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In this Bonus September Writers Roundtable yet again, we are turning the content of the webcast over to you! This webcast is an open forum for you to openly discuss your latest successes, challenges, observations, and questions.During the webcast members discuss the differences between the Marvel and DC Universes, how to tackle writing race and ethnicity in screenplays, a step-by-step process for adapting novels into screenplays, life on set post COVID and much more! Here are some helpful links from the discussion: Academy Awards Inclusion Initiative: https://deadline.com/2020/09/oscar-best-picture-shakeup-criticism-academy-heads-1234573760/ The Personal History of David Copperfield: https://www.imdb.com/title/tt6439020/reference Full Bio »
In this Bonus September Writers Roundtable yet again, we are turning the content of the webcast over to you! This webcast is an open forum for you to openly discuss your latest successes, challenges, observations, and questions.
During the webcast members discuss the differences between the Marvel and DC Universes, how to appropriately write race and ethnicity in screenplays, Diversity in Film & Television, a step-by-step process for adapting novels into screenplays, life on set post COVID and much more!
The Writers' Roundtable
"First time attending. Thanks to everyone for this inspiring and enlightening conversation!" - Catherine F.
"Thanks Jason and everyone. We have such a great community!" - Petula
"Thanks Jason and group. Interesting and educational conversation is great." - Debbie
"Fantastic session!" - Christopher L.
"Thanks for this bonus, Jason. Great get together and great information." - Jill H.
***Sorry, the lab is filled!*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. With the TV market exploding right now, 30-minute and 60-minute TV drama and dramedy pilots are in demand. Many, if not all, managers and agents are looking for writers that can write in this space, and with more and more production companies heading into TV, knowing how to write a strong TV pilot will give you a competitive advantage and help you find success as a TV writer! Stage 32 is thrilled to have our Writing Lab: Write Your TV Pilot and Lean How to Pitch it in 10 Weeks taught by Anna Henry who is a veteran TV development executive that's worked with ABC, CBS, Nickelodeon, SONY, 20th Century FOX Television, Amazon, Starz, EOne, OddLot Entertainment, Corus, ITV America and more. This hands-on intensive lab will guide you through picking a concept, creating engaging characters, structuring and outlining your pilot, writing the pilot, polishing and pitching it! You must have a solid understanding of screenwriting to participate. We will not be going over the basics. The main objective of this 10-week lab will be to have a solid completed script that is market-ready to start pitching. You will meet online with Anna for 2 hours a week in a class setting, plus have phone or Skype consultations during some of the weeks when you don't have an online class. This will be accompanied by weekly homework assignments to guide you on your way to creating a marketable, unique pilot that will grab the industry's attention. Payment plans are available - please contact firstname.lastname@example.org for more information. This Lab is Limited to 10 People.
A great story starts with great characters and every great character starts with a great introduction. We challenged you to create or rewrite a scene where a major character is introduced.
Let's face it, executives, producers, managers, agents, financiers, and gatekeepers in general are busy. Between meetings, reviewing content and business plans, and working with their clients and colleagues, time is at a premium. But, that doesn't mean they're not on the lookout for new material and talent. In fact, that's their job! Still, to sort through all the people and content that they confront and are presented on a daily basis can be a daunting task. They want those people and material that stands out immediately. And that's where a killer query letter or a memorable and meaningful cold call can make a huge difference and set you apart from the crowd. Talk to any executive and they'll tell you that they receive dozens if not hundreds of query letters a day. Because most of them don't have an attention grabbing subject line or little to no personalization, almost all end up in the trash. But, any executive will also tell you that if a subject line grabs them, or if the query letter shows the recipient that this was a personal, non-mass, attempt to get their attention, you have a very real shot of doing just that. The same holds true for cold calls. Having a solid, wise approach and knowing exactly what to say will give you the best chance of breaking the ice and securing the conversation you were hoping for. It's all about creating intrigue, interest, and value while approaching your subject from a place of selflessness and thoughtfulness Wendy Kram has over 20 years of experience as an entertainment industry executive, consultant, and producer, developing and producing projects for Disney, Universal and Sony Studios, HBO, Showtime, Lifetime, NBC, ABC, CBS and USA Networks. Her credits include Mad Money with Diane Keaton, Queen Latifah, and Katie Holmes, the award-winning miniseries Sally Hemings: An American Scandal for CBS with Sam Neil, and current projects she's producing with Anonymous Content (the company responsible for True Detective, Mr. Robot, The Revenant, and Spotlight). As the founder of L.A. FOR HIRE, an international consulting firm, clients come to Wendy for her expertise in script development and the ability to connect projects with Hollywood A-list talent and decision-makers. With longstanding industry relationships, Wendy understands buyer and creative talent needs, and has direct access to principals at the major studios, networks, streaming providers and agencies. Creative Screenwriting Magazine ranks Wendy and L.A. FOR HIRE as one of the industry’s premiere script consulting firms. Wendy will teach you all the tips and trade secrets she's learned pitching projects and dealing directly with executives. She will show you how to craft a logline, pitch, and powerful statements for just about any situation. She will show you how to deliver your message with power and control while being engaging and confident. She will instruct you how to not only get by the gatekeepers, but to get them to remember you - to become an ally. She will show you how to avoid novice mistakes that will lead to dead ends. She will teach you how to develop leads and then how to create and nurture these relationships. Wendy will show you how query letters and cold calling can become powerful tools in your arsenal. Wonderful class - simplified and helpful information that can be applied immediately for better results. The examples at the end are totally worth it. - Cate C. One of the most generous presenters imaginable; outstanding! - Virginia Y. Wendy was really excited to be involved which was great! - Brent B. Very interesting and engaging. I loved it. - Jason A. Wendy was terrific, on point, and insightful. The Q&A was incredible. Thanks again. - Maria L.
