Screenwriting : For an Anonymous Writer with a good script, is it really ALL about the Pitch Deck? by Daniel Goudreau

Hey, Daniel Goudreau. Sometimes all you need is an incredible script. Sometimes you need more, like a pitch deck. Producers and directors are asking for pitch decks more and more now though.

As for you not having connections, here are some blogs about networking that could help you out: www.stage32.com/blog/tags/networking-41

Hi Daniel,

It’s true that a pitch deck has become more important in recent years, especially for new or "unknown" writers trying to get their work noticed. While a perfect script is still essential, the pitch deck can be a powerful tool to visually communicate your vision, tone, and unique selling points. It helps grab attention quickly and makes it easier for executives to decide whether they want to invest time in reading the entire script.

Think of it as a first impression. If you have a great script and a compelling pitch deck, you’re showing that you understand the business side as well as the creative. It might feel frustrating, but having both could give you an edge and demonstrate that you're serious about presenting your project in the best possible light.

Keep pushing forward!

Thanks Maurice, Thanks Maicon.

You're welcome, Daniel Goudreau.

Pitch decks are on the rise, same as guru script experts. Total sham but everyone is out of work.

However, depending on what you can bring to the table like cast, crew, financiers, maybe a pitch deck can get to hire up's. My college classmate is a DGA director for 20+ years. I think he said he's been involved in 100+ pitch decks to employers, thousand$$ out of pocket. Mainly it is a team effort from start, not a solo writer from start.

Daniel Goudreau Just a relative newcomer's input here, but one thing I am good at is aggregating data, and (based on lots of available info re: spec options/sales/success stories) I think as a spec script writer you have to attempt to breach the film industry gates with a multi-faceted approach. That is, don't focus, myopically, on just pitch decks, or whatever a "perfect script" means, networking, stupendous loglines, competitions, etc. Think of the break-in strategy as a comprehensive assault (albeit a friendly one) on a closed-off, xenophobic, nepotistic, rigged system which shuns you, but might also welcome you with open arms...

Good question Daniel Goudreau! I think Maicon Aloncio said it well. A pitch can be additive to the overall presentation of your script/project. This has been an evolution I have witnessed first hand over the years. "Back in my day", when I was starting out, all it took was a script, just a script, and we would have to fax those scripts to our bosses, page by page, so they could it read that night. Now, for better or for worse, you need all kinds of visual aids to enhance a script - pitch decks, mock trailers, proof of concept shorts and more sometimes. It's a bit surreal to have seen this develop, and it can frustrating at times, but in my view those materials can help cut through the noise in terms of catching the attention of buyers, producers. I can tell you that during the times I have been a buyer, an interesting deck can make me want to read a script even more (I was going to read it either way, but it certainly can pique interest). Plus, it can convey the tone and vision for the project and help attract other great talent to add to the team down the road. At various times, when I was able to put together the resources and crew etc, I have created a deck or even made a proof of concept short if I was fortunate enough to find a way to make it a reality. And I'm happy to say that many times, those add ons have succeeded in moving things to the next level. For example, a financier was looking at a deck for a project I am putting together, and his boss walked by and saw it on his laptop and was like what is that? The boss ended up reading the script and it is in consideration at that company. If there is a way to create additive materials for yourself, I'd say give it a shot. At worst you will have taught yourself the new skill of deck creation, which I'm glad i did for myself!

Nick Phillips Thanks so much for your input. I am a very adept ai art creator so the decks I make for myself are going to be off the charts.

Dan MaxXx thanks for your thoughts on this.

oh that's awesome Daniel Goudreau! Yeah i'm sure they will be amazing in that case!

Daniel Goudreau I've created a few pitch decks, but they've mostly just gathered dust on my desk since no one has asked to see them. I don't consider them essential, but if they help some people get more reads, then it's worth giving it a shot. You mentioned not knowing anyone in the business, so maybe consider writing some lower-budget screenplays. That could help you connect with people who might be able to assist you. Just a suggestion

Waste of time, money and effort. Here's the well written script and logline. If that doesn't attract attention a Pitch Deck won't really help. Many times a request for one is a soft pass in disguise.

The vast majority I've seen do the writer a disservice due to a lack of creativity and amateurish execution.

