traditional film screenplay. He will discuss how to format acts, how to be sensitive to the shooting schedule, what you can expect regarding deadlines and delivery dates and how to navigate dealing with the network. From there, Courtney will take you to the greenlit phase where you'll need to know what deliverables you are responsible for, how much time you'll be given to deliver your rewrite, and how to handle network notes (there will be plenty). Courtney will then jump into the writing process including how to write for the BOOM!, how many acts you need to have in your script (and if that varies) and the importance of writing a compelling and attention grabbing Act 1. Going even deeper, Courtney will discuss beat sheets, how many beats you need to add, and what your overall beat sheet should look like. And finally, Courtney will explain how to write an outline that keeps the execs happy and off your back so you can go do what you do best...write! "Another winner for Stage 32. I have many scripts I thought would be a better fit for television and now I know how to get it done!" - Fiona C. "I'm ready to write for the BOOM! Thanks, Courtney!" - Miguel P. "It's always been a dream of mine to have something on the Hallmark channel. Now I have the framework and I'm ready to start writing." Melissa H. "Couldn't have been any better. Great detail!" - Ida W.
Learn directly from leading creative executive at Mandalay Pictures, Patrick Raymond! Every screenwriter has a goal they set out to accomplish. The mark of a great screenplay usually depends on whether or not this goal was achieved. Aside from being a visually arresting film, 'Ex Machina' stands apart as one of the great recent screenplays and finds its success in bringing forth engaging ideas, strong characterization and lofty goals. What is it about this intriguing and unsettling piece that resonates with audiences across the globe? What makes this ambitious screenplay cinematic as opposed to something we can watch on television or other formats? We are going to dig deep into the pages to identify the mechanisms and components that are utilized by Writer/Director Alex Garland the really bring the pages to life. I'm excited to take this journey with you and look forward to our discussion.