Screenwriting : Pitching Prices by Stefano Pavone

You don't have to pay anything to pitch a production company or an agent. You can get IMDb pro and find companies or people to call or send query letters.

Dan, you live up in the foothills (I know where Arnold is) and I live out by the McKenzie River in the forest. Neither one of us are in film industry central but I'm confident that we each have ventured forth to meet & greet folks who are in film central - my point being that personal, social interaction is the way this industry works. My opinion/observation is that hiding behind a computer screen doing email & virtual stuff just doesn't work and is the reason for lots of the frustration the OP mentions.

There is never any reason for you to pay anything. Just e-query. It's free.

Script Revolution is good. I tend to use it like a hosting service I can send people (Sorry CJ). I then reach out to specific people. I am active in trying to build relationships with people I want to work with.

This isn’t unique to our industry. Go to LinkedIn. You will see thousands of business people building their networks for future work and current jobs.

Hey Stefano Pavone , It is great to have you in the community. I am the Director of Script Services at Stage 32. Having been an executive, producer, and writer myself, I completely understand your frustrations about feeling as though you are sometimes shouting into a void when pitching your work.

The thing that I encourage writers to do is be proactive when pitching rather than passive. And when I say "proactive" I don't know that queries are the best way forward. Why is writing query letters free? Because they are worth every penny. There is such an opportunity cost in sending out queries that yield almost no return on the effort. One could spend hundreds of hours to research producers, trying to find email addresses, sending off thousands of queries and only receive one or two responses. It still feels like shouting into the void.

I really encourage you to take a look at the opportunities to pitch on Stage 32. We have worked hard to identify producers, executives, literary managers, and agents who are passionate about giving feedback on your pitch and your project. I have personally had meetings, coffees, lunches and calls with these executives to find out exactly what they specialize in so that no one's time - especially yours - is wasted. We want these sessions to be productive for you so that - whatever the outcome - you feel as though you have made progress in your career.

And that level of due diligence has led to so many of our members finding success through the pitch sessions. Most recently, two feature films that are currently in production were found through Stage 32 pitch sessions. The first, 10-31 is being produced by Eli Roth (https://deadline.com/2020/01/gigi-saul-guerrero-direct-orion-pictures-ho...), and the second is Chick Fight (https://deadline.com/2019/12/alec-baldwin-bella-thorne-chick-fight-movie...) which just wrapped production with Malin Akerman and Alec Baldwin starring.

We have recently had another writer from Malaysia who had his project optioned by a producer in LA. That project has a directing team on board and they are out to financiers. We had another writer from Finland connect with an LA-based producer who is now developing his television series. Those successes are exciting for us, because we see the results of your efforts and our own. I spent all morning setting up a writer on meetings with managers and producers because I believe with the right connection, she will get signed.

To your point, when it feels like other platforms are simply happy to take your money without providing results, just remember that we're here because we have a sincere interest in helping you achieve your goals. Let's connect directly j.mirch@stage32.com I sincerely hope you will reach out to me at any point.

Hi, Stefano. I understand your pain, but maybe my experience will help. I've been writing basically full-time for the past two years, and I've tried EVERY type of pitch I could find... cold emails, cold calls, snail mail, Inktip, Screenwriting Staffing, asking indie directors for help. The list goes on. NO LUCK! Now, I know "pay-to-play" seems terrible, but the movie industry is almost impossible to break into if you're a "nobody" in Hollywood.

What I learned is that rather than pitch, just pay the higher price for script coverage. It's like investing in an education to get a better job. With script coverage, you not only get consideration for production, but they see your ability to write a script! Pitches don't sell. Scripts do! And, on top of that, you get INCREDIBLY helpful and detailed feedback to re-write your script until it is production ready AND desired by companies.

Basically, what I did is saved a bunch of cash, sent out one script to about three industry readers on Stage 32. I got PASSES, but great feedback. I revised and did another round of coverage (three more). That time I got CONSIDERS and more refined feedback. I revised and sent the script again to three more and finally got the coveted DOUBLE RECOMMEND!!! With that under your belt, A LOT of doors open. You can add that assessment to your pitches (free or not) AND S32 AUTOMATICALLY sends your logline to over 500 movie executives! This just happened for me last week, so I haven't heard back from producers, but I think out of 500, someone HAS to BITE! I think it was money well spent. I feel like I may have spent close to $2000 over the last four months, but a movie deal will more than reimburse me for that!

Good luck!

There are so many writers that it is tough getting noticed. Pitch sessions rank up there with contests with stiff competition. Hopefully, you'll get feedback during the pitch. That might be worth the money.

Doug Nelson has it right - this is a business of personal relationships. It took me a long time to understand that (swinging for the studio/network blockbuster...and a miss!). But once I did, and set out to network right where I live (Reno, NV), I began to make progress. I've had more movement in my career in the last year than I have in the previous 10 (not that I'm anybody big, yet, but there's positive movement). Is it easy? - No. Is it fast? - No. Is it the best way? - Yes.