I had an Exec producer ask for a short video pitch deck. I discovered that if I create one in Ai that the imagery is owned by the AI company - I communicated this to the Exec producer.

As a psychic medium, I can tell you that the scripts are not read. I can tell you people who cannot write may lie about the quality of your work, I can also tell you that some get put in drawers and ten years later, get a rewrite.

I can tell you that your energy is always connected to the script so value it, as it is an extension of you and know in truth, you are priceless.

From my experience, you need to hold your energy, think good thoughts and see who comes to you out of left, look for the synchronicities (they will stand out very, very, clearly), then validate the person, before you hand anything over and make sure that you have a traceable path for the script.

Do not send your work to any vague email addresses and take a Skype meeting to validate the person is, 'who you think it is' before you send your work.

At the end of the day, a match is a match - you will complement each other and there will be a natural fit - you will be on the same page. You will actually complete one another to serve the goal. Like a good buddy love story.

I can tell you if you get screwed... you'll have to take full responsibility for not protecting your work and see that you are growing stronger with each and every fail. This will of course, contribute to your strength as a writer understanding the hero's journey even more with every step. The whole writer's journey is about you getting to know yourself!

Best of luck!

Screenwriters are some of the smartest and most talented people in the industry, yet somehow, they still have to work extra hard to convince folks who might not be quite as sharp... let's just say their talents lie... elsewhere. But hey, it shouldn’t be too surprising. This is Hollywood, where people who can't even remember their own zip code can still make millions

Rebecca James Wow, there were brilliant insights in your post. Thanks for sharing your specific and useful thoughts on this!

Very funny Dan Gaurdino. I can never remember my zip code, so maybe I'll get rich fast! Lol!

Thanks Daniel Goudreau, glad to be of service!

Good question and good answers here. From my experience having a pitch deck for execs and producers has become a standard practice over the last few years.

This is even for very experienced and working writers. It's become a good communication tool to convey the story quickly to those inundated with screenplay recommendations, reading lists, and submissions (and short attention spans.)

Pitch decks aren't an absolute must. BUT if you are a visually creative person, who likes doing pitch decks and expressing yourself creatively, they can be a useful tool to help enhance or bolster your vision for your project. Not 100% necessary, but if making one can help better pitch your project and express your point of view more clearly, then they can definitely help you!

I believe a decent pitch deck will get more eyes on your script. Pitch Deck = Picture Book for adults :-O

Most times that producers or directors have been interested in one of my scripts, the first thing they ask for is the deck. If they like the deck, they'll ask for the script. So, yea, you need a deck.

It doesn't have to be huge or the most amazing thing ever. But it needs decent pictures, a good teaser statement and a good, succinct synopsis that makes it sound exciting somehow.

Most people just make them in PPT, although I find it a super-annoying software. So we are not talking class A graphics either.

I don't necessarily think that the reason pros don't want to read an unknown's script is because they think it will suck by default. I think it's more that it has to be that much BETTER, by default, to get any traction in the market. I've always looked at it this way: people already inside the industry have very little reason to deal/work with anyone OUTSIDE the industry when you consider that their brother, best friend, agent, real estate broker, spouse, directing buddy, and the couple hundred production assistants they know. plus almost every single person on 50-person crew who worked on their last movie has a screenplay they are trying to selll, and some of them are actually quite good. So -- it has be something special to get them interested enough to champion it over all the other screenplays coming their way from people they already know or have worked with.

Anyone sold a script for real money solely on the basis of a pitch deck?

A full deck is good for a TV show, as it goes into more detail about the whole season and characters that, if you tried to cram it all into a pilot, would make it a mess. For features a full deck may not be necessary for pitching to acquisitions teams but a solid logline and synopsis is. Some creators like to make one-sheets (which are often 2 pages) to hook potential acquisitions, or a deck that acts more like a look-book if you have visuals prepared (one sci-fi piece I helped pitch had some fantastic visuals from the creator, which helped sell the world and his vision of it). Sometimes people make decks for features to help secure investment which will have information about the project, but also information about the current marketplace, financial information and comparables.

Ewan Dunbar Thanks so much for your comments. I am actually hoping to pitch to you sometime and look forward to including a deck because I am creating out of this world images on Night Cafe and can't wait to tailor them to a deck for my epic but grounded sci-fi Blockbuster.

