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FRIDAY NIGHT SOCIAL – JANUARY 5TH at Palomar Hotel at the Double Take Restaurant at 6:30 pm

by on Dec.14, 2017, under events, Featured

Friday Night Social ~ January 5, 2018 ~ Double Take Restaurant and Lounge

 

Event Date: Friday, January 5, 2018 || Starts at 6:30 pm  || Co-sponsoring with Jennifer Grisanti and Final Draft.

Friday Night Social is a networking group that meets the first Friday of every month. It started as a way for TV and feature writers to meet one another and has evolved into so much more. This is a great way to “Network”. Plan on meeting people from different areas and levels in the entertainment industry.  

 

IMPORTANT:

Please REGISTER before 10:00 pm on Thursday, January 4, 2018:

 register_button

 

This month’s Friday Night Social is being held at The Palomar Hotel’s Double Take Restaurant and Lounge area.   Please join Jennifer GrisantiFinal Draft and The Scriptwriters Network at this location for this month’s Friday Night Social “Networking” event.

Double Take is all about the energy of the west Los Angeles modern bar scene that effortlessly compliments an avant-garde approach to classic comfort cuisine. With an edgy aesthetic that pays homage to the local independent filmmakers who took part in making Los Angeles what it is today.

Double Take, A New Beverly Hills Restaurant – Situated in the midst of Wilshire Blvd, between Beverly Hills and UCLA, Double Take at Hotel Palomar Beverly Hills is a dining hotspot inspired by a Hollywood backlot. Chef Bryan Podgorski’s serves up unfussy, market-inspired snacks, salads and entrées that shine with Southern California ingredients. Grab coffee and house-baked pastries on your way out in the morning or linger over breakfast while working in the lounge. After work, let Sarah Mengoni’s updated takes on classic cocktails mellow you into the evening.

Join us at The Palomar Hotel’s Double Take Restaurant and Lounge:

Below: Photos from previous Friday Night events:

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Event starts at 6:30 pm – Ends at 9:30 pm

 

LOCATION:

10740 Wilshire Blvd #101, Los Angeles, CA 90024

Phone # 310.475.8711

Toll-free: (800) 472-8556

Palomar Hotel

 

DIRECTIONS:

Directions from the south and Los Angeles International Airport (LAX).

  • From the airport, take W. Century Way east for 1.8 miles.
  • Merge slightly right onto I-405 North. Go 9.3 miles.
  • Exit onto Wilshire Blvd. Go 1.1 miles.
  • Kimpton Hotel Palomar Los Angeles Beverly Hills is located at 10740 Wilshire Boulevard at Selby Avenue.

Directions from the north and the San Diego Freeway.

  • From I-405 South / San Diego Freeway, take the Wilshire Blvd. exit. Go 0.2 miles.
  • Turn right at Wilshire Blvd. Go 1 mile.
  • Kimpton Hotel Palomar Los Angeles Beverly Hills is located at 10740 Wilshire Boulevard at Selby Avenue.

 

PARKING:

Valet parking is $10.00 – with validation at the bar.

 

ADMISSION:

FREE to attend.  Pay for your own food, cocktails & parking.

**Check in with us at the entrance to receive your name badge.

 

 Happy Networking!

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CREATING A SERIES CONCEPT THAT WORKS: ATYPICAL

by on Nov.19, 2017, under Featured, Motivation

Creating a Series Concept that Works: Atypical

Jen Grisanti analyzes the new Netflix series, ATYPICAL, exploring how structure can influence emotion and bring your audience to tears.


International speaker Jen Grisanti is an acclaimed Story/Career Consultant at Jen Grisanti Consultancy, Inc., a Writing Instructor for Writers on the Verge at NBC, a former twelve-year studio executive, and author of Story Line, TV Writing Tool Kit, and Change Your Story, Change Your Life. Keep track of Jen’s upcoming events on Facebook and Twitter, @jengrisanti, and listen to her Storywise Podcast. Read Jen’s full bio and sign up for her Telling and Selling Your TV Pilot video series.

Click to tweet this article to your friends and followers!

I am constantly analyzing new series to see what works with story structure. One of my favorite new shows is Atypical on Netflix. I find this show explores in-depth familial dynamics at the same level as Friday Night Lights and This is Us. Understanding how structure can influence emotion and bring your audience to tears is what great storytelling is all about.

