Mickey Fisher was an unknown writer from Ironton, Ohio when his contest-winning TV script EXTANT caught the attention of Steven Spielberg and later became the science fiction series on CBS starring Halle Berry. Mickey has since firmly implanted himself in the world of science fiction television, creating the NBC series REVERIE and National Geographic’s MARS. He has also served as a consulting producer on Amazon’s JACK RYAN and a writer and co-executive producer on Guillermo Del Toro’s acclaimed FX horror series THE STRAIN. Full Bio »
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Netflix and Stage 32 have partnered on an exclusive global education series in an effort to democratize the worldwide entertainment industry. Together, over the course of 5 webcasts Stage 32's world class educators will bring their knowledge of what it takes to write, develop and produce today's television for the Stage 32 and Netflix creator community. These global webcasts have been seen by hundreds of thousands of creatives worldwide with a 100% satisfaction rate!
In our fourth webinar in this exclusive "Creating Television Content for a Global Marketplace" series, we are going to give you the ins and outs on how you can effectively write science fiction scripts for streaming television.
Do you have a great sci-fi idea that deserves to be seen?
Television is exploding right now with sci-fi shows that infiltrate our minds like Dark, Squid Game, Yellow Jackets and Stranger Things. Writers with fantastical minds are drawing us into some of the most creative worlds we have ever seen right now, as well as producing some of the most memorable characters. Great shows like Game of Thrones, Extant and Reverie paved the way for the hits we see today and streaming platforms are looking for the next great sci-fi scripts to bring to the world.
In order to tap into this incredible sci-fi landscape you have to be armed with the tools to write a solid pilot and be able to sustain your idea for multiple seasons. It takes a refined approach to understand the nuances of science fiction writing. Stage 32 and Netflix are going to give you the tools to make sure your script is in top shape.
To guide you on your way is producer and writer Mickey Fisher. Mickey broke out onto the scene when his contest-winning TV script Extant caught the attention of Steven Spielberg and later became the science fiction series on CBS starring Halle Berry. Mickey has since firmly implanted himself in the world of science fiction television, creating the NBC series Reverie and National Geographic’s Mars. He has also served as a consulting producer on Amazon’s Jack Ryan and a writer and co-executive producer on Guillermo Del Toro’s acclaimed FX horror series The Strain.
In an exciting FREE webcast Mickey will go into more detail on choosing a sci-fi series concept, core elements of your sci-fi series, planning character journeys, your pilot, season one and beyond, thinking international and believing in your project for the marketplace.
To see the full webinar overview, see below. Some of the case studies Mickey is going to go over in the webinar are:
Note: You will receive the Zoom link to login by the morning of the webinar.
If you are not yet a member of the Stage 32 community, we encourage you to join the community today at www.stage32.com, it is FREE! You will instantly connect with over 800,000 creatives and professionals in the entertainment industry from all over the world who use Stage 32 to network, find work, learn and develop their projects. YOU MUST HAVE A STAGE 32 PROFILE TO WATCH YOUR VIDEO.
Case Studies: EXTANT, REVERIE, STRANGER THINGS, DARK, GAME OF THRONES, SQUID GAME, MONEY HEIST (not sci-fi but there are some relevant points), YELLOW JACKETS, THE MANDALORIAN, PEACEMAKER
1) Choosing a Sci-Fi Series Concept
2) Core Elements of Your Sci-Fi Series
3) “On the Axis” - Planning Character Journeys (pilot, season, series)
4) The Pilot
5) Season One and Beyond
6) Thinking Globally - common elements of worldwide success stories
7) Owning Every Word
8) Q&A with Mickey
Want to see the other webcasts in this exclusive Stage 32 + Netflix Creating Television Content for a Global Marketplace series?
Click here: TV Pitch Documents with Chris Mack
Click here: TV Pitch Documents with Chris Mack - Closed Caption
Click here: TV Story Structure with Anna Henry
Click here: Writing Scripts to Budget with Jeanette B. Milio
Click here: Writing Hit Sci-Fi Scripts for Streaming Television with Mickey Fisher
Click here: Writing Hit Comedy Scripts for Streaming Television with Vijal Pital
Click here: Writing Hit Drama for Streaming Television with Leila Cohan
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Learn directly from Jon Reiss, a distribution and marketing specialist who's worked with Paramount Pictures, Screen Australia, Film Independent, and is the year-round distribution and marketing lab leader at the IFP Filmmaker Labs. Filmmakers all over the world are confronted with a changing distribution landscape for their work – how are they to approach the myriad of options whether traditional or emerging? No matter how you release your film filmmakers must be grounded in what their goals are and knowing how to engage their audience. This webinar will cover the essentials that all filmmakers need to consider before marketing and distributing their film: goals and audience. We will first examine the five main goals possible for a films release followed by three steps of the Think Outside the Box Office (TOTBO) audience engagement process: identification, connection, value.