E Langley Not yet, and I doubt anyone gets a sale and/or produced film solely on a pitch deck. However, it is typically, at least in my limited experience, what gets the process started. To get a meeting or opportunity to pitch, you first send the deck, and the producer who recently signed on to one of my projects did so on the basis of the sizzle reel (made amazingly well by the director) and the deck.

Directors can be amazing allies in all sorts of ways, including for getting things made. Directors often have contacts you don't have as a writer. They are also great for spotting what is good or bad in a script. Plus, especially for TV, when they have a chance to pitch, they like to have more than one project up their sleeve. It makes them look good to have options available, and gives your deck a chance to be seen.

I feel you on this one! From what I’ve seen, while a great pitch deck can definitely help get your foot in the door, it’s not the only thing that matters. A solid script is still king, but the pitch deck has become a huge part of the process because it makes things easier for people to quickly get the concept and vibe. Execs are juggling tons of projects, so sometimes that visual snapshot helps them decide whether they want to dive deeper. It’s frustrating, but if you can nail both the script and the pitch deck, you’re in a stronger position. It’s more about giving them a reason to pay attention in a world where everyone’s fighting for it. Keep grinding Daniel Goudreau !!! (:

Chase Cysco Christiane Lange The questions that come to mind are:

1) What happened to THE TREATMENT. Is it still necessary, and does it accompany the pitch deck?

2) Personally, I need to control things from my little study... so, would still pictures - not necessarily from any preliminary cinematographic effort - i.e. well-fitting free photos from Pixels, with associated 15 word caption underneath... will they fit in this concept?

In a forest of verbiage, Christiane, the basic answer is still no sale. There's an added anecdote about a producer that doesn't even mention a script.

Obviously, writers do what they want. I'll stand by what I said, regardless generic projections of what's what with whatever.

If an effort is made to create a pitch deck, hire a visual professional, certainly not DIY or some Joe Schmo who claims they create them. Study portfolios. Do the pros' samples scream Wow!

If it's not eye-popping, creative and compelling, you'll shoot yourself in the foot. This means spending some real money - up to $3K. Most don't have this to invest.

And what heartbreak after spending all that money that a Deck fails to get traction for a script because the story is inherently weak. A fantastic Deck will not disguise a weak script. A Deck might actually do they opposite: underscore the common script problem of good idea with poor execution.

This convoluted process with its currents and eddies are the reasons why Decks waste time, money and effort.

As for as I know, WGA guidelines say employers dont need to pay writers for pitch decks but they do pay writers for treatments & rewrites. Thats if your feature SPEC sale qualifies$$$ to join the guild.

Daniel, I'm not really a pitch deck person...but thanks to other Stage 32 members, I've found a couple of tools that work just about the same way: ScriptHop and Prewrite.

ScriptHop functions like a pitch deck, while Prewrite does basically the same things a lookbook does.

If you'd like to check them out, just slip onto https://www.scripthop.com and/or https://prewrite.com.

Glad you're here on Stage 32...here's wishing you all the VERY BEST!

Hey Daniel - this is what I am here for! I am the Writer Consultant for Stage 32 and I can help you find traction on your project. Reach out to me at success@stage32.com and I would be happy to answer your questions. I look forward to hearing from you!

I wish I could get answers that would clarify the confusion in my simple mind.

1) What happened to THE TREATMENT. Is it still necessary, and does it accompany the pitch deck?

2) Personally, I need to control things from my little study... so, would still pictures - not necessarily from any preliminary cinematographic effort - i.e. well-fitting free photos from Pixels, with associated 15 word caption underneath... will they fit in this concept?

EX: It will not fit the concept.

Then I can do further research... I still respect opinions, that is why I am on this site

Charles V Abela Treatments were traditionally used to pitch projects when a screenplay wasn’t yet available. Some screenwriters also used them as a tool to develop their scripts. However, they aren’t essential, and neither is a pitch deck. If you feel like creating one, go for it, but it’s unlikely to make a significant difference in selling your screenplay if that’s your goal.