You want to be a studio writer. You have a high concept screenplay. Perhaps you control some blockbuster intellectual property (IP). Or maybe you have the next big trilogy or breakthrough character idea. There are hundreds of studio films that are released each year in need of talented writers. But writing high concept screenplays requires a particular set of skills and understanding. Landing a studio job as a writer is NOT an impossibility. In fact, more and more studios are turning to writers (and directors) of smaller films to help develop and write bigger budget features. But, as you might imagine, this is a competitive arena. Learning how to write a studio style screenplay is only part of the game. You need to understand how to get from completed screenplay to into the room. And then you have to understand how to work the room. The simplest way to get all this done? You need a team. Securing a manager, perhaps an agent, and, most importantly, a qualified, killer entertainment attorney on your side can make all the difference. Sounds like a long haul? It's not. It all begins by looking at yourself as an entrepreneur. Michael Colleary has been working within the studio system for over 3 decades. He was the lead writer on Face/Off and the story creator and editor on Lara Croft: Tomb Raider. And those are a couple of the movies that got made! Michael has made a career and a very lucrative living writing studio films that were purchased and never made. Even though you know some of Michael’s films, he’s made an entire career off of writing things that maybe you’ve never seen get made. Studios pay big money for screenplays, even those that don't make it to the screen. Michael will take you through everything you need to know about breaking into the studios and sustaining a career. You will learn to think like an entrepreneur and develop the skills you need to get work writing specs, rewrites, pitches and script doctoring. These are the skills that will make you an in demand writer. But that's not enough! Michael will also teach you the business side of working within the studio system. You'll understand how to build your support team and how to negotiate. This often overlooked part of the process is what will separate you from the pack and help you get in and stay in the system. “Anyone, and I mean anyone interested in becoming a screenwriter – or becoming a BETTER screenwriter has come to the right place. Michael is the best story analyst in Hollywood. Smart, insightful, thorough and creative – he will work his rear-end off on your script or story idea until it sings with commercial and artistic viability. I know this from first hand experience, having collaborated with him on numerous television and feature film projects, beginning with ‘Face/Off.’ Additionally, he has served as my personal mentor and sounding board on practically every sale I’ve ever had in my entire career. You will not be disappointed!” - Mike Werb; screenwriter “The Mask,” “Face-Off,” “Tomb Raider,” “Unnatural History” and more.
When making an independent film, finishing the film is only half the battle. You need people to actually see the film you’ve worked so hard on. When it comes to distribution, it’s important to know how to get your film into the worldwide marketplace. Once it’s there, you need to know how to generate interest toward it so the film can make its money back for the investors and back-end participants. Distribution comes in all shapes and sizes, but what kind of distribution is right for your indie film? Sometimes it means getting your film distributed by a studio; sometimes it’s creating a self-distribution path. Sometimes —- most typically — the distribution lands somewhere in between. Every film is different and therefore requires a different marketing plan, release strategy, and team behind it that have the passion and drive to get the most out of its release amongst the myriad other movies available. In this on-demand Stage 32 Next Level Webinar, host Tiffany Boyle will get into the details of what the independent distribution process looks like. She will go over how to get the right representative, foreign sales agent, and domestic distribution, and the different options for each based upon the size, genre and execution of a film. She will also discuss what the key points are to look at when reviewing a foreign sales agent and/or domestic distribution deal. Filmmakers should be making an informed decision when choosing who will be handling the licensing of their film for the next 3-25 years, and Tiffany is here exclusively for Stage 32 to help you navigate the ever-evolving world of indie distribution. Tiffany Boyle is the President at Ramo Law and works with producers, financiers and writer clients to bring their new material to life. Having been a Director of Sales at Crystal Sky Pictures, Tiffany has an extensive background in foreign sales. She now works with the attorneys to review, collaborate, develop, submit and supervise creative materials on behalf of clients within the firm. Tiffany has worked on over 100 features including, Stuck In Love, Pawn, Gimme Shelter, Maladies, and I-Lived. She has been to AFM, Berlin, Tribeca, TIFF, Sundance, and Cannes and is constantly expanding her knowledge of how to match films with production and distribution companies.
Producer Sasha Nonas-Barnes joins our Panel as we listen and read your pitches live to help educate the Writers' Room screenwriters on what is and isn't working in their pitch.