Back by popular demand!
Join writers from all over the world and your teacher, Pulitzer Prize nominated author, TV writer, screenwriter, professor, and former HBO executive, Stephen Molton, for this unique Television Drama Weekend Intensive Workshop. Get ready to dive deep into the structure of of the pilot and learn what makes a drama pilot sell. Collaborate live through our special online format or attend at our NYC studio. Limited space available.
Welcome To The Writer’s Room
More than just a writing class, our TV Drama workshop gives you the experience of a real writer’s room on a 1 hour TV Drama or Dramedy series. You’ll learn the foundations of creating a successful TV Drama series, and collaborate on building show ideas and structure with your fellow students.
A Teacher You Can Trust
Steve Molton is a Pulitzer Prize nominated author, TV Writer, Screenwriter, Professor, and former HBO and Showtime Executive who has worked with countless studios and networks. You’ll benefit from his lifetime of real world experience every step of the way!
What You’ll Learn
Learn how to develop a series pilot that shows off your talent as a writer, creates an “engine” for an entire season, and captures the attention of anyone who reads it.
Plus, learn how to succeed in the exciting environment of a real world TV writer’s room, among a community of writers all working together for a common goal.
What About The Online Option?
You can be a part of our TV Writing Classes from anywhere in the world, through a live two way video stream! All you need is a computer, a headset, and a high speed internet connection. You’ll be able to see, hear and participate in everything, just like being in the room!
Includes 1-on-1 Consultation
This class includes a free consultation with one of our ProTrack mentors, offering you personalized 1-on-1 feedback on your writing to help you take the lessons of the class to the next level. Tell us about your project and we’ll match you with the right mentor.
Need A Payment Plan? Just Ask.
We like working with artists, and are happy to figure out a payment plan that fits your budget. Just select the standard plan below, or give us a call at 917-464-3594 to set up a custom plan.
- This isn’t a course about how to write a TV Bible. It’s really a course about how you prepare yourself imaginatively to create a world and populate it, to create a television habitat and populate it, and to understand that the relationship between those two things determines what the Engine will be, determines its potential longevity.
- How does the Engine fold out of that first portrait of the protagonist? As Aristotle and so many have said, plot comes out of character. The world we are creating is going to be manifested by these characters.
- You want to establish pretty clearly in the pilot, who are the people out there in this world that are always going to mess with the protagonist. Who are they and why? Get a glimpse of why they are the antagonist.
- Every single character has a different relationship to their shadows.
- It's critical to always be thinking at the beginning of any story, “What’s broken in the character? Why now, why are we starting now, and what’s broken within them?” Because it’s that fissure that runs through the character that is the chasm between their best self and their changing self, their steady self, and their changing self.
- You need to be able to make that world as vivid as you can, and to show what’s uniquely interesting about the moral arena that results from that show, and who the people are that are trying to negotiate that moral labyrinth within the show.
- The fascinating DNA of a pilot for me is that, because it’s all about characters in the world, you want to be able to touch as quickly as possible on that dynamic between the holdfast and the nascent ego in the principal characters of the show.
- A series is really about a world, it’s about a habitat. It isn’t really about a product or an outcome. It’s about a world in which characters wrestle with these moral quandaries.
- As you know, we’re in yet another golden age. I guess we could probably describe it as a third golden age, because there was the initial one in the ’50s, and then in the ’70s and ’80s, cable transformed everything. And then, there were suddenly a thousand different platforms, and that has given rise to an immense number of shows at any given moment. It has also given rise to web series, to the short form, which we hadn’t seen before. And that opens up a vista for writers, of a kind that no other form of writing does at this point, partly because the appetite is amazingly large for all these companies.