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?
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!
The television landscape is constantly changing, with new technology, new networks, new trends, and new players. Yet a constant throughout the years has been the popularity of the situational comedy. From I LOVE LUCY all the way to MODERN FAMILY and THE GOOD PLACE, there has always been an appetite for new sitcoms, funny stories and beloved characters to come back to week after week (or binge all at once). As a result, if you have great idea for a sitcom and a great pilot script to go with it, networks are always going to be interested. But first you have to write that pilot. But you can't build a house without a blueprint. That's why it's so important to understand the sitcom pilot script on a fundamental level. A written TV pilot is not something physically tangible. You're selling the network an idea, an episode, and, really, an entire series without ever shooting a single frame. That alone is an overwhelmingly huge task. This is why people often struggle writing a pilot script. Putting too much into the script, or not enough. Properly setting up the world. Getting your audience attached to your characters. Including enough jokes and still having a prominent story. All of these elements make crafting your sitcom pilot difficult and the overall process intimidating. Yet shining a light on the pilot process can help reduce the fear and better equip you when writing. David Shecter has has been working in the television industry in production, development, and as a writer for over a decade. He 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 smash hit 2 Broke Girls, where he worked his way up as a staff writer on the 6th and final season of the show. Since 2 BROKE GIRLS, David has served on the FOX sitcom OUTMATCHED starring Jason Biggs and Maggie Lawson and was named a WGA TV Writer Access Honoree for his script For Worse. David’s continued work in the sitcom TV world has lent him a keen understanding of what makes these shows successful and how to make the most of your sitcom pilot. David will break down how to write a great sitcom pilot that can build your world, show your style, and appeal to both executives and audiences. He’ll give you tips on how to find your sitcom’s tone and decide where it lies on the comedy spectrum between comedy and drama. He’ll discuss the differences between premise-based and character-based sitcoms and teach you how to find the balance between jokes and story. Next David will delve into the proper structure of a sitcom pilot, looking at length, episodic vs. serialized and if commercial breaks are still a thing. He’ll give you tips on how to start writing your sitcom pilot and break down the anatomy of a sitcom scene. He’ll share tips on how to build effective sitcom characters and will finally teach you how to best establish your world through the pilot and how to pack everything neatly into your script. David will even offer a deep dive of the pilot script for HBO's Emmy-nominated sitcom BARRY, analyzing why this script works. Everyone who signs up will receive a free download of this script. David is excited to show you the proper tools so you can start building the world of your sitcom from the ground up with complete confidence and create a product that can help you find the success you’re looking for.
Feature films, documentaries, biopics, book adaptations, and sequels/prequels are all very different from each other, but they share a fundamental legal necessity: the need to acquire certain intellectual property rights in order to make the film. Whether it’s a fictional character or a real-life person; a novel, play, comic book, movie, TV show, or web series if you don’t own or control the underlying rights your film may end up in litigation rather than the theaters. This webinar will introduce you to basic intellectual property concepts and walk-through the key agreements and licensing language you will need when you are making a film based upon somebody else’s property or persona. Too often filmmakers “shoot first and get permission later.” This might be fine for scenes which can be cut if you can’t get the rights but is disastrous when your entire movie depends upon a copyright or life story that you have not effectively licensed. Intellectual property can be complex, and confusing, and the failure to include the right licensing language may result in a film that can never be distributed. To make matters even more complicated, conscientious producers often pull forms from the web that are not designed for their particular projects. In this webinar you will learn from one of the top entertainment attorneys in the industry, Thomas A. Crowell, Esq. A former television producer and director of development for STN, Mr. Crowell counsels clients on a wide range of entertainment law and intellectual property rights issues. He has worked with clients who have had deals with TLC, Elsevier Publishing, Starz, Discovery Communications, Focal Press, the Smithsonian Network, WE: The Women's Entertainment Network, The Science Technology Network, IDW Publishing, and Sony Entertainment. His clients' work is seen in the pages of Marvel and DC Comics and on movie, TV, computer, and mobile screens across the world. He will teach you how to spot problems with licensing agreements, learn what agreements are needed in order to license copyright and “life rights,” and learn how to investigate and correct breaks in a film’s “chain of title.” You will walk away feeling confident that you have the correct copyrights in place for your project!
