Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, TBS and more. Spencer’s clients have also recurred on series for Freeform, TNT, AMC, Showtime and many more. He currently has a client writing on 2 Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. One of Spencer’s clients had her first film shot for Netflix last year. Art/Work's writing clients work in both features and television on broadcast, cable, and streaming platforms. Full Bio »
The big streaming platforms (Netflix, Amazon, Hulu, Disney+, Apple TV) are leading the charge in original programming. The number of new shows being produced has never been higher. However, these platforms have different needs, different expectations and different boundaries and mandates than those of traditional broadcast networks. So how does a creative navigate the big time streaming world? And how does a writer stand out to get staffed or sell a standout drama series? This webinar will explain in comprehensive detail how drama series are pitched, developed, and sold to streaming platforms and what you can do as a writer to position yourself to get noticed.
With so many writers vying for an opportunity to sell or be staffed on a show, it’s incredibly important to understand the changing landscape and know the best ways to operate within it. Having a clear sense of how executives at streamers think and what they’re looking for will give you a distinct advantage in adjusting your script to pique their interest or in presenting yourself more effectively to sell your show or get staffed on one of their growing number of series.
Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix.
Spencer will use his extensive experience working with writers and selling their shows to streamers to share some of the do’s and don’ts of writing a drama pilot for streaming television and outline how to tailor your script to make the best impression with the executives at these platforms. He will do this by first laying out how the streaming platforms differ from one another and what exactly they're looking for. Not all streaming platforms are created equal and it's imperative you know the difference. From there, Spencer will dive into script structure and formatting, specifically analyzing what you should be considering before you write your pilot. Next, he will tackle staffing and sales, so no matter what your goal whether to be in a writer's room or selling your pilot, you have all the information you need to position yourself correctly and with the best chance of success. Spencer will even get into the difference between streaming platforms and broadcast networks so you can determine where your material might be a best fit. Expect to leave this class with a comprehensive understanding of the shifting industry of streaming television and a toolkit to better excel within it.
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Praise for Spencer's Stage 32 webinar:
Spencer was awesome! Super informative and detail driven - providing great insights. Packed so much into a short amount of time which I'm super grateful for!
Spencer Robinson has high energy and packs a ton of information in his lecture. Most importantly Spencer gives realistic advice while encouraging writers to move forward fully informed of the terrain.
Spencer opened my eyes to how the TV world works with broadcast and streaming. What a great crash course!
"Very enlightening. Gave a realistic view of how difficult it is to get a pilot made but was just inspiring enough to give hope. :)"
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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.
**Only 10 Spots Available - 1 Spot Remains** Comedy is hot right now. Considering the unprecedented 9 Emmy Award sweep from PopTV's SCHITT'S CREEK, 30 minute comedies are here to stay. We're also seeing growing popularity of all kinds of diverse comedic storytelling and perspectives, like HBO's INSECURE, ABC's BLACK-ISH, FX's WHAT WE DO IN THE SHADOWS, Hulu's RAMY, and Amazon's FLEABAG. It seems like every day a new comedy series is announced in the trades, and the signs point to this trend only continuing. So are you ready to write the next show that's going to keep us all laughing? The opportunities may be extra plentiful right now, but if you want to write for comedy TV 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 sense of humor. This is your calling card, your way in, the piece of material that will fire you off the launch pad. Let us give you the guidance to make your comedy pilot as good as it can be and help you springboard your writing career. Spencer Robinson is a literary manager at Art/Work Entertainment who has been selling and staffing his comedy clients on the industry's leading series for years, including shows on Amazon, HBO Max and Jason Bateman's production company Aggregate just this year. He's also had clients work for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. Spencer is one of the most sought-after literary managers in the business for nearly two decades and is one of Stage 32's most popular and in demand educators. In this lab, you will be working directly with Spencer in a virtual class setting and also during one-on-one online sessions to create a fantastic, market-ready comedy pilot. No matter if you want to write a single-cam or multi-cam pilot or want to write for late night TV, Spencer is here to help you. He will guide you through creating engaging characters, building your world, perfecting your structure, constructing an outline and, finally, writing the three acts of your pilot. If you already have a concept, or even a completed pilot, Spencer will use the same tools to help you hone and sharpen your material. Throughout the course of this exclusive online lab, you will have direct access to Spencer as a mentor by email and via video conferencing as you write your pilot. WHAT TO EXPECT By the end of this 6-week writing lab, you will have a completed comedy 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 Spencer. 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 a manager 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 firstname.lastname@example.org for more information This lab is limited to 10 people - 1 Spot Remains 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. Praise for Spencer's previous Stage 32 Writing Labs: "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. (now signed to Fineprint Literary Management after crafting her pilot with Spencer) "Spencer was amazing!" - Summer K. "I had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A. "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.
