He signed a writer from his last lab. The next one could be you.

8 weeks. A finished script. A direct working relationship with one of Hollywood's top animation managers. This is not a class. This is the room.

Only 10 seats available. Enrollment closes April 18th. Once these spots are gone, this cohort closes for good.

A writer from Evan's last Stage 32 lab got signed.

Not "connected with industry contacts." Not "received valuable feedback." Signed. By Evan. The manager teaching this lab.

That changes what this is. This isn't education. This is access to someone who already has the track record of acting on what he sees.

Ready to Dig In?

Netflix. Apple TV+. Amazon. Disney+. Every major streamer is in an animation arms race right now — and they all need writers. Original animated content is one of the fastest-growing categories in Hollywood, and the window to break in is open right now.

This exclusive Stage 32 lab puts you directly in the room with Evan Anglin, Co-Head of Animation at Zero Gravity Management — one of the people who actually decides which animation writers get represented in Hollywood. In 8 live sessions, you won't just learn how to write animation. You'll finish a pitch-ready script and work alongside a manager who has the industry relationships to do something with it.

By the time this lab ends, you will have a fully developed, market-ready animation feature or TV pilot — plus the beat sheets, one-sheets, character sketches, and structural tools to pitch it with confidence.

Only 10 writers are accepted per cohort. This is intentional. The small group size is what makes the 1:1 attention and real feedback possible.

WHAT YOU WALK AWAY WITH

Every writer who completes this lab leaves with:

• A fully written, pitch-ready animation feature script or TV pilot
• Beat sheets and one-sheets ready for executive submissions
• Character sketch worksheets for every character in your project
• One-on-one script consultation directly with Evan
• 8 weeks of direct email access to your instructor — like having a mentor on demand
• Session recordings available within 48 hours so you never fall behind
• A private cohort lounge for peer support and feedback throughout the lab
• A direct working relationship with a Hollywood manager who has signed writers from this program

Payment plans available — as low as 4 installments. Email edu@stage32.com or select at checkout.

Your script won't wait for the perfect moment. Neither should you.

Congratulations to Benita Cullingford for getting signed! 

"Worth the money and then some." "I cannot say enough good about Evan. He was able to pace his lessons well, was patient as a saint, and presented exactly the right examples to illustrate every point. One great discovery: Evan taught me that I can do what I think I can't, if I just give myself the time. This class was definitely worth the money and then some." — Kelly

"Clear, honest, and genuinely supportive." "I thoroughly enjoyed the class. Evan's feedback was clear and very helpful. He was supportive and honest. I liked that the class was interactive and participatory." — Sandra

"I'd recommend any class from Evan." "Evan took his time with each one of us beyond our 1:1s. He uses illustrative animations to make his points, rephrases when needed, and is alert to where his students are. He does all he can to get them up to par. I'd recommend any class from Evan." — Kelly Ann

Session #1 – The Animation 360 Approach

• Course overview and expectations

• What execs look for in animated series & features

• Types of animated features: 2D, 3D CGI, hybrid, studio, indie

• Types of animated genres: Adult comedy, adult animation, 6–12, preschool

• Identifying key elements: target demographics, television formats, musicals

• Establishing tone, theme, setting, and world-building (including STEM for kids’ animation)

• Breaking down beat sheets / one sheets

Assignment:

• TV: Write a beat sheet for your pilot

• Film: Develop a logline and one-sheet for your film

• Submit beat sheets a day prior to the next session

Session #2 – Getting To Know You: The Art Of Character

• Highlights of beat sheets / one sheets

• Introducing characters effectively

• Choosing characters (people, objects, animals) and why

• First impressions: how we meet characters

• Character backstory through dialogue

• Leading vs. supporting characters

• Writing distinct voices

• Reviewing examples of character sketches

Case studies: Ruby Sparks, Alice in Wonderland, Zootopia, The Wild Thornberrys, anime examples

Assignment: Character sketches for all characters (TV and film)

• Submit beat sheets a day prior to the next session

Session #3 – Part Of Your World: Rules Of The World + Act I

• Review of character sketches

• Creating a world where the world itself is a character

• How characters interact with the world

• TV: Sitcom universes (microcosm vs. macrocosm); preschool contained settings

• Film: How magical elements reshape the world

• Act I in features: The call to adventure

Case studies: The Simpsons, BoJack Horseman, Zootopia, The Little Mermaid, Hunchback of Notre Dame, Mary Poppins + Enchanted, Monster House

Assignment:

• TV (Adult-comedy drama + 6–12): First 10 pages of your pilot

• Preschool: First 3–5 pages of an 11-minute pilot episode

• Film: Act I (pages 1–30)

