Stephen Molton

BIO

Stephen Molton is a Pulitzer Prize nominated author, screenwriter, producer, professor, artist, and former television executive with a passion for writing and teaching.

Harper Collins published Stephen’s first novel, Brave Talk in 1987. His most recent book, Brothers in Arms: The Kennedys, the Castros and the Politics of Murder (co-authored with Gus Russo), was published in 2008 by Bloomsbury USA which nominated it for the Pulitzer Prize. He has written movies and miniseries for Showtime, New Line Cinema, Paramount Pictures and Viacom Networks, and produced two documentary features. His latest movie, Border Crossing, adapted from the novel by Pat Barker and co-written with Frank Pugliese (House of Cards) was released in 2017.

As an HBO, MTV, and Showtime executive, Molton developed such TV productions as Elvis Meets Nixon, Harlan County War, Charms for the Easy Life, Tricks and Hiroshima. Molton serves as a popular professor of screenwriting at Columbia University’s School of the Arts and he has taught at NYU’s Tisch School, SUNY Stony Brook/Southampton, the TV Writers Studio/Long Island University, and the Mediterranean Film Institute/Athens.

We’re living in what some people call the “Golden Age of TV.” Do you see this Golden Age continuing for awhile, or changing soon?

It’s actually sort of a third Golden Age.  The first was in the 1950s (Playhouse 90, Kraft Television Theater, Philco Playhouse, etc.), the  era of the earliest TV writers, Paddy Chayefsky, Gore Vidal, Lillian Hellman, Horton Foote, and the upstarts at the Actors Studio.  The second came with cable TV which widened the audience.  Now this third one, where much of the indie film movement has found itself, is producing even more radical programming.  I think it will continue because the platforms keep expanding, the business models keep evolving to monetize it, and America and the world are in a state of unprecedented flux. Globally, we are the story crossroads and stories are constantly prefiguring the next human reality, even as they’re reflecting it.

What makes a good TV Pilot?

A “good TV pilot” is one that takes us to the edge of a gravitational force field, a labyrinth full of possible paths or what the industry calls a “story engine.”  (I prefer an architectural and psychological metaphor to a mechanical one.)  It’s generally a story that is operating on all levels of conflict, internal, interpersonal, and societal, and it’s mostly reliant on two things, vivid characters (including at least one antagonist) and an irresistible World of some kind; that is, a multi-dimensional honeycomb of possible interactions.  I always say that watching a movie is like going on a road trip.  Watching a pilot is more like moving in to a “wondrous strange” apartment building full of light and shadow.

You teach the TV Drama class here, what was with the ending of LOST?

LOST got lost way before that last episode, if you ask any of the show’s writers.  The show was a genre trickster, actually the most genre-busting series on TV at the time.  It went through genres like Louis Armstrong went through handkerchiefs onstage, with crazy delight.  Really. It went from disaster drama to mystical / science fiction to supernatural thriller to scientific mystery to wilderness soap opera to religious fantasy and then it just…exploded, I guess…

You’ve worked on books, TV, and film. Do you approach writing for each of these mediums differently?

Yes, just the same way that actors use different muscles if they’re projecting their voices under a proscenium arch or murmuring in front of a camera.  Each medium has different elasticity and charm, and you get used to its story capacities.  For example, TV is actually more a descendant of theatre and radio than of film because it’s so much more dialogue-driven than movies are.  We watch movies.  We tend to listen to TV, so you write them differently.  Books, or course, allow you to veer in and out through the subjective realms, directly, whereas in a movie it’s more necessary to portray the inner lives of characters through their words and actions.

What makes a story compelling? What pulls people in to keep watching, or keep reading a story?

What makes a story compelling is how it disrupts a life at the outset.  We are story-telling animals because we are all having these intense internal discussions with ourselves so we need stories to help us sort out our own, much as we ponder our dreams when we wake up.  A great story begins with a life thrown out of balance and a character who must take action some-how to re-balance it, knowing that in all likelihood, the newly re-balanced life will be quite different from the former one.

Do you have any favorite writers working right now?

Oh, boy….  Favorite writers, I don’t know.  I loved what Sarah Treem did on “In Treatment.”  I’m smitten by the work of many others, from whoever it was who wrote “Bloodlines” to J. J. Abrams to David Mamet.  There’s such an embarrassment of riches on the writing front that it’s hard to know where to begin.

What TV Shows really stand out to you right now?

The stand-outs for me lately have been “The Leftovers” which deals in a very nuanced way w/ questions of belief and dread and the fracturing of community, themes that are sort of inexhaustible in today’s society, it seems to me.  On a completely different trajectory, I thought that “Downton Abbey” had a certain power to engage, on the heals of movies like Altman’s “Gosford Park” and “Remains of the Day.”  A guilty pleasure, sort of.  We’re enchanted by wealth and privilege, when it isn’t grotesque.  We’re reassured by the loyalty of the working class, but deep down, in this very American way, we know that the class distinctions finally give way to what we all have in common, morally and emotionally speaking.  We recognize our inter-reliance or it all just falls into revolution, for better or for worse.  “Sherlock” interests me sometimes, in and out.

