Screenwriting : Pitches through Stage 32 by Constance York

I don't want to spend $35 to get my pitch evaluated, when I can spend that same $35 on entering a contest. Access is what I thought it bought. IT doesn't matter how good your pitch is- if you have nobody to pitch to. I think I do see posts from time to time about success... anyone else have luck with pitches? And by luck I mean, work, sale , money... not just yeah, they requested my script, but passed.

I'm a little perplexed about this 'Pitch' business. I'm not sure whether there's not enough work in the industry for execs and they make themselves available for a fee or, they're genuinely looking for something specific. Either way, even if they're in the genre you've written, I've learnt to expect nothing more than a rate-card. It's one thing to be a creative writer, another to be a salesman. I believe its hard to be both.

Having said all of the above, I pitched to Augustine Caulderon who incidentally missed the point but gave some poignant opinion. I brushed up my synopsis and, rewrote my Logline. Sometimes you just need that objective eye. Not sure if his helps the thread but I rarely Pitch for the reasons stated by Constance York.

legal mumbo jumbo in case some nutcase sues the site.

As for success, I haven’t seen anyone on stage 32 posting they received $$ for a pitched script.

Success seems to be script requests & meetings. Some signed to reps. That’s not too bad though. Just getting into the game is key.

My personal grind is the way websites & pitchfest sell the idea that spec scripts lead to instant fortune and fame. That’s a false plan.

A well written spec leads to opportunity. That’s the whole point of a spec- an audition.

Legal Mumbo Jumbo would have stated- we do not guarantee the sale of any script, or something along those lines. To say - "educational evaluational purposes only" would imply just that. For a fee we will tell you if your pitch is any good...

The implication to me is this is what they mean----" We will evaluate a bunch of scripts and in the meantime we will get a lot of great ideas from creative people who can come up with original ideas- which we cannot. We just got our IMDB resume, because we knew people in the business, but we don't actually have any good ideas ourselves, or we used the one good idea we had, so we will pay a small fee to get yours."

A 2 page pitch is basically a treatment and I hate treatments because they basically give your whole story away.

You could be right! Hope the Library of Congress registration gives some protection but we're told not to include it. Perhaps on in litigation is it helpful. But that means you have to pay to litigate. Screenwriters certainly don't have it easy.

Unfortunately, I say this as someone who got suckered into doing it- before I saw that. I won't again unless someone from Stage 32 can change my mind with a better explanation. I need my money more than you do Stage 32.

Constance York so what’s your plan? Either you’re gonna whine at home or do something else on your own dime. Plenty of successful writers outside of pitch sites.

Thank you Pamela! I agree

- and Dan I'm not giving up by any means. I have other ideas- don't you worry your pretty little head about it.

Pamela Bolinder it’s not negativity, it’s reality. Nobody owes you a movie deal. Just seems most want a lottery ticket (some magic pep talk or website) .

Pamela Bolinder okay, Pamela, what do you think “Stage 32 pitch sessions are for educational purposes” mean in simple plain English? I interpret it as “nobody owes you a movie deal.”

Well said Pam.

Dan, put your Scorpion Sting back in and play nice.

Hey there, would like to chime in, say hi and send good vibes! Constance, I understand and appreciate your comments and concerns. I look at legal language daily for a media company, yawn. It''s very clear that Stage 32 offers pitch sessions with the caveat that there is no obligation by third parties to produce your work. The pitch is for "educational evaluation purposes only". Very straightforward.

As for the executives, yes I agree that there could be some who are looking for material they would not otherwise have created themselves. I really don't think Stage 32 wants to see any members get burned, and at the same time, they can't control what you, I or the industry execs think or do. If not already, you may want to register your work w/USCO and WGA. If that's not enough, just go with your gut and invest in contests instead, as you suggest above.

Bottom line: don't hate the game. I am currently using S32 to cultivate relationships. It looks like a LOT of work went into building this site, which is being offered to us at NO monthly cost and could give you (us) that one connection we need.

By the way, I look forward to watching Detroit on Fire on YT!

I look forward to getting your feedback Candice- Also check out Detroit on Fire 2, and I have another one that is done, but not published yet.