Structurally, a story tool that I’ve drawn from watching Atypical is the recognition that all the character arcs stem from the main problem of the main character and that sets up the series. It is when we feel it all linked, that story can reach such tremendous heights of emotion. This is because we feel the concept through all of the characters and the choices that they make. It often comes from the same wound but seeing it play out through different choices and different worldviews.


Script EXTRA: Finding Your Character’s Wound


The main problem in Atypical is that Sam, a young boy that has autism, expresses his to therapist his desire to date. The series/season 1 is about this choice and his family’s reaction to it. The story explores how love is hard enough for a “neuro-typical” person to experience. With Sam, this pursuit becomes a lot more complex but the gift of it all is showing that the desire is real and it is doable.

We watch Sam take actions and hit obstacles in his pursuit to find love from filling out an online profile to learning how to approach girls that might be interested. It really gives us a glimpse of how he sees the world and shows us how things that might be considered simple for us are that much more difficult for people with autism. Seeing Sam take actions towards finding love connects with all of us.

We immediately feel the father’s wound to his son’s autism when he mentions buying his son tickets to a Mets game simply because he wanted to find a way to connect with him. He wanted them to have one thing in common. So, his reaction to Sam’s choice to date is to support this. He reminds his wife that they met around Sam’s age. It is clear that he hopes this experience will bring him and Sam closer together.


Script EXTRA: ‘All is Lost’ Equals Opportunity for Character Growth


With Sam’s mom, Elsa, her reaction is panic because of her worry and the codependent relationship that she shares with her son. She clearly needs him to need her. So, the idea that he wants to find love, in her mind, threatens this. We see that Sam has become her life. This has gotten in the way of the intimacy that she and her husband share. The mother remains resistant despite the therapist sharing with her that autistic people have the same desire to love and be loved. They just don’t know how to approach it in a typical manner.

We see Sam’s problem play out in his sister, Casey’s arc when she punches a student that taunts another student. Casey is the protector. This is her role because of her brother’s condition and the fact that she is his older sister. We feel her angst. The irony is that it is due to her role in Sam’s life and this action she took that her first opportunity at love and romance comes into her life with Evan, who is the brother of the girl she protected.

Sam’s pursuit of love continues. When Sam gets an online response, we see the trials and tribulations that Sam has to go through in preparation for the date. When he hears that she wants to meet at a café, he has to find a way to block out the noise by wearing headphones. Sam hits an obstacle and the date doesn’t work out. Sam tries again when a girl at his work makes eyes toward him. This leads him into a situation where she offers to have sex with him. He hits an obstacle when she touches him in a way that he doesn’t like to be touched. This opportunity takes a turn for the worst.

When the parents go to dinner, we really see the opposing viewpoints to Sam finding love and the rift that it has caused in their relationship. This leads Sam’s father to buy his mother passes to a dance class. After class, she goes to drinks. This is when Elsa meets a bartender that opens her eyes to the fact that her son will never have the choices that he does. This begins an exploration toward finding intimacy.

In Casey’s budding connection with Evan, we see that Sam comes first in her life. This could cause a problem for the possibility of her finding a true connection with Evan.

When Sam learns that 49% of marriages end in divorce, Sam goes with his father to look at a place with penguins. Sam says that penguins mate for life. So, penguins aren’t like people. They’re better.

The structure in Atypical all stems from the main wound. This really works for connecting the audience to this concept and the characters in this world. This is a very strong story tool that all writers can learn to utilize for the concepts that they write.

More articles by Jen Grisanti

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5 QUESTIONS FOR WRITING A TV PILOT THAT SELLS

by on Nov.19, 2017, under Featured, Motivation, Personal tips

Jen Grisanti5 Questions for
Writing a TV Pilot that Sells

Guest Post by Jen Grisanti,
Telling and Selling Your TV Pilot

Writing the TV pilot is one of the most challenging scripts to write,
and to write well.
I’ve helped in the development of thousands of scripts over the past 20 years. I was a
Studio Executive at two major studios for 12 years, I am currently a Writing Instructor
at NBC, and I’ve been a Story/Career Consultant for 10 years.

