Lane Shefter Bishop is a multi-award winning producer/director who has received numerous accolades for her work including an EMMY, six Telly Awards, a Videographer Award, three Communicator Awards, a Sherril C. Corwin Award, an Aurora Award, a Davey Award, a New York Festivals Award and the DGA Fellowship Award for Episodic Television. Currently, Ms. Bishop is CEO of Vast Entertainment, a book-to-screen company with numerous projects, including feature films: REBOOT (Peter Chernin/Chernin Ent) for Fox 2000, THE LAST APPLE (Silver Pictures and Ineffable Pictures), THE KILLER IN ME and HUNTER’S MOON (Todd Garner/Broken Road), RESET (Ellen Goldsmith-Vein/Gotham Group), SISTER’S GRIMM (State Street Pictures) and THE DUFF (McG/Wonderland – released 2015) for CBS Films & Lionsgate; MOW: THE CHOKING GAME (Orly Adelson Prods - released 2014) for Lifetime, which Ms. Bishop also directed; limited series: DEAD RUN (Jane Goldenring/Goldenring Productions) and TV series: CONFESSIONS OF A SOCIOPATH (Mike Medavoy/Phoenix Pictures), BLACKBIRD (Intrigue Ent), SHIFTERS (Chuck Roven/Atlas Ent), DIVE (Hunt Lowry/Roserock Pictures), THE BODY INSTITUTE (Storyline Ent/Zadan/Meron Prods) and ANNE PERRY’S ‘THE INVESTIGATOR’ (Lauren Shuler Donner/The Donner Co). Additionally, Ms. Bishop co-produced the feature film ASSASSINATION GAMES for MPCA. Ms. Bishop is also the former EVP of Motion Pictures and Television at TwinStar Entertainment. In addition to her scripted fare, Ms. Bishop also has extensive experience in reality television. Vast is currently partnered on all non-scripted programming with Bishop-Lyons Entertainment, which has a first-look deal with ITV Studios. To date, Ms. Bishop has directed more than two dozen sizzle reels as well as pilots for BLE, including VISIONARIES (partnered with Left/Right) for AMC, BARBADORO COMPOUND (ITV/MTV) and REINVENTION (Fox TV Studios.) Moreover, Ms. Bishop shot the pilot episodes for the series GEARS and the new show BODY SHOP CONFESSIONS. Ms. Bishop is also a three-time speaker at the WGA as well as at numerous writers conferences around the country and is author of the book SELL YOUR STORY IN A SINGLE SENTENCE, published by prestigious W.W. Norton & Company. In a recent online interview, CNN dubbed her “The Book Whisperer” of Hollywood. Ms. Bishop began her work in the industry at Moxie Productions, where she produced and directed projects for such networks as ABC, Showtime, HBO and MTV. She has directed numerous television shows and six feature-length motion pictures, including THE DAY LABORERS (aka Los Jornaleros), which received Official Selection in Edward James Olmos' LA Latino Int’l Film Festival , Cine Accion (San Fran), OutFest (Hollywood), Reel Affirmations (Wash DC), NewFest (NY) as well as the Milan International Film Festival (Italy). The film was distributed through HBO and Blockbuster. Ms. Bishop holds a B.A. in Literature from UC Santa Barbara and an M.F.A. in Production from USC's School of Cinema/Television. She is a director-member of the Directors Guild of America and the Academy of Television Arts and Sciences. Full Bio »
“What’s your story about?”
Having a perfect logline ready to answer that question can help give you the best chance of seizing the opportunity when you are asked. Your logline is your most important asset. It's invaluable for keeping you focused on what makes your story unique and for always making sure that you nail the first impression when someone asks you about your work. Having the perfect elevator pitch ready to go can make or break you when the opportunity presents itself.
But, why do so many creatives struggle with coming up with that one-sentence? How do you get better at honing your logline?