***Lab spots filled - Join our TV writing lab next week with TV literary manager Spencer Robinson - learn more here*** You’ve heard the phrase “the content gold rush” get bandied about much these days, but as it relates to TV, it’s never been more true. Drama television is at it's peak with such iconic shows like OZARK, KILLING EVE, BETTER CALL SAUL, THIS IS US, THE HANDMAID'S TALE, MR. ROBOT, STRANGER THINGS, BLACK MIRROR, BIG LITTLE LIES 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. Sessions will vary between 2-hour group settings and personal one-on-one Skype 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 Amanda at email@example.com for more information This lab is limited to 10 people ***Lab spots filled - Join our next TV writing lab with literary manager Spencer Robinson - learn more here*** 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.
If you’re a horror writer, you may have tons of great set pieces you can’t wait to terrify audiences with, but unless those pages are compelling and maintain the readers interest, your script will remain just a collection of words. The first priority of ANY writer, horror or otherwise, is storytelling. Before you make a classic horror film, you’ll need an effective and readable screenplay. Horror movies are no exception to the importance of structure. It’s not just about terrifying the audience; it’s most importantly about telling a story. The story is what makes us care about the characters and the hell they are about to go through. You could have the most original scares imaginable, but if we don’t care about the story then we won’t care about the characters who have to endure those horror set pieces. Most importantly, without elements of structure, a producer may stop reading your screenplay. If that happens, it’s highly unlikely they’ll be interested in making your film. So how do successful horror screenplays nail story structure? What are the major pitfalls most horror writers fall into and what can you do to make your script stand out from the rest? David Ian McKendry is a professional screenwriter, script consultant, and script doctor who has worked for Universal, Blumhouse, Lifetime Networks, and The Hallmark Channel as well as numerous independent production companies. He began working in the entertainment industry as a video producer and writer for Fangoria Entertainment before later putting together his own horror films, including ALL THE CREATURES WERE STIRRING, starring Constance Wu (CRAZY RICH ASIANS). Through his own experiences writing and producing horror films as well as fixing other writers’ scripts and teaching screenwriting and production to countless students and aspiring filmmakers, David has a keen sense of what makes a script successful in the horror genre and will be sharing what he knows exclusively with the Stage 32 community. David will dive deep into how to write and structure an effective horror screenplay. He will begin by first teaching you what the horror industry looks like today, how to find work within it and what sort of horror trends are important to note right now. He’ll then break down effective structure in horror, including dissecting the cold open, Act One, Act Two and Act Three. David will conclude by providing tips on what to do with your script after you’ve written and re-written it to get it out into the world and find the attention it needs. David will be using the screenplays for 1980’s FRIDAY THE 13TH and 2017’s HAPPY DEATH DAY as case studies as he continues to break down horror film structure. Everyone who signs up for this webinar will receive these screenplays to download for free.
AN EXCLUSIVE CLASS FOR WRITERS AND PRODUCERS Learn From An Executive Who Helped Reboot HAWAII FIVE-0, MAGNUM P.I., and MACGYVER “Case-of-the-week” shows, also known as “procedurals”, are extremely popular with today’s networks. If you’re a fan of the LAW & ORDER, CSI, NCIS, or CHICAGO franchises, or the CW’s DC universe, then you’re a fan of procedurals. Even streamers have gotten in on the action, picking up Fox’s genre procedural LUCIFER after the broadcast network canceled the series. And as the streaming services launch their AVOD platforms procedurals are going to be in higher demand than ever in the coming years. These shows feature a main central plot line every week that only lasts for that singular episode. While many of these shows have story threads that last the length of the season, the key element of any procedural is for a new viewer to be able to drop in on any episode and watch a story from beginning to end. The great thing about procedurals for writers is that they make for stronger writing samples in your portfolio and can work with many different genres to show off your writing chops. In this exclusive on-demand Stage 32 class, you’ll find out exactly how to write a great procedural pilot to either sell or help you get staffed in a writers’ room. Showing you how great procedurals are done is accomplished TV Development Executive Chris Hazenbush. Chris has helped develop and sell pilots to ABC, CBS, and NBC, and most recently, was the Director of Development at AfterPortsmouth Productions, the company behind THIS IS US. Chris's latest project, THE NEVER GAME starring Justin Hartley, was recently greenlit for series at CBS and will premiere in 2023. Chris previously worked on the development team for the reboots of HAWAII FIVE-0, MAGNUM P.I., and MACGYVER, which have amassed millions of viewers throughout their series’ runs. Over four focused sessions, you’ll cover the crucial elements you need when crafting a procedural series and pilot script, the structure and act breaks needed, how to develop your characters’ season arcs within the format, and more. By the end of this class, you’ll have developed your own procedural show to add to your writing portfolio by learning how these shows get made through the eyes of a top-notch development executive. Don’t miss out on this incredible opportunity to learn from one of the people behind some of CBS and NBC’s biggest procedural series.