Comes with invaluable handouts and downloads including example pitch documents, structure diagrams, and up-to-date information on production companies and studios to reach out to It is the Content Gold Rush for television and the industry needs television writers. Are you looking to be staffed on your favorite show? Are you looking to sell your TV project? Now is the time. But first, it's important that you understand the overall TV landscape, how you fit in, and where to begin. With so many fresh shows emerging on television and various streaming networks, more and more writers' rooms are looking to be staffed and original ideas are getting bought. The opportunity to start a career in TV writing is more attainable than ever. Literary manager Spencer Robinson can help you get there. Spencer is literary manager at one of the top management companies Art/Work Entertainment who has been selling and staffing his clients on the industry's leading series for years, including shows on Amazon, HBO Max and Jason Bateman's production company Aggregate just this year. He's also had clients work for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. Spencer is one of the most sought-after literary managers in the business for nearly two decades and is one of Stage 32's most popular and in-demand educators. In this 3-week interactive class, Spencer will go in-depth on the steps you should be taking to find work as a writer in TV. Whether you're interested in selling your own TV show or film, or if you want to join a writers' room, there are specific steps you need to be taking aside from simply writing well, and Spencer will break it all down for you. Spencer will provide you with the proper approach when it comes to talking with reps, managers, agents, attorneys, showrunners and execs. What’s more, he’ll share his powerful pitching knowledge for writers looking to sell their show idea or screenplay. You’ll leave this four week class understanding what it takes to write on assignment, what kinds of written tools you should have prepared prior to meetings, and the general etiquette you should come to the table with so you can land a job as a writer in the industry. In this exclusive Stage 32 class you will be working with and interacting virtually with Spencer so bring your questions! Plus, he'll be available on email for any questions you have throughout the class! Plus! Along the way Spencer will provide exclusive and helpful downloads and resources you can take back to your own projects including: The real STRANGER THINGS pitch deck The real ADVENTURE TIME pitch deck Story Structure Diagrams Sitcom Chart 2021 Facts on Pacts TV "I had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A.
People are glued to streaming platforms more than ever and desperate for a show to make them laugh. Everyone who's read your script knows you're funny. Why can't that show be yours? We're giving you the expert tools to get in the room and make this the year you launch your television comedy career. Do you dream of your joke being the next viral meme? Or your show being the next awards-sweeping TED LASSO? Are you unsure how to navigate comedy audiences in a world where tastes and platforms are rapidly changing? No matter what your style or skill set, there's an audience out there for you. But you won't find them until you put yourself out there with the right tools to get staffed or sell your brilliant comedy. Every day there's a new streamer with its own brand and audience to cater to. From TED LASSO to PEN15 to SPACE FORCE, there have never been so many opportunities available. But while making someone laugh gets you a career, it takes more to get you in the door, and these digital players aren't following the rules of traditional networks. In this exclusive Stage 32 webinar, you'll learn the ins and outs of streaming writers' room styles and how to be effective within them so that your jokes get airplay. You'll understand how to write stories that will thrill a showrunner and get you staffed in a room. You'll have the chance to analyze your pilot to consider where it fits in the marketplace, how to view it as though you're the executive, and determine how to strengthen your concept so that it's ready to sell. You'll discover the differences between platforms, budgets, schedules, audiences, and development needs, and more. Most importantly, you'll learn how to get your work into the right hands and snag that comedy gig at a top streaming platform. Taking you through the state of streamer staffing season and pilot selling is literary and talent manager Spencer Robinson of Art/Work Entertainment. With over 20 years of experience, Spencer has had clients in films from directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski, and more. His clients have worked on projects from Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. Using his extensive experience helping writers get staffed and sell their pilots, Spencer teaches you the do's and don't of writing for streamers vs. network and how to tailor your script to make the best impression on executives at the biggest streamers in town. He lays out how streamers differ from the formatting to structure and specifically analyzes what you should consider before tackling your pilot. Spencer also dives into staffing and sales, and what approach is best for you, with the opportunity to ask Spencer any questions about yourself and your comedy career pilot during the Q & A. He'll also debunk common misconceptions about selling a comedy series in today's market and how you can use IP to sell your show. Whether you have the next great comedy series are ready to land a spot in a streaming room, this webinar ensures you walk away prepared for success. Spencer was awesome! Super informative and detail-driven - providing great insights. Packed so much into a short amount of time which I'm super grateful for! -Eric C.