Stage 32 is here to help you. We have brought in Emmy-award winning producer Lane Shefter Bishop who has sold 30 PROPERTIES in the last 5 years - all from pitching just a logline. Plus, she is the author of the book Sell your Story in a Single Sentence; Advice from the Front Lines of Hollywood
Touted as “The Logline Whisperer” Lane Shefter Bishop has the specific tools you need to help you know how to sell what you write! In this Stage 32 Next Level Webinar, Lane will give you insider information on how you can best position your project to sell your work to agents, editors, publishers and producers.
Lane has successfully sold projects to various networks and studios, including NBC/Universal, ABC/Disney, CBS, Lifetime, Sony and 20th Century Fox. All of these projects have one thing in common – they began with a single sentence, a top-notch logline. After all, you can have the best material in the world but, if you get on the phone or in a room, you need to know how to sell it with your logline!
Plus, a live Q&A with Lane! Bring your loglines to critique!
Lane Shefter Bishop, Emmy-Award Winner
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!
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
Learn directly from Emmy Award-winning producer Lane Shefter Bishop! “Your story/book seems like it would make a great TV series or movie!” Ever heard these words before? If so, join executive Lane Shefter Bishop, as she takes you through the process in this Stage 32 Next Level Webinar. Over the last few years, Lane Shefter Bishop with Vast Entertainment has set up more than two dozen book properties – many of them only book proposals and early partials – with studios, networks and production companies throughout the entertainment industry. Underlying intellectual property is like gold these days. Great projects ‘based on’ or ‘inspired by’ literary material are constantly in demand. And by being in the center of this ‘content is king’ world, only Lane can give you the valuable insights towards making your story more sellable to the industry marketplace.
The magnitude to which the television landscape has changed over the past few years really can’t be overstated. Traditional models have been shattered and the dominance of network and cable television has given way to the streamers. Just look at this year’s Emmys—Netflix shows received 160 nominations, compared to NBC, which received only 47. With the way paved by Netflix, Hulu, and Amazon Video, the past few years have seen an explosion of streaming platforms and with it, new content and new opportunities for creatives to jump on board. The TV landscape has changed and continues to change, but most would agree: streaming is the place to be. Yet it’s not that simple, is it? With the world of television changing so quickly, it can feel like whiplash to keep up with everything. The world of streaming this year alone has seen new players (hello, Peacock) and others that have already fallen by the wayside (R.I.P., Quibi). Platforms continue to innovate and reinvent themselves to stay current and compete with their fellow networks, and as they change, so does what they’re looking for and how they look for it. If you’re a writer, producer, or creator working to get your television show on a streaming network, it’s hard to know where to start. There are always isolated articles in the trades as well as whatever you can find out through word of mouth, but what you might really need is for someone to lay it all out—what are the players right now, what content is performing well on their platforms, what are they looking for, and where are they headed? As luck would have it, Stage 32 has put this all together for you. Arielle Cohen is a Senior Manager in Strategy at NBCUniversal's streaming service Peacock, which launched this past July. In this role, Arielle works to grow and improve Peacock by researching what’s working and where the industry is headed. Arielle is also a Development Executive for Broadway Producer Eric Falkenstein's Spark Productions, whose Broadway credits include MOULIN ROUGE and TO KILL A MOCKINGBIRD. She is on the board of the Hollywood Radio and Television Society Associates, a member of TEDx Young Professionals, Women in Cable Television and Ladies of Comedy Association (LOCA). Through her work, Arielle has become a veritable expert in the world of streaming television and has a clearer view than most of where it’s headed. Arielle will provide a comprehensive look at the world of streaming TV today, focusing on who the major players are and what kind of content they are focused on. She’ll begin with an overall look at the television industry and how it has changed. She’ll also explain what the current streaming landscape looks like today. She’ll lay out the major players and how the recent additions of streamers have altered the ecosystem. She’ll also explain the difference between premium and ad-supported streamers. She will then offer strategies for you to determine which streamers could be the right fit for your project. Arielle will offer a deep dive into the seven biggest streamers today, going over their top performing shows and where they’re headed. She’ll do this for Netflix, Hulu, Amazon, Peacock, Apple TV+, HBO Max and Disney +. She will next delve into where we are going from here, including new trends and developments we should expect to see and whether we can sustain so many streaming networks moving forward. Finally Arielle will offer suggestions of what streaming execs are looking for and suggestions for making your own project more interesting to them. You’ll leave with a much clearer and fuller picture of this quickly shifting industry.