Working on any projects of yours outside the studio you want to shamelessly plug?

I just finished a film with Bette Gordon, an indie based on Pat Barker’s novel, “Border Crossing.”  The film itself is called “The Drowning,” starring Josh Charles, Julia Stiles, and a terrific up-and-comer named Avan Jogia. ‘Other things percolating. Stay tuned!

If you could bring three movies with you to a desert island, what three movies would you bring?

Three movies to a desert island….  Hmm.  Well, today they would be “The Great Beauty,” “Selma,” and “Wings of Desire.”  Tomorrow, could be anything.  By this November, who knows…?  “The Great Dictator,” “Primary Colors,” and “Reds,” maybe…

“Working with Steve has been invaluable to me as a writer. Whatever story you’re telling, Steve is wholly invested in it – the theme, the voice, the characters – but honestly, what has kept me working with him for so long is his investment in me as a writer and a person – and my work is all the better for it. He is the kind of mentor you need – someone who listens for the story you are trying to tell and challenges you to dig deep to tell it as best you can. He is always willing to field questions that delve into the business of screenwriting – thoughts on coverage (good or bad), agents and managers, bibles, developing a strong body of work – no matter how neurotic I get with those questions. I am incredibly grateful for the Jacob Krueger Studio and its ProTrack program which gives people like me, who don’t currently live in New York or L.A., an opportunity to work with someone of Steve’s caliber.”
–Jessica S.

“Steve was an incredible teacher. I learned so much from the class and the one on one session. He is an absolute natural when it comes to teaching. Steve was informative, extremely knowledgeable, warm, friendly and engaging. He paced each class efficiently and everyone received adequate time to share their work and to receive feedback. His written feedback was also extremely helpful and thorough. My writing grew tremendously from his class. He genuinely cares about his students and their success, and in each session, there was such an enthusiastic vibe. All of those qualities you’d want in a teacher can’t really be taught. But again, Steve is a natural at being a naturally outstanding and gifted instructor. I would definitely take more of his classes. Unfortunately, at the time, my almost zero finances, won’t allow it. But thank you for offering such amazing courses. I’m grateful to have been a student at JK, and for having Steve Molton as a teacher.”
–Lisa B.

“Steve was incredible to work with. I really appreciated his notes, his patience, his experience and his genuine passion for the story I was telling. I would absolutely recommend him as an instructor and would definitely consider taking another class with him if I could afford it.”
–Brent L.

“I worked with Stephen privately after developing an original series in his TV Drama Intensive. Both the class and the session were remarkable. My goals were more than met. I came away with a pilot episode and a rough bible and a whole world of questions to sustain the project over multiple seasons. It was my first time diving into speculative/sci-fi as a genre and I could not have had a more brilliant mentor to witness the work as it grew. Steve is fiercely engaged with the world, morally, humanly, and artistically. He’s nurturing and expansive while having experience and savvy in the industry. His written notes on my pilot were incredibly valuable, focusing on micro choices line by line and meta structural concerns. My pilot has placed for the Sundance Episodic Lab, the Blacklist/Women in Film Episodic Lab, and I have my second meeting with a producer in LA this month who I pitched and has now read the pilot. I have taken many classes along the way and Steve’s was the best, by far. Not only did he get me and excite my writer like no other teacher, but the atmosphere of his “writer’s room” created really special chemistry amongst the participants. I came out of the class with two trusted writers who I trade reads with constantly. He’s incredible.”
–Kerry M.

COURSE PARTICIPANT AGREEMENT

Participant Agreement

By registering for the course, you are agreeing to the following terms, which form a legal contract between you and Jacob Krueger Studio, LLC (“Company”) and govern your attendance at and/or participation in Company’s course (the “Course”). 

