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Based on the Breakdown Webcast by Writers' Room member Stephen Potts, write a pitch for a producer explaining the piece of IP you want to adapt and why. Full Bio »
Based on the Breakdown Webcast by Writers' Room member Stephen Potts, write a pitch for a producer explaining the piece of IP you want to adapt and why.
The Write Now Challenge
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"This was fabulous. Good job everyone" - Becky B.
"Great pitches, everyone!" - Martha C.
A first ever for the Writers' Room! Audrey Knox will critique the logline submissions she finds the most intriguing. Audrey Knox is a TV literary manager at The Cartel - a management and production company. Audrey staffed her client on the series "UPSHAWS" for Netflix. She also co-represents the Showrunner behind Mindy Kaling's "THE SEX LIVES OF COLLEGE GIRLS" on HBO Max.
The Stage 32 team brings you an exclusive special event you won't find anywhere else! Christopher Lockhart, who works with Denzel Washington, Michelle Williams, Ben Affleck, Matt Damon and more is known around town as the logline whisperer. He will be breaking down effective loglines and will be listening to logline pitches to critique and help yours get better! You don't want to miss this opportunity to learn from an industry heavyweight like Chris, exclusively in the Stage 32 Writers' Room!
One of the common complaints with scripts is on-the-nose writing. This month, we're challenging you to convey a series of emotions without using the actual words (or synonyms - no cheating!).
Whether it’s epic battles between giant robots, a street fight, or someone chasing after the love of their life at the airport, the vast majority of movies and television use at least a bit of action writing. So we are challenged you to write an original or polish a scene with action, and really focus on making those moments of movement pop!
Using the Breakdown Webcast: Well This is Awkward as your guide, craft your own 3-5 page scene that gets awkward for one (or more) characters. By the end of the scene we should know the relationship between your characters, the source of conflict, the tactics each character uses to get what they want, and the outcome. Is it a victory? A defeat? What are the results and repercussions?
In this challenge, members were asked to tell an entire story, in one page of script, using precisely four scenes. Far too many screenwriters waste pages. Good screenwriting is about making every single sentence count. There shouldn’t be any moment of a movie or television series which isn’t important on some level. The scenes can have dialogue - or no dialogue - depending on what you choose. What is important is that it has a beginning, middle, and an end. When you are done watching the webcast, head on over to the Private Lounge and discuss your favorite submissions!