As an independent filmmaker, screening your project at a film festival may be the best opportunity to put your film (and yourself) on display. It remains a powerful platform for filmmakers of all levels to have their work seen. In fact you’d be hard-pressed to find a successful filmmaker working today who didn’t get their start at a festival. It’s where films get sold, where talent gets discovered, where reputations are crafted, where communities are built, and where the best networking can happen. And with the current movement away from the theatrical model and towards streaming, festivals can also often be the only possible way to physically show your film on the big screen to an audience during its life cycle. Yet despite festivals serving as a lifeblood of the film industry and a launching pad for so many, it’s still a relatively enigmatic and opaque landscape and a difficult one for even the savviest of filmmakers to navigate. Perhaps because festivals can feel so enigmatic, it’s common for filmmakers not to consider the workings of a festival or the rules and goals they operate under before submitting. After all, you already spent a huge chunk of time learning the rules and goals of filmmaking. You put in time, money and resources to make something good and that you’re proud of. Shouldn’t that be enough for a festival? Can’t they just say ‘yes’? Unfortunately, like with any aspect of this industry, there’s more to it. Programmers do a lot more than “find the best films” and they have to balance a lot more than simply choosing things because they’re “good”. To set yourself up for success, it’s time to better understand how festivals tick and what you can do while submitting, or even while making your film, to be better positioned for success and to hopefully get that long awaited acceptance letter. For nearly a decade Harrison Glaser has been immersed in the professional film industry working for Austin Film Festival and Stage 32. As Austin Film Festival’s Film Competition Director, he programmed the festival’s films for five years and discovered his passion for identifying deserving projects and championing exciting and unrecognized talent. During Harrison’s tenure as AFF’s Film Competition Director, over 100 films he programmed went on to secure distribution, six short films were later nominated for Oscars, and one that he qualified ultimately won the Academy Award. His work with Austin Film Festival and Stage 32 allows him to champion undiscovered storytellers and help them amplify their work. He also serves as a professional moderator for many different film related industry panels both online and offline. Through his many years leading AFF’s film selection and working closely with other film fests, he has become intimately familiar with the inner workings of larger festivals, as well as the common missteps many filmmakers make when working with them. He’s excited to share what he knows exclusively with the Stage 32 community. Harrison will pull back the curtains on how film festivals are organized and how they select films, and will give you tips and strategies to better position your film for success once it’s time to submit. He’ll begin by going over at the most basic level who festival programmers are and what drives them. He’ll then offer a bird’s eye view of how a festival’s selection process normally works, including who watches your film, how many times it’s usually watched, and whether it’s watched in its entirety. He’ll also give you a sense of how films are declined, shortlisted, or accepted. Next he will spend time discussing what programmers look for when evaluating films. He’ll go over what appropriate runtimes for both shorts and features are how programmers may react to specific themes and topics. He’ll also talk about festivals’ identities and audiences, premiere status requirements, and other content issues they consider. He’ll bring up copyright issues that sometimes come up as well as how to navigate submitting your film as a work-in-progress. Then Harrison will teach you tips for submitting your film, including how to navigate deadlines, how to work with FilmFreeway and other services, and what you need to have ready beyond just the film when submitting. He’ll also touch on press kits and cover letters. Harrison will delve into how to best communicate with festival programmers. He’ll talk about best practices, appropriate circumstances to reach out and situations when you should refrain from contacting them. He’ll also discuss what to do when you need to change your submission's Vimeo password and how to navigate updating your submitted cut. Finally, Harrison will explore the complicated, notorious world of fee waivers. Expect to leave with a comprehensive lay of the land of how festivals operate and a toolkit to better position your own projects for success on the festival circuit. Praise for Harrison's Stage 32 Webinar "Very informative and honest. Good coverage and great to hear form someone who knows." -Paula M. "Absolutely Great! It was really helpful to hear Harrison's insights & wisdom after having gone through the 2019 International Festival Season. I will definitely take all this with me into my next journey into the festival circuit!" -Becca G. "Excellent and insightful." -Elease P. "Super helpful in a LOT of ways! I will be sharing these insights with the production team of the short film I recently directed. We'll take many of these suggestions into account when we start hitting the submission circuit." -Peter M.