Finding the right manager is as important as honing your craft as an actor. Your manager is an essential teammate for helping you find opportunities, get you in rooms to audition and guide your career as an artist. But, how do you know if you're representation-ready and how do you know what to expect (or what questions to ask) when you're given the opportunity to be repped? With so many actors vying for the chance to work in film, TV and digital it's harder than ever to stand out.. Assuring that you are bringing your "A" game to every audition and situation, understanding what you can do to improve, and knowing which auditions are right for you are key components toward becoming an actor who works time and time again. Attracting and securing the right manager can help you do just that. Whether you're on the search for your first manager or stuck in a manager/talent relationship that you don't think is best for your career, it's important to know what steps you can take to assure that you secure representation that works in your best interest and as a vital member of your team. Spencer Robinson has been a leading talent manager of actors for almost 2 decades. His clients have been in films directed by Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski, and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, TBS and more. Spencer’s clients have also recurred on series for Freeform, TNT, AMC, Showtime and many more. He reps everyone from actors who are just starting out to acting veterans with 30+ years of credits. He also represents many multi-hyphenates who are both writers and performers and understands what makes a successful talent-manager relationship. Spencer will teach you everything you need to know about securing meaningful representation. He'll cover how to identify the right manager for your career, how to approach that manager, what questions to ask, how to grow your relationship and how you can, as a team, form a plan for a long career in the business. You'll learn about the do's and don'ts of blind submissions, how to stand out in the sea of requests a manager gets daily, and how to best impress potential representation. Spencer will also provide tips on the audition process including selecting the right auditions and understanding which roles are best suited for you so that you're not wasting time, energy and your passion on dead ends. This is a blueprint for you to take control of your acting career and to help you sustain a career in the business. Praise for Spencer's Stage 32 Webinar "I highly recommend taking a course with Spencer. He is one of the most knowledgeable and informed people I've met. His enthusiasm for artists made me feel at ease. Spencer's ability to relate with artists made the material instantly click with me. I will not hesitate to enroll in another course with Stage 32 and Spencer." - Devin H. "I loved everything about this webinar! Spencer was so helpful with everything. I was able to apply everything he said directly to my career. It was definitely a great experience and can’t wait to keep improving with everything I learned. Thank you Spencer and Stage 32!" - Krista C.
Payment plans available - contact email@example.com for details ***Limited Class Size - Only 2 Spots Remain*** Do you ever feel like you've poured your heart into a pilot script and series idea but can't move it forward because you don't have the entire pitch package that buyers now require? Writing and pitching are two very different art forms and they all have to be executed at the highest level. In this exclusive Stage 32 lab, we’ll show you how to sell your show on the page and face-to-face with a professional pitch deck and world-class verbal pitch so that you’re ready to approach every buyer and are prepared for every scenario. Over six sessions, you’ll be mentored by Spencer Robinson, a manager at Art/Work Entertainment who, in addition to teaching many fantastic classes through Stage 32, has nearly a decade of industry experience. Art/Work clients include Eric Heisserer (ARRIVAL, LIGHTS OUT), Erin Cressida Wilson (THE GIRL ON THE TRAIN, SNOW WHITE), and Kelly Washington (JURASSIC WORD, PARKS & REC), among others. Spencer will take you through what makes a pitch deck great, giving you personal feedback in one-on-one sessions so that you have a powerful sales tool ready when you hit the market. Next, you’ll dive into your verbal pitch with the elements you need to include, the common mistakes many leave out, and how to use visuals to keep executives engaged. Spencer will also cover the kinds of questions producers ask so that you'll be prepared with the important answers in advance. Additionally, Spencer covers the different avenues available to you for selling a television series. You’ll get one-on-one virtual meetings with Spencer allowing you to practice your verbal pitch and receive notes and then address the notes make adjustments and really get your pitch market ready. Don’t miss out on this amazing chance to receive three one-on-one mentoring sessions with a successful literary manager and get your project ready to hit the market. Praise for Spencer's previous Stage 32 Writing Labs: "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. (now signed to Fineprint Literary Management after crafting her pilot with Spencer)