From the 48 pilots sold from the writers I’ve worked with since starting my business 10 years ago,
there are the five questions that I believe every writer should ask themselves when they are writing
their TV pilot:

  1. Does my series trigger push my central character into a powerful enough dilemma to set up season one?
  2. Is there a personal component that sets up the personal dilemma of my central character?
  3. Does my central character actively make a choice in the pilot trigger and dilemma that leads to a pursuit?
  4. Is my pilot goal clear?
  5. How do I setup the series?

Trigger & Dilema

With your series trigger and dilemma, you want to think about something that happens to your central character
that knocks their life out of balance. At this point in the story, your central character is often reactive versus active.
The dilemma should make us feel empathy for your character.

Personal Component

With the personal component, you are setting up the personal dilemma of your central character that leads to the
professional pursuit. This sets up the void. The pursuit is one step towards filling this void. With the personal part,
you want to think about the arc of the wound. The best pilots have a childhood wound that the series trigger and
dilemma splits open. The personal component in your story is the emotional part of your story.

Central Character

With the pilot arc, your central character goes from being reactive to active. With the setup of the series arc, they react to what happens to them. Then, they make an active choice that leads to the setup of the pilot arc. In the pilot arc, we should be clear about what your central character wants and why they want it by the end of Act One.

Pilot Goal

If the pilot goal is not clear, the story doesn’t work. In each act, the central character should take an action, hit an obstacle, and the stakes should be raised to the pilot goal. If the goal is not clear, you cannot link these points. We should feel what your character wants and what is in the way for every scene.

Series Set Up

After the resolution of the pilot arc, you need to set up the series. When I see this done well, it bookends
what happened in the series trigger and dilemma setup and helps to build the next level of the concept. The
point of this is to make your audience so enthralled that they can’t wait to see what happens next.

Mastering a story by utilizing the right tools is what will lead you to a sale.

* * *

International speaker Jen Grisanti is an acclaimed Story/Career Consultant at Jen Grisanti Consultancy Inc.,
writing Instructor for Writers on the Verge at NBC, a former 12-year studio executive, including VP of Current
Programming at CBS/Paramount, blogger for The Huffington Post, and author of the books,
Story Line: Finding Gold In Your Life Story, TV Writing Tool Kit: How To Write a Script That Sells, and
Change Your Story, Change Your Life: A Path To Your Success. Her new video series is
Telling and Selling Your TV Pilot. Learn more.

Read my Q&As with Jen on Story Line and Change Your Story, Change Your Life.

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SCRIPTWRITERS NETWORK – STORY TOOLS FOR WRITING A TV PILOT THAT SELLS

by on Nov.15, 2017, under events, Featured

Storywise: Story Tools For Writing The TV Pilot That Sells

Event Date: Saturday, January 20, 2018 || Speaker: Jen Grisanti || Check-in: 12:30 pm ||

The key to becoming a working writer or creating longevity as a working writer is writing a TV pilot script that they can’t ignore. The pilot script is one of the hardest scripts to write.  Jen Grisanti developed a story system that has led 48 of her clients to sell their pilots. Six of them went to series. Jen was a studio executive for 12 years at Spelling Television Inc. and CBS/Paramount. She staffed over 15 primetime shows in her career. She is also the writing instructor for Writers on the Verge at NBC.  See more details below.

 

IMPORTANT!

For security purposes, you MUST REGISTER before 10:00 pm on Thursday, January 18, 2018 – for guaranteed entrance onto CBS’ lot.

**Please note that each guest and/or attendee needs to REGISTER individually.

Admission:_____________________________
$30.00 online – Please Pay Here
register_freepass
_____________________________SWN Annual Members,

Sign-In Here

register_button
_____________________________
To become a paid SWN AnnualMember, Join Now!

____________________________

Check-in begins at 12:30 pm.
Event starts at 1:00 pm.

No Refunds. No Credits.

 

More Information.

Jen has launched numerous writing careers over the last 20 years. She developed a system of story for writers leading them to sell their pilots and staff on television.  Part of her system includes story structure, adding fiction to your truth, writing memorable characters and creating a strong internal story. In this class, Jen will dive deeply into story structure.

