I’ve always loved writing and I’ve always had great ideas for TV shows and movies, but since I neither studied screenwriting or filmmaking nor had any contacts within the industry, I didn’t even contemplate writing a screenplay. Until a friend gave me a little push with this simple yet implacable argument: how can you be sure that you’re not a screenwriter if you never try?

So, I tried… and I loved it. Talk about a revelation! I had finally found what I really wanted to do. But was I even good at it? I sent my scripts to reputable script service providers and entered a few screenwriting competitions, and the answer seemed to be: yes, I am a decent screenwriter. But then there was the daunting need to make connections in this highly competitive business. As I said, I had no contacts whatsoever, and my only way in, I thought, was winning a contest. Which I did, twice, but to my disappointment neither of these competitions opened any doors or helped me to establish meaningful connections.

That is until my pilot screenplay EON won this year’s Stage 32 3rd Annual Diversity Springboard Contest. I came across Stage 32 through another screenwriting platform but didn’t pay much attention at first. If I wasn’t getting any traction on the other platforms, why would this one be any different? I was quickly proven wrong. Whilst I had been left to my own devices with pitching my project by the other competitions I won, here I was immediately provided with great tips and advice by the Stage 32's Success Team, who helped me put together a deck which I felt was great. With that support and confidence boost, I put together a pitch deck for another one of my projects, MY GOD PARENTS, which the Success team also kindly reviewed and commented on.

Stage 32 was just in the middle of organizing my meetings with the Diversity Springboard judges when the WGA strike started. Understandably, all meetings between contest winners and industry executives were paused. I took this as an opportunity to further prepare for the meetings and practice pitching. I decided to submit my projects to the weekly pitch sessions available on the Stage 32 platform. I sent cut-down versions of the pitch decks I created, but I wasn’t sure if they were the right length, or if I had managed to extract all the salient points. I didn’t receive any script requests at first but was provided with very helpful feedback regarding my submissions. This allowed me to revise and improve my written pitches.

When I saw that Katharina Suckale of Bombay Berlin Film Production, a veteran producer based in Europe (I am also based in Europe) was accepting pitch submissions, I sent her both EON and MY GOD PARENTS. Katharina only requested MY GOD PARENTS’ pilot (I say ‘only’ but I was still absolutely delighted). However, I noticed that she also had openings for script consultations on Stage 32, so I booked a one-to-one meeting with her and submitted EON’s pilot! There are so many ways to put your work in front of producers on Stage 32 that are not available elsewhere.

During the consultation, we spoke about MY GOD PARENTS and EON (Katharina loved the pilot) and very quickly a shopping agreement was on the table for both projects. I had to lie down for 30 minutes after that call! Do you know the saying, ‘You wait ages for a bus, and then two come along at once’? Well, that’s how it felt. Two big, shiny, wonderful buses had just turned up.

I have learned so much over the past 6 months, with Stage 32 and Katharina Suckale. Writing good screenplays is only one aspect of the job. An accomplished screenwriter must also master the equally difficult art of pitching. Stage 32’s guidance has been invaluable, whether it came from the Success Team, the pitch sessions, or the script consultation. With her 20+ years of experience in the filmmaking industry, Katharina helps me navigate territories that are uncharted to me. Whether or not we manage to get any of these projects over the finish line, I really feel that I have finally made a meaningful connection.

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