Session #4 – Act II, Part 1 / Midpoint Of Pilot

• Features: Raising stakes—misunderstandings, secrets, reveals

• Features: Montage sequences, musical numbers

• TV: Foreshadowing in pilot; supporting and recurring characters

Case studies: Gnomeo & Juliet, 100 Dalmatians, The Prince of Egypt, Hey Arnold, Still Water

Assignment:

• TV (Adult-comedy drama + 6–12): Pages 11–20 of your pilot

• Preschool: Finish pilot (8–12 pages total); develop STEM/message for second episode

• Film: Act II, part 1 (pages 30–60)

Session #5 – Consultations + Act II, Part 2

• One-on-one consultations regarding feature and/or pilot structure

Assignment:

• Address notes

• TV (Adult-comedy drama + 6–12): Pages 21–30 (near full draft)

• Preschool: Second 11-minute episode

• Film: Act II, part 2 (pages 60–85)

Session #6 – Act III, Part 1

• Features: What makes a satisfying third act; arcs, climax setup, resolutions

• TV: Strengthening story arcs and building serialized potential

Assignment:

• TV (Adult-comedy drama + 6–12): Revise and polish pilot draft (22–32 pages for half-hour; 45–60 for hour-long)

• Preschool: Second 11-minute episode

• Film: Act III, part 1 (pages 85–95)

Session #7 – Act III, Part 2 + Beyond The Pilot

• Features: Final turns, climax, satisfying resolutions, polishing

• TV: Expanding beyond the pilot

• Preschool: STEM planning for future seasons

• Open Q&A & next steps

Assignment:

• TV (Adult-comedy drama + 6–12): Finalize pilot draft

• Preschool: Third 11-minute episode

• Film: Act III, part 2 (pages 95–110)

Session #8 – Project Review & Revision

• Submit completed draft for review

• Discuss feature, series pilot, or preschool episodes via Zoom

• Evaluate story execution and next steps

Assignment: Revise your script and celebrate your accomplishment!

FAQ

Do I need a finished script to enroll? No. You'll develop and write your script throughout the lab. You should come with an idea or a concept you want to develop or a rewrite you want to do — that's all you need.

What if I miss a live session? All sessions are recorded and available in your Stage 32 library within 48 hours. You can watch on your own time and pick right back up.

Is this for animated features, TV, or both? Both. The curriculum covers animated features and TV pilots in parallel. You'll choose your format at the start and work in it throughout.

Is this right for beginners? Yes. Evan structures the lab to meet writers at their level. Past cohorts have included first-time screenwriters alongside working industry professionals — and both have gotten strong results.

What does "10 spots" actually mean? It means 10 writers. No exceptions. The small size is the entire point — it's what makes the 1:1 attention possible. When the spots are filled, enrollment closes.

For context: one hour with an entertainment lawyer costs more than this. A single script coverage pass from a working executive runs $300–$500. A query letter to a manager who will never read it costs you nothing — and gets you nothing.

This is 8 weeks with the manager himself. On your script. With his full attention.

Payment plans available — as low as 4 installments. Select at checkout or email edu@stage32.com.

This lab is for you if you have an animation idea that's been living in your head for months — you know the characters, you can see the world, you just haven't gotten it on the page in a form that's ready for the industry. That's exactly what this fixes.

It's also for you if you've written scripts before but haven't cracked animation specifically — the visual storytelling, the tonal balance, the format differences between adult comedy, kids' content, and studio features.

And it's for you if you're serious enough about your career to invest in working directly with someone who can actually do something with your work.

Saturday, June 13th, 9am-11am PT

Saturday, June 20th, 9am-11am PT

Saturday, June 27th, 9am-11am PT

Saturday, July 11th, 9am-11am PT

Saturday, July 18th, 9am-11am PT {One on One Consultations}

Saturday, July 25th, 9am-11am PT

Saturday, August 1st, 9am-11am PT

Saturday, August 8th, 9am-11am PT

Testimonial from previous students:

"I cannot say enough good about Evan.  Being a retired teacher, I see his good teaching techniques. He was able to pace his lessons well, despite student technical issues and different student personalities. He was patient as a saint. I learned more than I can express on the spot.  Evan was great at presenting just the right samples to illustrate his point.  One great discovery that is fresh on my mind is that Evan taught me that I can do what I think I can’t if I just give myself the time. This class was definitely worth the money and then some." -Kelly 

"I thoroughly enjoyed the class. He is an excellent teacher/facilitator. Even's feedback was clear and very helpful. He was supportive and honest. I liked that the class was interactive and participatory." -Sandra

"As in the last class I took with Evan, Evan took his time with each one of us beyond our 1:1s.  He uses illustrative animations to make his points.  I’m a visual learner, so this is great for me.  He rephrases his questions if we don’t seem to be on the same plain.  He is alert to where his students are and does all he can to get them up to par.  Perhaps he was a teacher in a prior life?  I’d recommend any class from Evan." -Kelly Ann