 

MASTERING THE SET UP OF YOUR PILOT THROUGH STRUCTURE
  • Learn Jen’s Story System – Jen believes that every strong story starts with a trigger incident that leads the character into a powerful dilemma. The choice made in the dilemma defines the external goal in the A story. Then, every obstacle, escalating obstacle and “all is lost” moment needs to connect back to the goal. It is when the goal/want/desire isn’t clear that the story doesn’t work.
  • Link your series trigger and dilemma to your pilot trigger, dilemma, and pursuit. This is KEY to the success of your pilot.
  • Learn to create empathy and a rooting factor for your character from the start through linking the personal dilemma to the pursuit.
  • Understand how using the trigger, dilemma, and pursuit in all your storylines will change the way that you write.
  • Learn the value of linking every preceding scene in each story arc.
  • Create a powerful dilemma that will lead to a question. Answer the pilot arc question with your resolution. Build on the season arc question with your opening and the end of your pilot.
  • Practice how to write your act breaks in a way that will bring your audience back.

 

International speaker Jen Grisanti is an acclaimed Story/Career Consultant at Jen Grisanti Consultancy Inc., Writing Instructor for Writers on the Verge at NBC, a former 12-year studio executive, including VP of Current Programming at CBS/Paramount, blogger for The Huffington Post and author of the books, Story Line: Finding Gold In Your Life Story and TV Writing Tool Kit: How To Write a Script That Sells and her new book, Change Your Story, Change Your Life: A Path To Your Success.

 

Grisanti started her career in 1992 as an assistant to Aaron Spelling, who served as her mentor for 12 years, and she quickly climbed the ranks and eventually ran Current Programs at Spelling Television Inc., covering all of Spelling’s shows including Beverly Hills, 90210, Melrose Place and Charmed. In 2004, Grisanti was promoted to Vice President of Current Programs at CBS/Paramount where she covered numerous shows, including Medium, Numbers, NCIS, 4400 and Girlfriends.

 

In January 2008, Grisanti launched Jen Grisanti Consultancy Inc., a highly successful consulting firm dedicated to helping talented writers break into the
industry. Drawing on her experience as a studio executive where she gave daily notes to executive producers/showrunners, Grisanti personally guides writers to
shape their material, hone their pitches and focus their careers. Since launching the consulting firm, Grisanti has worked with over 1000 writers specializing in
television, features and novels. Due to her expertise and mentorship, ninety-five of her writers have staffed on television shows and forty-six have sold pilots, five
that that went to series

 


 

Join us on the Third Saturday every month at:

CBS Studio Center
4024 Radford Avenue
Studio City, CA 91604

 

Free Parking — Enter the CBS* lot at the main gate & inform security you are there for the Scriptwriters Network event.

*You must RSVP by the deadline mentioned above in order to be on our RSVP list for Security clearance onto CBS’ lot. If you do not RSVP by the date above, you may not be allowed onto CBS’ lot.

You’ll be asked for your government issued photo ID, and then given directions to the meeting location. You may park in any available space on the lot, unless CBS’ Security directs you to a park at a different area.

As this is a professional event, we ask that you please arrive prior to the event start time.

 

Meeting Timeframe: 1:00 pm to approximately 3:00 pm

Please remember to bring a picture ID and your SWN Membership Card!

Any questions, email us at info@scriptwritersnetwork.org.

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HOLIDAY SPECIAL DISCOUNT OFFERS ON STORYWISE PRODUCTS, TELESEMINAR AND CONSULTS

by on Nov.09, 2017, under events, Featured

With the HOLIDAY SPECIAL OFFER – You save $90.00 on my video training product, “Telling And Selling Your TV Pilot”.

 

STORYWISE 10-WEEK TELSEMINAR – BEGINS MARCH 6, 2018 ONLINE

 

HOLIDAY DISCOUNT SPECIAL – LEVEL 1

LEVEL 1

At Level 1, you get to participate in all 10 classes. You will receive a recording of the classes. You will have an opportunity to sign up to pitch to my weekly guest speakers. You get to be part of a private Facebook community. You will also get to turn in a 1-2 page pitch document on your TV spec and TV pilot script. You will receive written feedback. You have up to a year after the course is finished to turn this in.

