Hey Stu,
OK, you guys, there's a lot to talk about this week. A brand new short film class, a festival in Napa, the return of awesome instructor Rowan Wheeler, and yes, a bit of good news we had this week (above), which, I'll tell you ALL about.
But first, those announcements:
Script Anatomy is a proud partner of this amazing festival, which is just 10 days away! A 4-day event that celebrates podcasts, series, films and social content, and will host panels, parties, screenings and more. Plus wine. And did I say parties?
The organizers are wonderful people, and we've partnered with them on THE BIG SHORT, their short film contest. Scroll down for details, and for a deal on a festival pass!
*NEW CLASS* Short Film Lab: How to Create a Short Film Calling Card
This exciting new workshop debuts on June 20th with Rowan Wheeler (see her tip and Q&A below!) So many filmmakers (Ryan Coogler, Barry Jenkins, Paul Thomas Anderson, Sofia Coppola...) started their careers with a short. So why not you?! It just costs $75, it's super practical, and it might just lead to that all important break.
Paramount Writers Mentoring Program
... is now accepting submissions. In over 20 yrs this program has helped writers enter the TV business, launching more than 125 writing careers. Alumni include over 20 showrunners and executive producers. It's a GREAT program. And the deadline is May 1st. So... SUBMIT!!
One Last Spot in a Writers Group!
For TV writers, check out J. Holtham's group, it meets on Saturdays. You know the drill, write to me if you think you qualify!
OK, so let me tell you about my exciting news. This is how it actualliy went down. And the timeline will tell you everything about TV development.
Winter 2024. Our agent called about a book: "I know this isn't what you're looking to do right this second, but I think you'll like it and I think we can sell it. Just read it." Coming off a run of light YA projects that weren't really us, he knew he needed to hook us with something darker, sexier, more in our wheelhouse. He was right. We read it, liked it, and met with the author, Trish Lundy, on December 10th, 2024. We talked about what we'd do with it as a series, got her blessing, and had a deal.
By late January, early February 2025, we were building the pitch — multiple drafts, multiple rounds of agent notes. At the end of March we went out to 11 PODs (production companies with overall deals) and one studio. And everyone passed. Except Gaumont — the oldest studio in France, with a US arm —who we had pitched on April 7th. We closed the deal and the contract was done by end of May.
Then came revisions based on Gaumont's notes. More pitching — including The Advocate running simultaneously through May, June, and July. Three practice pitches with Gaumont and our team. And finally, in October 2025, we went out to four buyers. We pitched Hulu on October 3rd and sold it on October 9th.
Then the deal between Gaumont and Hulu took five months to close. Five months. We had our kickoff call a few weeks ago. Our outline is due mid-May. A potential green light? January 2027 — or possibly August 2026 if all goes smoothly.
So, from first call about the book to kickoff was over a year. And we've heard plenty of stories of writers in development for two, three, four years — or longer — before getting a yes or no.
This is why you keep multiple irons in the fire. This is why you don't wait. And this is exactly what we help you navigate at Script Anatomy — because the writing is only part of it. Learning to work the long game is the other part.
Keep going out there! And happy writing!
Tawnya |
Character Blind Spots
with Rowan Wheeler |
⬆️ Click the Pic Above To Watch Video! ⬆️
In this tip Rowan talks about how to create character blind spots that integrate with your story.
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Instructor Spotlight Q&A
Rowan Wheeler |
We’re excited to introduce you to Rowan, an Emmy award-winning producer and screenwriter. She was Co-Producer on Rio In Love (Amazon), a half-hour comedy. Prior to that, she wrote on While You Were Breeding (Freeform), Kristin Newman’s comedy for Freeform, Obliterated (Netflix), an hour-long action comedy, Harlem (Amazon), and Birdgirl (Adult Swim).
Her half-hour dark comedy Murder Ever After was sold to Showtime in 2020, Peacock in 2021, and is currently in talks to be developed at another major streamer. Previously, she had an hour-long drama in development with The Gist Of It Productions, Merman, and 20th Television, and two half-hour projects in development in the UK with Zeppotron Productions: 3D Pete and Socio-Pam. In 2018, Rowan was named a New Voices winner at the prestigious Humanitas Awards. Before focusing on writing, Rowan was a producer and director. In 2019, Rowan served as Showrunner/Executive Producer on Funny or Die’s acclaimed short-form series Under A Rock with Tig Notaro and produced the Chris Evans and Mariah Carey episodes of Billy On The Street. Preceding that, she directed over sixty episodes of unscripted television for The History Channel, Discovery, and A&E.