Horror genre television series are in demand in a BIG way. Many production companies and buyers are actively looking for stories that provide thrills, chills and scares. In recent years, we’ve seen a surge in developing and producing popular shows for cable, steamers and network television. Shows like AMC’s THE WALKING DEAD, Netflix’s THE HAUNTING OF HILL HOUSE (and now BLY MANOR), FX’s AMERICAN HORROR STORY, and HBO’s LOVECRAFT COUNTY have been paving the way for a new era of high quality, diverse, and ambitious horror series unlike anything that’s ever been created before. And according to the ratings, the appetite for this TV genre only continues to grow. If you have ever thought about writing, producing or selling your own horror television series, now is the time. You want to capitalize on this hot genre if you have a horror project you're thinking about creating or if you're interested in going to market with one you already have. With the barrier for entry open at networks, streamers and cable, there is more opportunity for you to showcase your story in the best possible light. In order to do so you have to know what the buyers are looking for and determine if your project aligns with their needs. You'll also need to understand the pitching environment and what you're up against in the room. It's important you have a clear understanding of your story, your series and your pitch in order to go from good to great and get the buyers excited about your project. Kevin Nicklaus is a veteran development executive with a long tenure with the The Wolper Organization, which has a first-look deal with Warner Bros., including HBO, HBO Max, Warner Bros. features, and more. He has been integral to the early development and sales of BATES MOTEL for A&E, the Emmy-nominated ROOTS for History, STEPHEN KING'S SALEM'S LOT for TNT, THE MISTS OF AVALON for TNT, HELTER SKELTER for CBS, THE BAD SEED for Lifetime and more. Kevin has been active in the world of horror television for years now and knows better than most what it takes to get a scary series off the ground. Kevin will delve into what the world of horror television looks like today and how best to approach and pitch your own horror series to give it the best shot of getting noticed. He’ll begin with a primer of horror television, including its history and a look at why it’s now more desirable for networks. He’ll also delve into the 4 popular trends currently found in horror TV and what the most popular horror series are right now and why. Kevin will then give you tips on how to approach your own horror series including how to consider your audience, whether your idea is a series or just a long movie, using teasers and cliffhangers effectively, and how to find your episodic engine. Next Kevin will show you how best to pitch your horror series. He’ll explain who’s looking for horror projects, what a good horror TV pitch deck looks like and what to focus on when you’re in the room. Finally he will outline the biggest mistakes to avoid when putting together your horror series, both when writing the pilot and when pitching. Expect to leave with a much clearer idea of how best to craft your own horror television series and have it find success. Kevin will even provide a free download of STRANGER THINGS’ early pitch deck and use it as a case study when delving into building your own pitch documents. Like what you heard from Kevin during this webinar? You can send your TV pilot script or feature script to Kevin and speak with him for an hour! Click here for TV pilots. Click here for features. "I love horror TV and this is such an exciting time for it. I've been working in this space for a while now and am excited to share what I know so you can better tackle your own horror TV project and get it noticed." -Kevin Nicklaus
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.