With this special, you save $150.00

 

HOLIDAY DISCOUNT SPECIAL – LEVEL 2 WITH A TV SPEC CONSULT

At Level 2, you get to participate in all 10 classes. You will receive a recording of the classes. You will have an opportunity to sign up to pitch to my weekly guest speakers. You get to be part of a private Facebook community. This level also includes a one-on-one consult for your TV spec.

With this Special Offer, you save $100.00.

 

HOLIDAY DISCOUNT SPECIAL – LEVEL 2 WITH A PILOT CONSULT

At Level 2, you get to participate in all 10 classes. You will receive a recording of the classes. You will have an opportunity to sign up to pitch to my weekly guest speakers. You get to be part of a private Facebook community. This level also includes a one-on-one consult for your TV pilot consult.

With this Special Offer, you save $100.00

 

5 COACHING CONSULTS

SERVICE FEE – $2,875.00

With this service, you will finally get your best scripts out of your head and on to the paper. The service includes 5 meetings/calls up to an hour in length, including coverage on one script or up to three TV scripts.  The coaching consults include going over pitching, meeting skills and log lines in addition to notes.

  • This also includes my new video training series, “Telling And Selling Your TV Pilot.”

With this SPECIAL OFFER, you save $400.00

 

3 COACHING CONSULTS

SERVICE FEE – 1,750.00

With this service, you will finally get your best scripts out of your head and on to the paper. The service includes 3 meetings/calls up to an hour in length, including coverage on one script or up to two TV scripts. The coaching consults include going over pitching, meeting skills and log lines in addition to notes. If you purchase this SPECIAL OFFER, you will also get to participate in my 2018 10-Week Storywise Telseminar at Level 2 at no additional cost.

With this SPECIAL OFFER, you save over $400.00.

 

 

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New product: “Telling And Selling Your TV Pilot”

by on Oct.17, 2017, under events, Featured

TELLING AND SELLING YOUR TV PILOT 

Looking to write a TV pilot that sells? Looking to find tools that will lead you to this outcome? “Telling And Selling Your TV Pilot” is just for you.

This ultimate video training series contains a story system and story tools that will guide you on how to write a TV pilot that sells. Think of this video series as your treasure chest of information.

This video series, “Telling And Selling Your TV Pilot”  has been compiled for many years and is finally available!

CLICK HERE TO BUY NOW

A WORD FROM THE STORY CONSULTANT 

“I love watching strong TV series that make me FEEL. I love developing story tools from these shows that guide the writer. I LOVE celebrating the success of the writers that I work with. I want to share my love and passion for story with the world. That’s what this video series  is about. This video series will help the writer to understand how to write a pilot that sells.”

CLICK HERE TO BUY NOW

TELLING THE INTERNAL STORY

You can also purchase my video training series, “Telling The Internal Story”.

CLICK HERE TO BUY NOW

 

WHY WAIT? BUY NOW!

Why put off writing a pilot that sells? You can buy “Telling And Selling The TV Pilot” right now.

CLICK HERE TO BUY NOW

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FRIDAY NIGHT SOCIAL – 11/3 AT PALOMAR HOTEL AT 6:30 P.M. W/ SCRIPTWRITERS NETWORK AND FINAL DRAFT

by on Oct.10, 2017, under events, Featured

Friday Night Social ~ November 3, 2017 ~ Double Take Restaurant and Lounge

Event Date: Friday, November 3, 2017 || Starts at 6:30 pm  || Co-sponsoring with Jennifer Grisanti and Supporting Sponsor Final Draft.

Friday Night Social is a networking group that meets the first Friday of every month. It started as a way for TV and feature writers to meet one another and has evolved into so much more. This is a great way to “Network”. Plan on meeting people from different areas and levels in the entertainment industry.  

IMPORTANT:

Please REGISTER before 10:00 pm on Thursday, November 2, 2017,

register_button

This month’s Friday Night Social is being held at The Palomar Hotel’s Double Take Restaurant and Lounge area.   Please join Jennifer Grisanti, Final Draft and SWN at this location for this month’s Friday Night Social “Networking” event.

Double Take is all about the energy of the west Los Angeles modern bar scene that effortlessly compliments an avant-garde approach to classic comfort cuisine. With an edgy aesthetic that pays homage to the local independent filmmakers who took part in making Los Angeles what it is today.