So, Candice have you "pitched" here? And would you? And I am not saying this is a bad site- anywhere that likeminded artists can meet, communicate and share ideas and wisdom is always a good thing. I just want to know what's up. $35.00 is a lot of money for a pitch evaluation when you can enter many contests for about that price. And again there- the readers are writers, so there's another opportunity for someone to "steal" your work- if only by subconsciously remembering it ten years later while they're writing a script. I had a producer tell me once that she refused to read any screenplays that had been entered in contests...

Sure, will check them out. I started shooting last year for my next short doc which highlights a Detroit homeowner and activist, which is on the back burner right now. Yes I've done a few S32 pitch sessions. There's no bulletproof way to protect your IP. But since it's such a small community overall, in terms of who actually makes a living, it would look bad for anyone - esp. on social media - who gets called out with a copyright infringement claim. The USCO protects your script, but not the idea, so I've kept notes from Slamdance and Blue Cat on file so that I have a paper trail. Btw I was recently at a very interesting panel discussion re: blockchain. Apparently there's technology being put in place that can protect your IP assets.

"Pitch Sessions are for educational evaluation purposes only" means nothing because you aren't going to get an education when pitch them.

Hi Constance; I've done a few pitches here, and have had several script requests from producers. No sale or option yet, but the comments I got back showed they at least read the script.

So I've pitched these industry reps for a about a year now. Making changes, gradually moving the average score above 4.0 for most reviewers, but never reaching the magic 5.0 which I assumed must be the level to assure a request for more material, they were always a "pass". Then, to my surprise, a rating of 2.9 came in with a script request. Then another request for more on the same topic after a 2.6. I'll tell you, if you want something positive from the exercise other than spelling corrections, use their compliments in future pitches as endorsements by "entertainment executives."

Pamela. I don't think their feedback is worth anything because they aren't even screenwriters. I think what you are really paying for is a chance to pitch someone who might be looking for a screenplay to produce or some manager or agent that might be looking for new clients or maybe just someone trying to make some extra money off aspiring screenwriters. I am not sure agents should be accepting money for pitches because the WGA doesn't allow that sort of thing.

Trust me people- I hope I'm wrong. I hope it's legit. I'm still waiting on mine to go through, so I do hope it has the possibility of leading to something. I'm not trying to be cynical, or negative. Thanks for the feedback.

Constance, I think it is legit but selling a screenplay on the internet is a long shot. Sometimes long shots pay off but if you really want to sell one of your screenplays try to attach a director with lots of credits to one of you screenplays that you are trying to sell.

True Dan and no offense but no shit. How do I get a director with lots of credits to read my screenplay when they "will only read something if it was referred by someone they know." ? Doesn't that put me back to square one? :)

Read the success stories. It's about access. If you want to succeed in this business as a screenwriter, you will have to eventually be good in a room. Even before your writing is judged your pitch is judged... verbal, written, or otherwise. That's the reality. Even if you were a screenwriter in LA with connections, you would have to be able to sit down and pitch your material. What these pitch sessions offer is the access to do just that. It is by no means easy but it is effective.

Constance. I managed to attach two and I didn't know anyone at the time. I did a lot of things people say won't work and in most cases they were right but you never know if something will work or not until you try it.

My goodness Constance. Many telling you what you should do, but not how to achieve it. I am so sorry. Come on guys - give the girl a hand - Dan Guardino, tell her what you did to get your two guys attached. Laurie - explain what you mean, "good in a room". Stop being up yourselves and come down just long enough to be helpful.

Laura, I agree. But you need to have more than one completed script; a Logline; Synopsis and Pitch ready to pitch in the event they don't like the one. Boy Scout Motto - "Be prepared." No point going full ball on one - without backup. The opportunity may come, only once - don't blow it.

I got a book from the Directors Guild that list their members and started emailing and calling them.

Thank you Dan.

Patricia -- no one is "up themselves" I offered practical advice and the truth is no two writers' paths are the same so there is no magic advice. To be good in a room is everything Pamela and Laura mentioned. Be prepared, know your material inside and out so that if you are stopped for a question you don't get rattled and can pick right back where you started. Understand the basics of the business, which is what sites like this provide. Realize that to take on a script and carry it through production is years of a commitment by anyone so do all you can to convey the merit of the story and you as a person to work with.