Whether you're controlling some valuable intellectual property, looking to secure IP, or simply have a valuable property in the form of a spec script, TV pilot, webseries, digital series, or other filmed material, you are likely going to be confronted with signing or distributing an option agreement. It is imperative that you understand the various types of option agreements and what information should be included to assure that you are not only protecting your material, but yourself legally as well. As the content gold rush grows, option agreements have become more and more commonplace. It is the vital piece of the paper trail that will ensure you are exercising and getting all your rights as your project gets made. These agreements are designed to protect both sides of a given deal, but can be complicated and sometimes include unnecessary language or clauses that could serve to hold up your content or payment. before you sign on the dotted line, you need to understand what exactly is an option agreement, who has creative control, how much money can be made and what you need to include to protect your rights up front. Lane Shefter Bishop is an Emmy award winning filmmaker and producer who has set up over two dozen book properties - many of them only on book proposals and early partials - with studios, networks and production companies throughout the entertainment industry. She is the CEO of Vast Entertainment, a book-to-screen company with numerous projects at both studios and networks, including feature films for Fox 2000, Silver Pictures, CBS Films & Lionsgate, and TV films for Lifetime, as well as TV series with Phoenix Pictures, Atlas Entertainment, The Donner Company, Storyline Entertainment and Universal Cable Productions. She has been on both sides of option agreements and knows the ins and outs of what you need to take into account for your own option agreement. Lane will provide you essential practical knowledge on the ins and outs of option agreements and break them down step-by-step and section-by-section. You will know what is included in a typical option, what purchase price can be expected, what royalties can be expected, what reserved rights are and how to handle publishers releases, notarized addendums and author assignments. This is vital for authors and screenwriters who currently have or expect to have their own material optioned and want to know what monies they can expect to make, when, and how. But it is also highly beneficial for producers, directors, and talent looking to acquire their own underlying material for development- books, short stories, graphic novels, articles, etc. Lane will provide you with a comprehensive, but easy to understand deep dive on option agreements. She will remove the fear and anxiety which will allow you to clearly and decisively protect yourself and ask for the important items that need to be included in all your agreements. Praise for Lane's Stage 32 Webinar “Very impressed with Ms. Bishop, both her formal presentation and the Q & A that followed.” - Steve Weintz “The seminar was informative, insightful, well documented, entertaining, well thought out and delivered with a touch of humor. Wonderful!” - Katharine Carter
Your goal as a filmmaker or producer is to make your project more financially attractive to investors over everyone else presenting projects to them. What many filmmakers and producers don't know is that there's a "sweet spot" in a film budget range that will help you raise funds successfully and get the ROI your investors are looking for. Setting the budget for your feature film below $2 million opens up a variety of options for you to be able to attach the talent you're looking for, the distribution you need and make your investors money. But first, you have to understand the financial blueprint to get you there. For many independent film producers and filmmakers, approaching financiers and securing financing for your project presents one of the biggest challenges in the entire filmmaking process. How do you build your team, bring in development funds, attach name talent and work with rebates, sales estimates, and distribution to attract financing, all while compiling a plan to mitigate your financial risk? It can be overwhelming for a producer, especially given the ever-changing landscape and the increasingly competitive nature of independent film. Susanne Bohnet is a producer who has worked on hundreds of films under $2MM. She was previously heading the U.S. office of Equity Pictures (Equity Pictures has been the second largest film fund in Germany). During her time with Equity Pictures, the company's annual investments grew from USD $30 million to USD $200 million. Prior to managing funds with Equity Pictures, Ms. Bohnet was S.V.P. of Taunus Film in Germany, where What Women Want (starring Mel Gibson and Helen Hunt) became the company's most successful Hollywood endeavor generating over $300 million of box office and ancillary revenue. Susanne has worked on countless productions under $2MM and is here with the Stage 32 community to share her knowledge. Through this webinar, you'll receive the tools to approach your film from the investor's point of view so you can not only get the money you need for your project but, most importantly, how your investors can get that money back with profits. You'll be able to build a team around your project that will make investing more attractive and assure you don't make mistakes when you go after funding. You'll know the type of funding available to you and how to approach the investors attracted to and interested in every kind of financing. You'll dissect how to get agents on your side to attach talent to your project and how to work with attorneys. You'll also know the most effective distribution options for this type of film budget. Give yourself the competitive advantage to understand the investors you need to approach, how to approach them, how to get talent attached, and, ultimately, how to get your film made, distributed, and profitable, so your investors return again and again!
With the tremendous box office success of CRAZY RICH ASIANS, BOOK CLUB and THE BIG SICK and the streaming successes of SET IT UP, SIERRA BURGESS IS A LOSER, and TO ALL THE BOYS I LOVED BEFORE, romantic comedies are making a huge comeback for all types of audiences. Variety called Rom-Com's the "Hottest genre" for 2018 and beyond. If you have been sitting on a Rom-Com script or been thinking about writing one, now's the time to learn about the current marketplace for romantic comedies.
We will examine ways in which screenwriters tackle one of the most complex and difficult concepts in narrative storytelling, looking at projects like Edge of Tomorrow to discuss rules that are created, bent, and broken by writers.