Nikki Terpilowski is here to help you master self-editing techniques. Nikki is a long time literary agent and owner of Holloway Literary who represents both screenwriters and novelists and is highly experienced at negotiating book-to-film deals for her clients, most recently Argent Pictures and ABC Studios. Her roster of authors have made Amazon, iTunes, Globe & Mail and USA Today bestsellers lists, have been nominated for Goodreads Choice, and RITA Awards and received starred Publishers Weekly reviews. She has also been invited to speak, teach classes and take pitches at ThrillerFest, Sisters In Crime, Romance Writers of America (RWA), Virginia's Festival Of The Book and many more literary events. Needless to say, Nikki is incredibly familiar with writers and their work and knows what it takes for a script to make it through the noise and get her attention. Full Bio »
If you talk to an exec, a manger, or any other gatekeeper, you may be surprised to find out just how many scripts that are sent to them are turned down before they’re even given a chance. Whether it’s due to formatting errors, unclear descriptions, or other fixable problems, countless scripts fall by the wayside and countless writers lose an opportunity either because they were too eager to submit or because they weren’t able to look at their creation with objective eyes. The good news is this is a problem that can be fixed.
Before you send your script off to representatives, executives, or reputable contests, you need to ensure your screenplay is written clearly, formatted correctly, and tells a story that raises the stakes and builds momentum. Too often, writers go on blind faith and hit “send” before it sees a second set of eyes. But you can (and should) be your own second set of eyes with a practice known as self-editing. This is where you take your writer hat off, hang it up for a hot second, and put your editor cap on so you can revise your screenplay in an objective manner. It’s harder than it seems, but there are actually 10 specific things you can learn to read your script for that will help ensure it’s ready to be sent. If you can master the self-edit, you will greatly improve your chances of getting your work seen. Ready to learn how to do that?
Nikki Terpilowski is here to help you master self-editing techniques. Nikki is a long time literary agent and owner of Holloway Literary who represents both screenwriters and novelists and is highly experienced at negotiating book-to-film deals for her clients, most recently Argent Pictures and ABC Studios. Her roster of authors have made Amazon, iTunes, Globe & Mail and USA Today bestsellers lists, have been nominated for Goodreads Choice, and RITA Awards and received starred Publishers Weekly reviews. She has also been invited to speak, teach classes and take pitches at ThrillerFest, Sisters In Crime, Romance Writers of America (RWA), Virginia's Festival Of The Book and many more literary events. Needless to say, Nikki is incredibly familiar with writers and their work and knows what it takes for a script to make it through the noise and get her attention.
Drawing on her deep literary background, Nikki will teach you an effective way to self-edit your own script and the 10 aspects you need to focus on before sending it off. From more technical issues like script formatting and establishing action to narrative topics like scene structure and character arcs, Nikki will walk you through how to determine if each element in her self-edit checklist is effective. She’ll give you tools to determine where your script’s red flags might be and strategies to fix up each element.
With the strategies Nikki provides, you’ll be able to feel more confident in getting your script ready and sending it to reps, execs and contests
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History is littered with the bones of many failed films which fell apart due to conflicts between the director and producer. While you'll often hear how important it is for a filmmaker to have relationships with all the vital players and department heads on his or her set (and it certainly is), the reality is that the relationship between the director and the lead producer is the one that will begin the earliest and last the longest throughout a particular project. A healthy, cohesive relationship between the film director and the producer will show the cast and crew that a united front has been formed and that everyone is pulling in the same direction. An unhealthy, bifurcated relationship will put the cast and crew on their heels, which will inevitably hurt the project. Directors and producers are often people of vision and power. Harnessed correctly and collaboratively, that combination can bring out the best in everyone and help to make a project stay on time, on budget, and on message and voice. Harnessed incorrectly, ego and hubris take over. It may seem obvious that communication is the key to assuring that the relationship flourishes, and that's not totally untrue. But the key to a productive and positive relationship between the director and producer is understanding all aspects of what needs to get done, recognizing what the other person's needs are, defining what's worth standing up for and what's worth letting go, and recognizing that at the end of the day, you're both fighting for the same result. As President of Production at Zero