Double Take, A New Beverly Hills Restaurant – Situated in the midst of Wilshire Blvd, between Beverly Hills and UCLA, Double Take at Hotel Palomar Beverly Hills is a dining hotspot inspired by a Hollywood backlot. Chef Bryan Podgorski’s serves up unfussy, market-inspired snacks, salads and entrées that shine with Southern California ingredients. Grab coffee and house-baked pastries on your way out in the morning or linger over breakfast while working in the lounge. After work, let Sarah Mengoni’s updated takes on classic cocktails mellow you into the evening.

Join us at The Palomar Hotel’s Double Take Restaurant and Lounge:

Below: Photos from previous events:

9850

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fns3

FNSC

FNSp

FNSD


Event starts at 6:30 pm – Ends at 9:30 pm

 

LOCATION:

10740 Wilshire Blvd #101, Los Angeles, CA 90024

Phone # 310.475.8711

Toll-free: (800) 472-8556

Palomar Hotel

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Storywise 10-Week TV Spec & Pilot Teleseminar 2018

by on Oct.06, 2017, under events, Featured

This is a 10-week program designed to help you write a high quality TV pilot AND spec script. In 10-weeks, I will teach you how to learn to write at a level that will help lead your script to a sale, get staffed on a show, place in a writing competition or get into one of the various writing programs. This course is everything that I teach in Writers on the Verge and more.

Last year we had over 100 writer participants from all over the world. You will not only learn all of the story tools that you need to succeed, you will gain the opportunity to be in a private community of writers. This community is a very valuable resource. You all will have the opportunity to learn from one another via networking, exchanging scripts and possibly starting your own writer groups.

I’ve seen the success from this course first-hand. Many of the writers who have taken this 10-week course have gone on to sell pilots, get staffed on TV shows and get into several of the prestigious writing programs. Forty-Five of my writers have sold pilots… and 5 of them have gone to series.

Each class will consist of a half-hour of instruction (you will receive these videos before each class to watch at your leisure.) Each call is approximately 2 – 2 ½ hours in length. On each call, we will go over the notes for the 4 writers participating at Level #3 and I will choose one writer from Level 2 or Level 4 each week to participate. You will have an opportunity to read their scripts and make your own notes each week. You will also get to share your notes with those writers directly. This is what we do in Writers on the Verge. It is a way to prepare you for being in the Writers’ Room. Then, five people that sign up each week will get an opportunity to pitch to a guest speaker. We all learn from hearing others pitch. This part of the program was designed to help you learn from the pitching style of others as well as give you the opportunity to pitch yourself. It’s an invaluable tool. Every level will have an opportunity to sign up for this.

LEVEL 1

At Level 1, you get to participate in all 10 classes. You will receive a recording of the classes. You will have an opportunity to sign up to pitch to my weekly guest speakers. You get to be part of a private Facebook community. You will also get to turn in a 1-2 page pitch document on your TV spec and TV pilot script. You will receive written feedback. You have up to a year after the course is finished to turn this in.

Regular rate – $375.00

 

Rate for writers who have taken this before – $225.00

 

 

LEVEL 2

At Level 2, you get to participate in all 10 classes. You will receive a recording of the classes. You will have an opportunity to sign up to pitch to my weekly guest speakers. You get to be part of a private Facebook community. This level also includes a one-on-one consult for your TV spec and/or TV Pilot script.

Level 2 w/ TV Pilot Consult

Regular Rate – $1,050.00

For Alumni of my Storywise Teleseminar – $900.00

 

Level 2 w/ TV Spec Consult

Regular Rate – $875.00

 

For Alumni of my Storywise Teleseminar – $775.00

 

Level 2 w/ TV Pilot and Spec Consult

Regular Rate – $1,600.00

 

For Alumni of my Storywise Teleseminar – $1,275.00

 

LEVEL 3

At Level 3, you will receive feedback every week on your TV spec and/or TV pilot script. This includes written and verbal feedback. You will receive a recording of the classes. You will have an opportunity to sign up to pitch to my weekly guest speakers. You get to be part of a private Facebook community.