  1. Course Participation.
    1. Admittance.  Your registration entitles you to admittance to the Course.  Any and all other costs associated with your attendance (including, without limitation, any travel or accommodation expenses) shall be borne solely by you and Company shall not be liable for any such costs.
    2. Media.  For good and valuable consideration, the receipt and sufficiency of which are hereby acknowledged, you grant Company the right to record, film, photograph or capture your likeness in connection with the Course, in any media now available and hereafter developed (“Course Footage”).  You further grant to Company in perpetuity the rights to use, license, edit, copy, distribute, publicly display and make derivative works of the Course Footage, including exploitation for marketing, advertising or merchandising related to the Course, throughout the universe.  You hereby waive any and all approval rights you may have over Company’s use of the Course Footage and acknowledge these rights are granted without any payment, including royalties or residuals, to you.
    3. Conduct.  You acknowledge that Company reserves the right to request your removal from the Course if Company, in its sole discretion, considers your presence or behavior to create a disruption or to hinder the Course or the enjoyment of the Course by other attendees or speakers.
  2. Fee(s).
    • Payment.  The payment of the applicable fee(s) for the Course is due upon registration or per your payment plan.  If such payment is insufficient or declined for any reason, you acknowledge that Company has the right and sole discretion to refuse your admission to the Course.
    •  
    • Taxes. The fee(s) may be subject sales tax, value added tax, or any other taxes and duties which, if applicable, will be charged to you in addition to the fee(s).
  3. Intellectual Property. All intellectual property rights, including trademarks, copyrights, trade secrets and patents, in and to the Course, the Course content and all materials distributed at or in connection with the Course (the “Course Materials”) are owned by Company. You may not use, license, copy, display, or make derivative works of the Course Materials without the prior written permission of Company.  For the avoidance of doubt, nothing in this agreement shall be deemed to vest in you any legal or beneficial right in or to any trademarks or other intellectual property rights owned or used under license by Company or grant to you any right or license to any other intellectual property rights of Company, all of which shall at all times remain the exclusive property of Company.
  4. Warranties; Limitation of Liability.
    • Other than to the extent required as a matter of law: (i) neither Company nor its employees, agents or affiliates (“Company Parties”) shall be liable for any direct, indirect, special, incidental, or consequential costs, damages or losses arising directly or indirectly from the Course or other aspect related thereto or in connection with this agreement.  The maximum aggregate liability of Company Parties for any claim in any way connected with therewith or this agreement whether in contract, tort or otherwise (including any negligent act or omission) shall be limited to the amount paid by you to Company under this agreement to attend the Course.
    • You represent and warrant that you have the full right and authority to grant Company the rights provided in this agreement and that you have made no commitments which conflict with this agreement or the rights granted herein.  You agree that your participation in the Course is entirely at your own risk and accept full responsibility for your decision to participate in the Course.  In no event shall you have the right to enjoin the development, production, exploitation or use of the Course and/or your Contributions to it. 
  5. Governing Law and Venue.  This agreement shall be governed by the laws of the State of New York without regard to its conflict of laws provisions.  The parties hereto agree to submit to personal and subject matter jurisdiction in the federal or state courts located in the City and State of New York, United States of America.
  6. Dispute Resolution.  All claims and disputes arising under or relating to this agreement are to be settled by binding arbitration in the state of New York or another location mutually agreeable to the parties.  The arbitration shall be conducted on a confidential basis pursuant to the Commercial Arbitration Rules of the American Arbitration Association.  Any decision or award as a result of any such arbitration proceeding shall be in writing and shall provide an explanation for all conclusions of law and fact and shall include the assessment of costs, expenses, and reasonable attorneys’ fees by the winner against the loser.  Any such arbitration shall include a written record of the arbitration hearing.  An award of arbitration may be confirmed in a court of competent jurisdiction.
  7. Miscellaneous.  Company may transfer and assign this agreement or all or any of its rights or privileges hereunder to any entity or individual without restriction.  This agreement shall be binding on all of your successors-in-interest, heirs and assigns.  This agreement sets forth the entire agreement between you and the Company in relation to the Course, and you acknowledge that in entering into it, you are not relying upon any promises or statements made by anyone about the nature of the Course or your Contributions or the identity of any other participants or persons involved with the Course.  This agreement may not be altered or amended except in writing signed by both parties.
  8. Prevention of “Zoom-Bomber” Disruptions; Unauthorized Publication of Class Videos. Company will record each class session, including your participation in the session, entitled “The Videos”. To prevent disruptions by “zoom-bombers” and provide Company and

    participants the legal standing to remove unauthorized content from platforms such as YouTube and social media sites, you agree that

    (1) you are prohibited from recording any portion of the Course;

    (2) in exchange for the opportunity to participate in the Course, you assign to Company your verbal contributions to the session discussions.

    To be clear, you assign to Company only your oral statements during recorded Course sessions. You retain all copyright to any and all written materials you submit to the class and the right to use them in any way you choose without permission from or compensation to the Company.

Welcom Back!

Log in to access your account

Our website uses cookies to provide a better user experience. By using our site, you agree to our use of cookies. Learn more about cookies and how you can refuse them.

We will see you this Thursday!

7pm ET / 4pm PT

Check Your Email For The Link

(Don’t see it? Check your spam folder)

Donate To Our Scholarship Fund

We match every donation we receive dollar for dollar, and use the funds to offset the cost of our programs for students who otherwise could not afford to attend.

We have given away over 140,000 of scholarships in the past year.

Thank you for your support!

Other Amount? CONTACT US

Get Your Video Seminar

myth-three-act-structure-jacob-krueger-studio-free-seminar

Where should we send it?

"*" indicates required fields

Name*
Would You Like More Information About Our Classes?
This field is for validation purposes and should be left unchanged.

Need A Payment Plan?

We like working with artists and strive not to leave writers behind over money.

If you need a payment plan or another arrangement to participate in our programs, we are happy to help.

Chat us or give us a call at 917-464-3594 and we will figure out a plan that fits your budget.

Join the waitlist!

Fill in the form below to be placed on the waitlist. We'll let you know once a slot opens up!