Thanks Dan Guardino I thought that Treatment is "the thing." Certainly now, with my current effort, I am writing the Treatment in detail - 7-10 pages. It gives me the outline in the sequence that I want. It's just another tool, but not necessarily "the tool." With the PD, I have tried a variety of them basically using pics and captions with the Da Vinci Software (freebie). It follows the story. The long version is 7 mins, the summarized one is about 3.5. The only views I get is on YouTube. Makes me wonder. Comes back to who you know and... most importantly, if after having glanced at the script, he/she decides if there is a market for it.

Just ask what they want and deliver it! ... Best of luck!

E Langley A pitch deck need not cost money. I and the director I am currently working with make our own.

Charles V Abela I get the feeling that a treatment used to be "the thing." So far, I have never been asked for one. I have been asked for decks and for 1-pagers and sometimes for mood boards/lookbooks.

Christiane Lange Could you please be more specific... you say you make your own. Is it using special software? using pre-recorded movie clips? just panels with type on them?

My movie boards (if you can call them that! and I do everything myself) uses Free pics (Pixels), adjusted with Gimp Software, uses Da Vinci as movie software, so I set the caption type with Gimp on the various panels, and I use Audacity (another freebie) to record an original voice if it has varied accents, or to copy some music clips, change the format and superimpose. Finally Fesliyan Music (pay one-off).

How is yours done? For me, using outside service is 100% out of the question, because ultimately… in my opinion, it will not move the script one iota towards the silver screen… certainly it is not a deciding factor.

I thought I saw a link from Chase Cysco which appealed to me (but who am I) but I lost the link.

Charles V Abela Most decks I have seen are made in Powerpoint or other layout software, and output in PDF format as panels with text. Since I can't stand Powerpoint, I use Adobe Indesign, but whatever works for you. You can also imbed links to video, lookbooks etc., but it is not necessary.

For one project, I took some photos myself and begged others off friends. But for other projects, like you, I use free to use stuff off the internet.

It is time-consuming, for sure, but writing the succinct text you need and matching it with pictures that give a sense of the vibe is not a bad exercise for future pitching.

Christiane Lange Thanks Christiane, that sums it all up. At least, I know that I am not far off with the technical side.

DIY is fine if trained in graphics, fonts, placement, organizing space, writing for the medium.

Another aspect why DIY should not be done is there's no distance from the source material. Much like admonitions not to edit or color correct your own films. Or for other eyes to proofread a script. Forest for trees.

Out of the dozens I've seen, all the DIY, or ones by non-graphic pros who are self-proclaimed deck producers, were embarrassingly bad. Like 4th grade bad. And the DIYers truly believe they've crafted a masterpiece. Just like many writers with a similar belief. Many believe they can write due to a misconception it's easy - sit down and toss words on a page, right. Same goes for deck production: toss some images and text up on Powerpoint. All for something that is unnecessary in the marketplace anyway.

It's a free world. Everyone proceeds as they see fit. Looking forward to seeing more decks posted here for feedback.

E Langley I see all your points. Basically you are saying a professional PD can't hurt but may not be needed so why waste thousands especially if the script can't sell itself. Those who DIY usually create one that is clearly not professional so may shoot you in the foot and not get the script read. So, if you aren't rich, forget the deck and write a script so solid it cannot be ignored if pitched with a great 2 page or verbal pitch. Others are saying, the market is changing and investors and execs are more inclined to want to digest a deck first and only if that WOWS them, then ask for the script. So the middlemen like Producers or Agents who want to send your material up the chain to the decisionmakers are becoming convinced a PD and maybe more needs to get sent up especially if that is what is asked for. (Maybe even Talent and Directors are going to start wanting a PD first before a script). Meanwhile back in the humble reality of the Writer working two jobs to survive with no money, that eager Writer needs to put in the 10 years to get good enough to have a well executed fresh original pitch perfect page turner but all that sweat equity was done for FREE because it's a spec and then they learn besides the thousands spent on coverage and training and pitches, etc, that broke Writer really should spend more thousands on paying for a professional pitch, bankrupting themselves on the false hope someone will make their film and 3 years later when it survives Development Hell an is still getting made, on the first day of Principle Photography, the Writer gets paid for the first time, assuming he/she had paid an entertainment attorney long ago and signed a deal that didn't screw them. So, I see your point which is don't waste money on a deck or make a bad one yourself, just write a great script. I really do see what you are saying. I know other will disagree and say Pitch Decks and more are becoming the expectation. This business of Spec Writing with high hopes really is one way to waste a lot of money for people who are already broke. It really is worth considering walking away and just let Marvel make 15 more Ms. Marvel Movies until we all die of grief.

