Allen James Roughton is the Stage 32 Happy Writers Coordinator, a screenwriter, reader and development researcher who has consulted on over 100 projects, scripts, books, comics and films and conducted research on life stories, exposés, professions and locations for major production companies. Nick Assunto is part of the Stage 32 script services team. He was previously a reader for the Austin Film Festival, and this past year was a writer for the 2017 CBS Diversity Sketch Comedy Showcase. Nick also studied improv and sketch comedy at UCB in both New York and Los Angeles from 2007-2016 where he also co-hosted the Sunday show B.Y.O.T. for a time at UCB Sunset's Inner Sanctum. Though writing is his passion, Nick has also dabbled in acting, having been featured on Late Night with Jimmy Fallon, an eHarmony commercial directed by Limp Bizkit's Fred Durst (for real), and is infamously known as Tony, the annoying party member from the 'Four Friends' Elder Scrolls spots. Full Bio »
We see over 200 projects pitched on Stage 32 each week and review the feedback execs give on all of them. We see the good, the bad, and everything in between. We see what gets read and what gets the dreaded pass. What lands on the top of the pile and what gets buried under everything else. And we see the questions about pitching that get asked week in and week out. So we at Stage 32 have decided to put our experience together in a FREE Webinar on Pitching through Stage 32!
On Monday, March 12th at 1PM Pacific, Stage 32 Writing Service's Allen James Roughton and Nick Assunto will take a deep dive into sharing what they’ve learned over hundreds of pitch sessions and thousands of pitches.
Have a question about pitching you've always wanted to ask us? Join us live and participate in the Q&A!
We'll cover everything that goes into both verbal and written pitches including:
Allen Roughton & Nick Assunto
4 part class taught by Stuart Arbury, Director of Development at Captivate Entertainment (Universal)!AVAILABLE ON DEMAND! The number one genre we hear most executives look for is horror. Horror written in any language can be easily enjoyed by any viewer from around the world. It's the most universally acceptable genre out there, and it's where filmmakers go to cut their teeth (Sam Raimi, James Gunn, Oliver Stone, Peter Jackson, Francis Ford Coppola, James Cameron, Zack Snyder, and Steven Spielberg all started in the horror genre). But writing a fresh, commercial, scary horror is getting harder as executives continue to see familiar tropes and generic set pieces. What a writer sees as a fresh idea, is one that an executive has probably seen in some variation many times over. Stage 32 Happy Writers is excited to bring you the previously-recorded 4 part class: How to Write a Unique, Commercial Horror Script taught by Stuart Arbury, Director of Development at Captivate Entertainment (Universal). From choosing a concept to picking an antagonist, from strengthening the emotional crescendo to amping up the scares in your project – Stuart covers all in this 4 part intensive class. **Plus! You'll get a copy of the HALLOWEEN script in your resources! Purchasing gives you access to the previously-recorded live class.Although Stuart is no longer handing out or reviewing the assignments, we still encourage all creatives to participate.
To see a video sample of the class, see below! 3 part class taught by Lee Stobby, Manager and Founder of Lee Stobby Management! One of the most challenging parts as a writer is getting your story, ideas and dialogue into a script that is a respectable length. When you're looking at a completed draft that is facing a rewrite, how do you know what to cut? Many times you may think nothing can go without killing the story, but keeping the length is not always a good thing. A development executive's job role varies day to day and with a constant barrage of responsibility, longer scripts usually end up drowning to the bottom of the "to-read" pile. The truth is that executives sometimes even ask how long a script is before committing to read it. As a writer you will lose the battle if turning a page ends up being a struggle for any industry professional. Which brings up the very important question: what can be cut without sacrificing the heart of the script? Stage 32 Happy Writers is excited to bring you the previously-recorded 3 part class: The Rewrite Process – What Do I Cut? taught by Lee Stobby, literary manager and founder of Lee Stobby Entertainment. Purchasing gives you access to the previously-recorded live class.Although Lee is no longer reviewing the assignments, we still encourage all listeners to participate!
Part 1 - Overview of the Staffing Process Amanda discusses the strategy and steps of the staffing process from the studio, network and production company perspective. You will gain incite into what producers are looking for from a staffing sample and how to improve your chances of standing out in crowd. Part 2 - Tips for Writing an Original Pilot A discussion on the creation of a strong, unique and memorable original pilot; Choosing the right concept to display your original voice, crafting characters who can last for seasons and improving dialogue skills. Part 3 - Pilot Format, Structure and Plotting Amanda details structure and formatting techniques, for drama and comedy, as well as the importance of a strong, steady plot and why you need to keep the reader engaged with big plot moments every few pages in a staffing sample. Part 4 - Spec Scripts & Next Career Steps Amanda answers why it’s important to have a spec script to send as a follow up to your original pilot, and how to write a spec script through copying an existing show’s voices and format. She also covers reaching out to agents, managers, and studio training initiatives with your writing samples. Purchasing gives you access to the previously-recorded live class.Although Amanda is no longer handing out or reviewing the assignments, we still encourage all listeners to participate!
PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your drama pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Pitch Docs, Character This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given. Payment plans are available - please contact email@example.com for more information.
Taught by Director of Development at Supergravity Pictures, Mike Flavin, who's worked on films such as Sony/CBS's Faster with Dwayne Johnson and Billy Bob Thornton, and The Enivitable Defeat of Mister & Pete with Jennifer Hudson and Anthony Mackie which was screened at the White House. Hollywood has found itself looking inward at the plummeting returns from the "Blockbuster Months". Why did a relatively "starless" movie like Guardians of the Galaxy print money, while Tom Cruise's Edge of Tomorrow flopped? Why would seemingly well known Intellectual Property like Peabody and Sherman tank while another brand, Lego, do so well? (besides the world's obvious affinity for Chris Pratt!) The answer lies in one confirmed fact about the movie industry: you never, ever know what will be a hit and what won't. BUT, in saying that, there is a way in which you can give your project the absolute best chance of success by looking analytically at successful films from the past and implementing these dynamics into your project. If you've seen the film, Moneyball, you'll remember Jonah Hill's character found a way to statistically determine the best odds for his team's sucess. Our webinar host, Mike Flavin, has been able to analytically and statistically apply a method to do the same for a script or film - and he's found success as a Director of Development by doing just that. Join Mike as he teaches you his methodology to apply components in a script that make it more sellable. In this webinar, we will break down several successful movies in a number of genres and draw statistical conclusions on what made them so successful. It's the Moneyball-ization of Hollywood; let's play the house against itself!