Animation

Adrian Gipson From what I've seen, a unique world may get someone's attention, but a clear series engine is what convinces them the show can sustain multiple episodes.

Great mythology is a bonus, but decision makers often want to quickly understand: What does the protagonist do every episode? What creates conflict? Why will viewers come back next week?

The strongest pitches usually have both a compelling world and a simple, repeatable engine that naturally drives character growth over time.

With anything, I believe the same principle applies: Start with Story. Not with the world, not the context. Focus on the Who, What, and Why: Who is the main character, what are the stakes facing them, and what's their motivation?

The world is important of course, but it's the story engine and characters that will pull people in and sustain a series.

Hi Johnny! We're excited to have you with us. Thanks for introducing yourself! Saturday will be here before we know it, and it should be a fantastic experience. If you haven't already, be sure to send in your questionnaire so Evan can review your goals and project ahead of class! Looking forward to seeing you in class and watching your project develop over the coming weeks!

Hi Scott! Great to see you here and love that this is your first dive into animation. You’re stepping into a medium that really rewards experimentation and bold creative choices, so you’re in the right place.

If you haven’t yet, please send in your questionnaire so Evan can get a sense of your goals and what you’re hoping to explore in the lab. It really helps him tailor the experience from the start.

Looking forward to seeing what you create in the class!

Hey everyone! Danny here. I love animation and have written a few pilots already, and I'm just looking to improve my writing with each new project!

Hi Everyone super excited for tomorrow ! Can't believe it is just a day away! To get the class starting right away, please decide if you are planning on writing a feature or a television series.

1st class was interesting. Already had me thinking about the future of my story. Great job Evan!

Very nice video Tui!

I recently did the stage 32 webinar on loglines. The book recommendation from that is Sell Your Story in a Single Sentence: Advice from the Front lLnes of Hollywood by Lane Shefter Bishop

Hi, Sarah! How did you like the logline webinar? That is one of our Stage 32 favs!

the logline webinar was very helpful. The examples given and the breakdowns of each part really helped to clarify for me what parts of the story concept they actually are looking for in loglines and why they want them presented that way. Loglines are something I struggle with so it’s really good for me to hear different perspectives on how to do them to find what actually clicks best for my brain. I was able to refine my logline after watching this webinar to something that likely has a much higher chance of success.

This morning I did a 5 min Pitch with Ebony Williams from Unanimous Media through the Stage 32 pitch process. I did some pitching last year, but I wanted to come on here and say thanks to Evan's classes, this time went unbelievably better. I felt good about my presentation, my pitch deck, and what I needed to focus on. So thanks again Evan!

Something to think about for your story: What is your story engine?

Shizuku from the Whisper of the Heart, when I decided to dedicate my life to art many, many years ago, she was a relatable and comforting inspiration!

Woody from Toy Story.

What stayed with me wasn't just his loyalty—it was his growth. By the third movie, he realizes it's not really about Andy, it's about learning to let go. That shift from holding on to purpose to redefining it really got me.

That’s a powerful take. Woody’s shift from needing to be needed to accepting change is something a lot of stories struggle to portray honestly. Letting go is harder to write than holding on, but that’s where real character depth comes in.

I absolutely love this post, Ashley Renée Smith . A character that has stayed with me especially in animation is the character, ZAZU from the Lion King. While The Lion King as very close ties to Shakespeare's HAMLET, I just love the similarities between Polonius and Zazu. I mean who doesn't love when he sings, I JUST CAN'T WAIT TO BE KING, and then starts to sing It's a small word... musical brilliance I may say.

Everyone I will be teaching an animated screen writing class this coming weekend on Stage 32 ! if you are interested check out the link. One of the classes we will be studying character development to the max!

https://www.stage32.com/education/products/stage-32-8-part-screenwriting...

I'm going to go back, way back. The 80s and the television premiere of "Robotech: The Macross Saga." The main character, "Rick Hunter," stood out to me for a reason I couldn't explain when I first watched it because I was too young. Then, once I got older, I understood why I related to him so much. People around you see the potential to lead, but you are afraid of failure. And when you are thrown into that position, you always deal with self-doubt, plus the love triangle he was dealing with. The woman he was infatuated with and the woman he really needed. My 12th-grade year of high school in a nutshell.

Cute. Can't wait to see more.

Johnny Washington Strong premise and tone. The phrase "financial terrorists" immediately creates intrigue, and "hypercapitalist hellscape" clearly establishes the world.

My only note is that the logline leans heavily into the setting and chaos, but gives less insight into what the three friends are actually trying to accomplish week to week. Adding a clearer objective or series engine could make it even stronger.

Overall, it feels unique, marketable, and gives a good sense of the show's voice.

Financial terrorists sounds negative, but corporate monopoly also sounds negative.

If these characters are the heroes, battling evil corporations, how do they see themselves? Financial freedom fighters? Lower class rebels? Their POV might be a better way to frame the story, rather than telling us how the power structure sees them.

Mr Robot comes to mind, about a troubled hacker that struggles against capitalist authorities.

The comedy version of the premise is Office Space.

So you might want to indicate tone — is this corporate intrigue or satirical comedy?

I agree with the above, the world captures attention, but I'm not sure what exactly the main characters are aiming to achieve episode to episode, and they do seem like villains. Are they supposed to be similar to the premise of "Bad Guys" where they are intentionally bad but end up doing good? Or are they like Robinhood, intentionally good, but are misconstrued as villains by the system?

Banafsheh Esmailzadeh I love seeing your posts because they always feel authentic and unique. And honestly, you’ve got a point about animated memes, there’s a very specific kind of magic in them when they’re done well.

Gasem Habibian اگر ترجمه من دقیق نیست، عذرخواهی می‌کنم. تمام تلاشم را می‌کنم.

با این حال این پست بیشتر درباره فیلمنامه و نویسندگی است (با فرض اینکه ترجمه درست باشد). ممکن است اگر در «Screenwriting Lounge» منتشر کنید، بازخورد و تعامل بهتری دریافت کنید، چون آنجا افراد بیشتری در زمینه نویسندگی و توسعه داستان فعال هستند.

Sorry if my translation isn’t accurate. I’m doing my best.

However, this post seems to be more focused on screenwriting and writing (assuming the translation is correct). You may get better engagement in the Screenwriting Lounge, since there are more people there focused on writing and story development.

Hi Kaylon Langford

Congratulations on finishing your screenplay! Whether Star Men: The Evaporator becomes a movie, animation, or video game depends less on the amount of VFX and special effects and more on the story, audience, budget, and your goals for the project.

Many films today use extensive VFX, so a screenplay with lots of visual effects can absolutely be produced as a movie. That said, if the world, characters, and action are highly interactive, it could also potentially be adapted into a video game later.

My suggestion would be to first focus on developing the strongest version of the story and deciding what experience you want the audience to have. Is your vision primarily for viewers to watch the story unfold, or for players to actively participate in it?

Banafsheh Esmailzadeh I just read about this yesterday. What an incredible life and the opportunity she had to produce art that made a significant difference in the world is truly humbling. I was not familiar with the work before yesterday but I read several articles about her and am so happy she had the opportunity to be such a light for others.

I just read about this recently. She made some profound pieces.

Banafsheh Esmailzadeh This is actually my first time hearing about Marjane Satrapi and her work, so thank you for sharing it. I just watched the animation, and it was both beautiful and heartbreaking. Knowing that it reflects the reality faced by so many women makes it even more powerful.

I'm glad you shared her work here so it can continue to live on and reach new audiences. There's something meaningful about discovering an artist through the impact they've left behind, and I appreciate being introduced to her work through your post.