Let’s be real for a change. Pitch decks are just another shiny tool screenwriters use to try and get a producer to crack open their screenplay. No producer in their right mind is going to say, ‘Oh no, this deck wasn’t crafted by a professional pitch deck guru so I better toss the screenplay in the trash!’ Seriously? If the story’s good, they’ll read it. So why can’t a screenwriter whip up their own pitch deck? It’s not rocket science… unless your screenplay is about rocket science and in that case maybe they should consult someone.

Rocket science is best left to rocket scientists, not tinkerers in a garage with a chemistry set. A truly bad deck might not be looked upon favorably despite protestations to the contrary. A dynamite deck that showcases both the writer and their script for a read is also possible and perhaps more likely. That's real... for a change.

Projections of what people might think are just that.

Charles V Abela Treatments very much used to be the thing, they showed up regularly in my submissions and sometimes would actually end up selling before a script had been written. This is definitely not the case anymore. IF, and that's a big IF, someone ended up reading your treatment, and if they ended up liking it, they'd say great, send me the script when it's done. These days, for better or for worse, you need a full script, a good one of course, at minimum. Pitch decks are very very much encouraged and a borderline pre-requisite. And yes you can absolutely DIY a pitch deck. If a non tech savvy middle aged dude like me can do it, anyone can do it. Just find arresting visual imagery (HIGH RES photos only) that reflect the tone and look, some interesting text to pique interest etc. It can be tedious and difficult to tech yourself, but it can be done. Powerpoint, Keynote, Canva, all very user friendly ways to do it. Personally speaking, I read the script submissions that come my way through the usual avenues regardless of the quality of the deck, but a poorly made deck does actually enter my thinking, it can certainly take away some points. Put your best foot forward with all of your visual and creative materials and you'll improve your chances, pretty basic!

E Langley Thanks for the thoughtful reply. You’re right that a great pitch deck can certainly enhance a script and make it more appealing for a read, and I respect that some writers see it as a valuable tool. I guess where I’m coming from is that each screenwriter has to find what works best for them. Some may thrive with a professionally crafted deck, while others focus entirely on letting their script speak for itself. At the end of the day, we all want the same thing—getting our stories read and appreciated. Whether it's with a pitch deck or not, I think the most important thing is having a strong story. Everyone’s journey is different, and that’s what makes this industry interesting.

Amen.

Dan Guardino Ha! Good analysis and funny last line. Nicely done, Dan!

It's a big leap from reading a logline to reading an entire screenplay, especially for an unknown writer, and decision makers only want to give up their precious time if they feel it's worth it.

Filling that gap with materials that help sell a spec is prudent, particularly if that process isn't face to face.

A synopsis is a must. A poster can be beneficial. A concept trailer can be a game changer. For anything episodic, you need a bible more than you need a pilot.

A full pitch deck is overkill for a spec script yet to have a producer attached, however we're certainly living in an age where something similar but cut back is advantageous.

CJ Walley Agreed. Good to see you over here CJ. Your insights are appreciated and tell me what I was already thinking. I'm no one and I'm writing a 80-100 million dollar epic so of course I have 0% chance of anything but it is what it is. So, I am quite convinced the Pitch Deck is everything because I now see the system as middle managers who are looking for a such a hot property that they can send upward and impress the decisionmakers so the middlemen are actually the toughest of all to please because for them, it is about their savviness and not the Writer's skills first. So, the package being reviewed by middlemen/women needs to be top notch and should be a pitch perfect script that no one can put down and an even more dazzling pitch deck because they know the decisionmakers have a 30 second attention span for new material and the synopsis should be in the Pitch Deck and be very compressed. After reading everyone's comments this is now how I see it. I don't even know what a lookbook is yet and I have never met anyone in the business so I won't know their business shorthand. Is the thing I am wasting my time on worth the effort? Is it better than Barbie? You bet your ass it is.