Gravity Management, Tai Duncan oversees film projects from inception to completion encompassing all aspects of development, casting, finance and production. Zero Gravity is a production and management company based in Los Angeles that boasts a strong client list of screenwriters, directors, actors and financiers for feature films and television. Tai recently produced PROUD MARY for Screen Gems starring Taraji P. Henson and HOW IT ENDS for Netflix starring Theo James and Forest Whitaker, HONEST THIEF starring Liam Neeson and THE MARKSMAN starring Liam Neeson. Zero Gravity produced the Warner Brothers, Ben Affleck starring action/thriller THE ACCOUNTANT, the drama A FAMILY MAN starring Gerard Butler and Willem Dafoe and Executive Produced the hit Netflix television show OZARK starring Jason Bateman. Needless to say, as an on set producer, Tai knows a thing or two about the director/producer relationship including the pitfalls and the paths to glory. Beginning with pre-production, Tai will take you what steps you will need to take from moment one to forge a productive relationship that will last through post and beyond. Tai will talk about the steps you need to make to assure you are communicating clearly and effectively. He will talk you through script notes, casting, hiring crew, location scouting and scheduling. Moving on to production, Tai will teach you how to keep things smooth on set, how t manage disagreements, scheduling and money issues, and the push and pull between what a director wants and what he or she has in the can. Tai will then move on to post, and how to manage expectations during the assembly cut and the director's cut. He will discuss scoring, sound and color, sales and marketing, festival approaches, and even distribution strategies so that everyone is fully communicating and staying on the same page throughout. "Don't allow a failed relationship, miscommunication or misplaced ego sabotage all the work and effort that's gone in to putting a project together. Cohesiveness begins at the top and must continue throughout the project. I'll show you how to get it done." - Tai Duncan
"Very informative and complex concepts were broken down so folks without a law degree could understand them." - Elisha B. When you are putting together a deal as a writer, producer or filmmaker there are many things to think about when it comes to your contracts - between option agreements, purchase agreements and negative pickups it's important you understand what deal you're getting yourself into before you start development. Your Stage 32 Educator is entertainment attorney Jordan Barel, who's a California attorney that has worked with AMC, New Line Cinema, Generate and Alloy. He is also a producer who develops projects based off IP and started out as the television coordinator at Verve Talent & Literary Agency. You will cover three different types of contracts: purchase agreement, option agreement, and negative pickup. Jordan will discuss terms in both a legal and practical matter so that you get the information needed to be prepared to negotiate your next agreement. Such things will include material and boilerplate terms, what can or can't be negotiated, and how lawyers themselves will be reading and reviewing your agreement. This will be an in-depth, but accessible, legal discussion walking you through each part of a standard purchase and option agreement. Plus! You'll get 5 contract templates to download! Whether you're a producer, filmmaker or writer learn the overview of contracts to give you a competitive advantage in your next negotiation! **All materials have been prepared for general information purposes only to permit you to learn more about certain types of contracts within the entertainment industry. The information presented is not legal advice and is not to be acted on as such, please consult your lawyer for issues specific to your contract. PRAISE FOR JORDAN'S TEACHINGS: "Very informative and complex concepts were broken down so folks without a law degree could understand them." - Elisha B.
Write the first draft of your female-driven feature screenplay while being mentored by literary manager Audrey Knox, whose clients have written features for Lionsgate (ALICE, DARLING), Tubi (CRUSHED), Lifetime (SINGLE BLACK FEMALE and SINGLE BLACK FEMALE 2) and more. PLUS! You'll receive the scripts for female-driven films including THE MENU, EVERYTHING EVERYWHERE ALL AT ONCE, THE DEVIL WEARS PRADA, LEGALLY BLONDE, PROMISING YOUNG WOMAN, ARRIVAL, ZOLA, SHE'S GOTTA HAVE IT, and ANNIHILATION ***Flexible Learning: if you cannot attend any of the sessions live don't worry - you will be sent the links to the recordings of each session within 48 hours of the live session and you will have direct access to Audrey on email to ask her any questions so you can keep up at your own pace and schedule.