Rowan is repped by 3 Arts Entertainment, and she comes with a genuine British accent.
Now, let's jump into the Q&A!
What is your writing schedule like?
I do best in the morning before my brain atrophies at around 2pm, so I sometimes write then work out, or visa versa, and then I do emails and less cognitively challenging tasks like decks or napping in the afternoon.
How did you get your first agent or manager?
I met my first agent through friends (I know, sorry) and then clung to her for dear life until I started making money. I also got my first manager through a friend, but that wasn’t a good fit, so I ended up getting managers through my agent a few years later.
What script is the one that gets you the most attention/jobs? What is it about? Probably overall, it’s the pilot I sold (to a few places, long story) that I wrote years ago about a woman who writes to a man in jail after watching him in a true crime documentary. But currently, it’s an hour-long that is an adaptation of a feature I wrote about a woman who tries an experimental treatment to cure her mood disorder that involves swallowing a balloon and comes with some very odd side effects. That one is getting me good meetings at the moment.
What is the one thing you have to have locked in before you go to outline?
I personally need to feel good about the structure of the piece before I go to outline, even though it’s then likely to change in outline and even draft. That’s what I need to feel like I’m ready to start writing scenes.
If you were a show, which one would you be tonally?
Ooh, maybe Veep because I’m kind of scattered and say the c-word sometimes?
Have you ever had to navigate a tricky situation in the business, and what was it?
Er definitely. I tend to block them out afterwards which my therapist assures me is perfectly healthy, but I do remember that firing a manager was tough. He didn’t take it very well and being British I’m not a huge fan of conflict, so it was a lot of holding my breath and grimacing on the phone while trying to stay firm.
How do you prevent burnout? Or if you’ve experienced burnout, how were you able to come back from it?
I have definitely experienced burnout. I find it helps to get into nature and get out of LA regularly, particularly to be around beloved friends who don’t know or care about our business to get some important perspective.
What was one thing you wish you knew about writing or the biz before you started working in the industry?
It’s not going to go the way you imagine. Maybe it does for some people, but for me it’s a process of trusting my curiosity and following what keeps that little fire in me, the one that made me want to do this, alive. In tough times that can be challenging, but I think it’s my job to keep that flame alive, that is the work.
How have you navigated the recent contraction in the industry? What advice would you give new writers looking to break in?
I didn’t staff last year for the first time since 2020. So I wrote and directed a short film, which I absolutely LOVED every minute of and discovered I definitely want to do more, which has been such a gift. It has reignited my enthusiasm and belief that I know what I’m doing and can make something good without waiting for permission.
What are some strategies you use to help you get “unstuck” on a project?
Putting it down for a while is the best thing for me, but often you don’t have that luxury. So sometimes I try coming at it from a totally new angle. What if this comedy were a drama or this thriller were a romcom? I generally don’t end up going down those paths, but it helps me find my way back to the story I’m trying to deliver. I find that sometimes getting yourself to feel what is definitely isn’t, can help remind you of what it is when you’re lost in the fog.
And lucky for us, Rowan is teaching a class for us! |
Apr 19 to May 31, 10:00am ● Instructor: Rowan Wheeler
Emmy award-winning Producer and Screenwriter, Rio In Love (Amazon), While You Were Breeding (Freeform), Obliterated (Netflix)
Your instructor will guide you through the Script Anatomy tools, a tried and tested process of crafting your script from concept to outline. Each week, you will receive lectures about the tools, and then a corresponding assignment in which you will apply those tools to your own project.
An intensive 5-week course that is perfect for both new and working writers who want to elevate their scripts by applying Script Anatomy’s unique tools. |
Apr 19 to May 17, 12:00pm ● Instructor: Sasha Feiler
Robot Chicken (Adult Swim), Fellow at The Colony
It begins with a pre-class prep week in which you hand in your outline and read a comedy or drama script chosen by the instructor. In Week One you receive notes on your outlines from your peers and the instructor. In Weeks Two and Three, you receive notes on the first and second halves of your scripts, while reviewing core elements like structure, dynamic relationships and so on.