 

For the first time, I am going to offer you the option of not writing a TV spec. You can either write one TV pilot during the 10 weeks or you can write 2 TV pilots during the 10 weeks.

 

There are only 4 SLOTS for this level: two for drama and two for comedy. If you are interested in applying, you will need to submit 10 pages of a script. I will select 4 submissions out of everyone that submits and announce these slots in February. The rate for Level 3 is $3,000.00.

 

The DEADLINE FOR SUBMISSIONS is February 16, 2018 at 3:00 p.m. PST.

 

LEVEL 4

At Level 4, you will receive written/verbal notes back every week on your scripts. This includes an in person or online meeting every week either alongside the teleseminar or as you prefer. You will receive a recording of the classes. You will have an opportunity to sign up to pitch two times to my weekly guest speakers. You get to be part of a private Facebook community.

There are only 4 slots available at this level.

 

 

 

ASSIGNMENTS

The Level #3 writing assignments will be due the Saturday before each class. Everyone at each level will receive a copy of the assignments turned in by the Level #3 writers so that they may follow along as well as provide notes directly to the Level#3 writer.

 

Levels #1 and #2, you will do the assignments on your own. No direct feedback is provided; however, this is where you can use the Facebook community of writers to exchange scripts weekly and get feedback.

 

 

SCHEDULE

Week 1 – Tuesday March 6, 2018

We will go over the notes for the concepts of the spec scripts for Level #3.

 

Week 2, Tuesday March 13, 2018

We will go over the notes for the outline of the spec scripts for Level #3.

 

Week 3, Tuesday March 20, 2018

We will go over the notes for the first draft of the spec scripts for Level #3.

 

WEEK 4, Tuesday, March 27, 2018

We will go over the notes for the second draft of the spec scripts for Level #3.

 

*EASTER BREAK THE WEEK OF 4/1/18

 

WEEK 5, Tuesday, April 10, 2018

We will go over the notes for the third draft of the spec scripts for Level #3.

 

WEEK 6, Tuesday, April 17, 2018

We will go over the notes for the concepts for the pilot scripts for Level #3.

 

WEEK 7, Tuesday April 24, 2018

We will go over the notes for the outlines for the pilot scripts for Level #3.

 

WEEK 8, Tuesday May 1, 2018

We will go over the notes for the first draft or first half of the first draft of the TV pilot scripts for Level #3.

 

WEEK 9, Tuesday May 8, 2018

We will go over the notes for the second draft or full-first draft of the TV pilot scripts for Level #3.

 

WEEK 10, Tuesday May 15, 2018

We will go over the notes for the third draft of the TV pilot scripts for Level #3.

 

 

GUEST SPEAKERS will be announced in February of 2018.

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Webinar on 9/21 w/ EIACE – Power Up Webinar – Comedy, TV writing, Representation, Writing Action Lines & Cinematic Storytelling

by on Sep.11, 2017, under events, Featured

eiACE Power-Up Webinar – Sept. 21 – 4PM PT

The third installment in the Power-Up Webinar Series features Dan Calvisi, Jen Grisanti,

Lee Jessup and David Misch. These industry-leading educators will provide instruction

through 20-minute segments, live at the Relativity School Studio in LA.

Dan Calvisi – Write Great Description Paragraphs – Learn From The Masters!

A lot is written about the art of dialogue, but what about the equal challenge

of writing great description/action? Citing examples from modern masters like

Christopher Nolan, Vince Gilligan, Shonda Rhimes and Quentin Tarantino,

Dan Calvisi will explore the mechanics, formatting and execution of this crucial

element of the screenplay. Dan will also lead the class in writing the introduction of a famous movie

character, to be compared to the actual text from the original screenplay.

Jen Grisanti – Writing A TV Pilot That Sells: Setting Up The Series And Season One

Through The Arc Of The Wound

In this talk, Jen Grisanti will go over how to set up the series and season one arc by

creating a strong arc of the wound for the central character. It is when the personal

dilemma links to the professional pursuit and the pilot arc is one step toward healing

the wound that we root for the outcome and emotionally connect to the story. Jen

will discuss the season arcs for FLEABAG (Amazon), RIVER (Netflix) and HAPPY VALLEY (Netflix).