*** Payment plans available - contact firstname.lastname@example.org for details Are you a writer with a great idea for a female-driven movie? Then it’s time to write your feature and bring your unique voice to the industry! Audiences are hungry for movies that center on complicated and diverse women. BARBIE is shattering records. Comedies like BOOKSMART and BOTTOMS are launching careers. Horror films like M3GAN and BARBARIAN have been breakout hits. NO HARD FEELINGS and SHOTGUN WEDDING are proving that the female-driven mid-budget rom-com is finally back. There has never been a better time to tell entertaining stories about compelling women. But to take your character and story from an idea all the way to the theater, you’re going to need to know how to write complex women and understand what producers, executives and buyers are looking for in your screenplay. In this exclusive Stage 32 8-part screenwriting lab, you will work one-on-one with a top literary manager to take your female-driven feature film from concept to completed first draft. You will receive direct and personalized feedback on your work throughout the eight weeks, so you walk away from this course with a solid first draft of your screenplay in hand. Taking you through this professional-level training is Audrey Knox, literary manager at Cartel Entertainment, a company with hundreds of writer and director clients with films like JOY RIDE, HAPPY DEATH DAY, 1982, CHRISTMAS WITH THE CAMPBELLS, and more. Audrey represents writers and directors in film and TV, across all genres. She has found recent success bringing female-driven scripts to production companies and studios. Audrey has a wealth of knowledge from her decade of experience in the industry on how to create long-lasting, compelling, female-led stories that sell. She will teach you practical structural guidelines to carry your reader expertly from the first page, through the complex second act, and all the way to a satisfying climax and conclusion. This hands-on experience goes much further than other classes and webinars. You will study successful movies and their scripts alongside a small group of passionate writers in an interactive setting. You’ll also workshop your script and your classmates’ work as a group in sessions and have take-home assignments, so your movie is always progressing and getting stronger. PLUS! Audrey will provide you with a series of successful female-driven feature scripts to learn from. Downloads include: THE MENU THE DEVIL WEARS PRADA LEGALLY BLONDE EVERYTHING EVERYWHERE ALL AT ONCE PROMISING YOUNG WOMAN ARRIVAL ZOLA SHE'S GOTTA HAVE IT ANNIHILATION Spots to work with Audrey are limited. Once they’re gone, they are gone for good. Don’t miss out on your chance to write your script and work one-on-one with a top literary manager today! Praise for Audrey's Teaching: "I can't say enough good things about Audrey. She cares about helping her students and provides very valuable information. I wish she was MY manager!" - Sam R. "I didn't realize how much should go into reaching out to reps until I took this class from Audrey. I was doing it all wrong!" - Morgan B. "Audrey is one of the best teachers on Stage 32. I can't recommend learning from her enough." - Sidney M.
4 part class taught by award winning screenwriting career coach and author Lee Jessup! AVAILABLE ON DEMAND! Finishing your script may be one of the hardest steps, but it's only the first! Now what? Despite its reputation, many writers are still surprised at how hard it is to not only break into the entertainment industry, but sustain a screenwriting career once inside. What you need is a proven mentor, someone who can give you the know-how to help you break into Hollywood with stunning success. Stage 32 Happy Writers is excited to bring you the previously-recorded 4 part class: Breaking Into the Industry – Creating and Maintaining a Screenwriting Career taught by Lee Jessup, award winning Screenwriting Career Coach and author of the best-selling screenwriting book, Getting it Write. Learn everything you need to know to help jump-start your screenwriting career from a seasoned veteran who has coached WGA members, Golden Globe and Emmy nominated writers, best-selling authors, and contest winners. 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!
Learn directly from Melissa Daykin Cassill, Vice President of State Street Pictures (Faster, Beauty Shop, Barbershop, Notorious, Nothing Like The Holidays) The Hangover, Bridesmaids, Little Miss Sunshine. What is it, exactly, that makes these comedies stand out from the crowd? With so many different types of comedies in the marketplace, it is becoming the toughest genre to break into. More executives are turning to A list comedians to write than actual screenwriters, so how do you get an executive's attention? How do you get past executives that have different senses of humor, jokes that don't translate internationally, and storylines that can easily get deemed outdated a year later? Stage 32 Happy Writers is excited to bring you our 4 week online intensive class How To Write A Fresh, Stand Out Comedy taught by the Vice President of State Street Pictures, Melissa Dayin Cassill. In this hands on 4 week course, you will learn the importance of the emotional crescendo of a comedy script, how to balance the comedy with the humanity of the characters, and how to pitch your comedy script once you're ready, all while molding your pages under Melissa's supervision. With interactive lectures and weekly homework assignments directly geared towards strengthening your pages, this class will help you craft your writing into a fresh stand out comedy script that will grab executives' attention! Purchasing gives you access to the previously-recorded live class. Although Melissa is no longer reviewing the assignments, we still encourage all listeners to participate.
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.