A structured 3 session class designed for writers who have a completed script outline and are ready to write their draft.
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May 4 to Jun 15 6:00pm ● Instructor: Pang Ni (Bonnie) Landrum
Team Kaylie (Netflix), Malcom in the Middle (Fox), Six Degrees (ABC)
Each week, you will receive lectures about the tools, and then a corresponding assignment in which you will apply those tools to your own project. And you will receive weekly peer feedback and instructor critique, providing you with an honest evaluation of your material in a dynamic and supportive environment.
An intensive 5-week course that is perfect for both new and working writers who want to elevate their scripts by applying Script Anatomy’s unique tools. |
May 3 to May 31, 10:00am ● Instructor: Daniel Stewart
Emmy-Nominated Co-EP, Sweet Tooth (Netflix), Swamp Thing (WB), The Mist (Paramount)
It begins with a pre-class prep week in which you hand in your outline and read a comedy or drama script chosen by the instructor. In Week One you receive notes on your outlines from your peers and the instructor. In Weeks Two and Three, you receive notes on the first and second halves of your scripts, while reviewing core elements like structure, dynamic relationships and so on.
A structured 3 session class designed for writers who have a completed script outline and are ready to write their draft.
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FEATURE CLASSES
Last Spots |
Apr 26 to Jun 28 10:00am ● Instructor: Natalie Light
Projects with Berlanti Productions, Appian Way (Leonardo DiCaprio) and Three Things Productions (Melissa Benoist)
It begins with a pre-class prep week in which writers hand in their outline and read a comedy or drama script chosen by the screenwriting instructor. In Week One writers receive notes on their outlines from their peers and the instructor. In Weeks Two and Three, they receive notes on the first and second halves of their scripts.
A structured 4 session class designed for screenwriters who have a completed outline and are ready to write their draft. |
May 3 to Jul 12 10:00am ● Instructor: Craig Fernandez
From Prada to Nada (Lionsgate), Biker Boyz (Dreamworks), Frankenstein (Sony)
Through a collaborative approach, this advanced course will take you from the seed of an idea to a full outline. During the course we will troubleshoot story problems, refine structure, and create a dynamic roadmap for your script..
In every unforgettable movie, the magic starts long before “Fade In.” It’s born in the high-octane process of breaking story—mapping every pivotal beat (scene) — from the first spark to the final frame. |
May 17 to Jun 28 10:00am ● Instructor: Ross Lazar
Amazon Studios, Fifth Season, Screen Gems, Point Grey Pictures, Netflix
Each week, you will learn a new writing tool, and then receive a corresponding assignment in which you apply it to your own project. You will also give and receive weekly feedback, from your instructor and your peers, providing you with an honest evaluation of your material in a dynamic and supportive environment.
Feature Development Lab is the course upon which all of our feature writing courses are built. |
May 17 to Jul 12 10:00am ● Instructor: Scott Barkan
Edge of Fear (Netflix), I’m Just F*cking With You (Blumhouse), The Sun Always Sets in the West (Lionsgate)
It begins with a pre-class prep week in which writers hand in their outline and read a comedy or drama script chosen by the screenwriting instructor. In Week One writers receive notes on their outlines from their peers and the instructor. In Weeks Two and Three, they receive notes on the first and second halves of their scripts.
A structured 4 session class designed for screenwriters who have a completed outline and are ready to write their draft. |
Napa Valley StreamFest
As we mentioned above, we are proud partners of the amazing Napa Valley StreamFest! Some join us if you can, it's going to be a great time.
This is a 4-day event that celebrates podcasts, series, films and social content, and will host panels, parties, screenings, and discussions, with Napa Valley wineries and renowned entertainment venues as its backdrop!
Click HERE to grab your pass now. Use code Community10 for 10% off any festival pass until tomorrow, April 15. See you there!
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Share your success with us—email est...@scriptanatomy.com
or tag us on your IG story/post.
We can’t wait to cheer you on!
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