It's an undeniable fact, there is no hotter market right now than television. Over the last year, over 600 shows were broadcast on TV networks, basic cable, premium cable, and the streaming platforms. And this isn't even counting limited series, docu-series and other short form content. And with new platforms like Disney+, Apple, Facebook TV and others diving into original content, there is no peak in sight or end to this gold rush on the horizon. If anything, we may just be getting started. In fact, most streaming platforms like Netflix have made a pledge to have their entire libraries consist of over 50% original content in just a few years. Think about that! So how can you take advantage of this incredible buying and producing spree, get in a writers room, work your way up to an executive producing/showrunning position and run your own show? We're glad you asked. David Weddle has been at the television game for over 20 years. Over a prolific and well documented career, David has worked on some of the most highly acclaimed and longest running shows of all time including Battlestar Galactica, CSI, Star Trek: Deep Space Nine and Guillermo del Toro's award winning and ground-breaking series, The Strain. David has worked side-by-side with some of the top showrunners in the business including Cartlon Cuse (Lost, Bates Motel, Jack Ryan). Currently, David is a co-executive producer/showrunner and writer for the Apple TV hit For All Mankind. In this exclusive special event Stage 32 Masters of Craft Webinar, David will take you to what it takes to build a career from writer to showrunner. He will explain the entire landscape and give you a full understanding of who does what and why. He will explain how to get into a writer's room and what to do (and not to do) once you get in. He will show you how to play the political game, climb the ladder, and earn respect. He will teach you how to think and work like an EP until you become one. As if that wasn't enough, David will then take you through the world of showrunning. He will explain how writer's rooms are staffed. How seasons are laid out, how arcs are created and how episodes are broken down. He will explain budgets and scheduling, using real world examples from The Strain, Battlestar Galactica and CSI. He will talk hiring directors, getting your cast and making sure your show runs like a Swiss watch. And he will take you through the days and nights of being an EP and showrunner, so you know exactly what to expect and how to navigate the playing field. Joining David to moderate this exclusive Stage 32 Masters of Craft webinar is our very own CEO, Richard Botto, a writer and producer himself with a television pilot in development. The world of breaking in and staying in television doesn't need to be complicated. David will show you the tricks, tips and, most importantly, the facts you need to shorten your path to success. "I was in a writer's room for 9 weeks and then our show got cancelled. I learned more today than I did being in that room for those 9 weeks." Anthony P.
An Exclusive Horror Writing Lab Payment plans available - contact firstname.lastname@example.org for details Work one-on-one to write and workshop your horror feature script with a professional screenwriter who wrote and produced the paramount Pictures horror film MARGAUX Only 2 Spots Left! Are you ready to write your horror feature screenplay? Horror films have a track record of doing well with audiences across all demographics, as these films tap into our greatest fears, wants, needs, psychosis, and primal instincts while hitting us with a dose of adrenaline. Horror is viewed as a great bet by many producers and studios when greenlighting a project… and for good reason! NOPE, SCREAM, PARANORMAL ACTIVITY, and so many more have generated massive returns… With multiple subgenres under the horror umbrella, it is important to understand YOUR voice and how you can subvert expectations and tropes to create something new and exciting. Throughout this exclusive Stage 32 eight-week interactive lab, you will write the first draft of your own horror screenplay, chosen from three pitches submitted to your host, Nick Waters, and you will learn how to market your finished screenplay to the marketplace. Nick is a writer, director and producer whose horror feature, MARGAUX, was released last year from Paramount Pictures starring Madison Pettis and Vanessa Morgan. He also directed and produced the documentary WHEN WE DANCE. You’ll cover everything in this lab from actually writing your horror feature script with outlines, structure, and dialogue to best positioning your script in the marketplace with loglines, pitch decks, one-pagers, and commercial viability. You’ll have two one-on-one sessions with your instructor and weekly assignments to guarantee that you’re always progressing with your screenplay while being vetted by a professional screenwriter. You'll be held accountable on your progress and workshop your script in class as you build relationships with other passionate writers. A lifelong horror fanatic, Nick can’t wait to help you develop and write your horror script. You will walk away from the lab with a completed screenplay for a horror feature film and know how to best market your story to the producers and production companies clamoring for new material.