Lee Jessup – Representation Rundown

This will cover everything you ever wanted to know about agents and managers,

including how to get the right representation, what to expect from your agent vs.

what your can expect from your manager, how much you should pay them, what

they will expect from you, and what you can do to motivate them.

David Misch – How “How Comedy Works” Works

My seminar “How Comedy Works” makes a unique guarantee in the world of

screenwriting seminars: it gives you absolutely no help with screenwriting. HCW,

as we in the office like to call it (Note: There is no office), is about comedy as an

art form; what it is, what it means and how it works. Why take time with that instead

of figuring out why your 2nd act sucks?, I hear no one asking. Because learning how comedy works will

help you do it better. Anyway, that’s my story and I’m sticking to it. This talk will show how looking at

comedy not screenwriting can help your screenwriting; how contemporary comedy goes back to ancient

Greece (and yes, I’m looking at you, fart and vomit jokes); and the precision, skill and ingenuity that

comedy requires. Most of all, this talk explains why everyone who says examination kills comedy is

not only wrong but should be killed, and shows how comedy principles translate into actual laughter.

So, y’know, forget that stuff about no help.

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Webinar with The Writers Store on September 14 at 1:00 p.m. – Staying True to The Core Concept of Your Series

by on Sep.11, 2017, under events, Featured

Staying True to the Core Concept of Your Series

At a Glance

  • During this webinar, you will learn tools to set up your concept and your season arcs.
  • Discover how creating strong external and internal questions will bring your audience back.
  • Jen will illustrate the significance of staying true to your core concept.

Please note: Each registration comes with access to the recorded version of the program and the materials for one year. You do not have to attend the live event to get a recording of the presentation.

ABOUT THE WEBINAR

Have you struggled with figuring out how to build the concept of your show through creating a strong season arc? In this course, Jen Grisanti will go over how to set up a strong season arc that will best illustrate the concept of your show. Then, she will explain how staying true to this core concept connects you with your audience.

The core concept often has an external and an internal component. The external gives you a sense of the world. The internal has to do with the dynamics of the people that infiltrate that world.

When you create strong questions that have to do with the external and the internal world, you create anticipation. When the audience feels the anticipation, you give them a reason to return.

By understanding why your character wants what they want for the episode and the season, you bring us into the emotional component of your story and give us a glimpse into the intention of your concept.

Jen will cover old shows and new shows including – HOMELAND, THE GOOD WIFE, HAPPY VALLEY, SILICON VALLEY and TRANSPARENT.

WHAT YOU’LL LEARN:

  • How to have your season arc best reflect what your concept is.
  • How to create powerful questions.
  • How to set up the WHY the character wants WHAT they want.
  • How to stay true to the core concept that you set up.
  • How to build compelling season arcs.

WHO SHOULD ATTEND?

  • Writers who are writing TV pilots.
  • Writers who want to understand more about how to take their story to a deeper place.
  • Writers who want to know how to better connect with their audience on an emotional level.
  • Writers who have great ideas but don’t know how to execute them.
  • Writers that want to sell their pilots.

WHAT EQUIPMENT DO I NEED?

All you need is a computer or iOS device, and an internet connection. You’ll be able to view the presentation and listen to the audio over computer speakers; however, you’ll enjoy much better audio quality if you use a telephone. See below for complete system requirements.

To test your connection before the live webinar, visit this web page.

BONUS: With purchase of this webinar, you will receive $79.99 off of a yearly subscription to the Screenwriting Tutorials website, which has specialized tutorials from experts that explore screenwriting topics covered nowhere else on the web!

Product Details

Meet the Author: Jen Grisanti

International speaker Jen Grisanti is an acclaimed Story/Career Consultant at Jen Grisanti Consultancy Inc., Writing Instructor for Writers on the Verge at NBC, a former 12-year studio executive, including VP of Current Programming at CBS/Paramount, blogger for The Huffington Post and author of the books, Story Line: Finding Gold In Your Life Story and TV Writing Tool Kit: How To Write a Script That Sells and her new book, Change Your Story, Change Your Life: A Path To Your Success.

Grisanti started her career in 1992 as an assistant to Aaron Spelling, who served as her mentor for 12 years, and she quickly climbed the ranks and eventually ra…

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