Stefano, Stage 32 charges only 35 bucks a pitch. It's the feedback that's valuable. I have valued the criticism as much as the praise. I just sold a script. It was not through Stage 32, but the practice I got there, pitching and consulting again and again, helped prepare me. It's worth it. One way or another, a writer has to keep getting "it" out there, building on the feedback. As Churchill said, Never give up!

Have you looked for jobs or contacts in your area? What about the local film festival or writers group?

I have established good relationships with three producers, not just contacts, the sort where they email you instead of the other way around. Two of those were through VPF, one through coverage and one through pitching. I have had a request through Inktip and have a friendly relationship with that producer, but I would have to come at him again if I wanted to get anywhere. One of the two really good relationships was through a producer on Stage32, where he actually passed on the script, but wanted a meeting anyway, we got together and discovered we had some close personal ties to boot. Another producer on VPF has my script now and will be reading it soon, emailed me to tell me that. One of those relationships saw the script optioned. So, it does work, probably better if I was close enough to suggest a lunch or something, I suppose, but I am thinking of going out there and putting a few lunches together while I'm there. I'm waiting to finish my latest script before I go as a couple of them would be interested in it.

But, along with all of that over the past year, I have learned a lot. The coverage I got was detailed and included a follow up. I was taught how to hone my pitches by Craig Griffiths, he has an excellent book for that. I learned from rejection and when I started getting read requests, I learned what was working and stuck with it. I just got a serious rejection and knew immediately that it was a poorly outlined pitch that did it. My fault, I didn't try hard enough. Another thing is, I open up IMDb next to my pitch documents and start researching production companies and individual producers that I want to pitch. Westerns, of which I have a couple, are harder than most to pitch, because many producers just include that as a way of filling in another box rather than because they are really interested in it. That's a tough one to navigate, because you have to find some evidence that they really do want to see a Western script. They have to mention it specifically, or in an interview you find they mention liking Westerns, but even then, when you go to their IMDb, they have to have done one, or it's hard to spend your time and money pitching one. Almost every other genre is more reliable if they list it. This is long-winded, but as much help as I have gotten here, it only seems right that I try to relate my experiences back.

Mike Taime I live in Swindon, Wiltshire, a town in the UK long past its glory days (it's virtually a ghost town). I'd have to go to Bristol or Manchester (I'd rather not go to London) for film festivals. As for writers' groups, I'm trying to find some.

Do you have a Plan "B" or Plan "C"?

Pitching hasn't worked for 16-years. That's the definition of insanity.

Hi Stefano,

I don't bad rap any reputable service with verifiable results. They help to open doors for writers - who can then make those elusive-yet-attainable relationships, and which can then lead to options, sales, assignments, and even friendships. And count your blessings - two pitches a month is still probably more than some people can afford.

I WATCHED YOUR PITCH ON YOUTUBE

Stefano, no disrespect intended, but that is really, really bad. It is punctilious, misguided at times, and ultimately boring. I can see why your pitches have not been successful. It's nearly eight minutes long, and you spend about two minutes doing the most important thing: telling us the story. And you don't even tell the whole story - you tell, like, less than half of it. You spend way too much time on things like historical explanations, and reasons why you think your story appeals to many audience types. We don't need the explanations, and don't you dare tell a producer why you think a story (that you don't even tell them!) appeals to many audience types. Tell them the story....tell them the story....tell them the story...and make them want to read it!

I READ YOUR FIRST FIVE PAGES ON STAGE32

Stefano, your first five pages are really good, very interesting, and are unlike any story that I've read before. They are really exciting, really visual, and really moving. I "get" your characters, who are memorable in those first five pages, and I "get" the clever setup. And you have a very engaging voice/style. If the rest of the story is that good, then you are a very capable writer. I am going to continue reading it when I can.

And I didn't feel any of that/"see in my head" any of that/expect any of that after watching your pitch. In your pitch, you don't convey any of that excitement that you convey in your first five pages, and instead come across as a dull, history academician who focuses on the wrong things.

You need to get better at pitching. You need to tell that story like you're sitting around a campfire, and like you have this great story to tell in an exciting way and visual way. If you "paint those pictures" in words, of how your story opens....you'd make people interested. And if every next sentence of your pitch keeps "painting those pictures"...you'd excite people - provided, of course, that the rest of your story is as good as those first five pages.

But that is a really good first five pages. Really good. I'd even call that high-level/A-lister quality writing. And I help a lot of people re-write content - from ads to contracts to stories. There was really nothing to re-write in your first five pages. And after watching your amateurish pitch...I was surprised, and even shocked. And again - I say this with no disrespect, and I'm sure any reputable professional would say the same about that pitch video.

But you really need to get better at pitching, though, and I hope the rest of your story is as good as the first five pages. Well done, Stefano - so far, at least.

Best fortunes in your creative endeavors, Stefano!

P.S. - One other thing....the title...Icon of the Defender....that is kinda ambiguous and stuffy. What does that even mean? Yes...I get they are mercenaries and defenders...and ultimately saviors and heroes...but how does "Icon" fit? I think you can come up with a better title. Why not call it The Five Elements?

Stefano Pavone Or, you could do like I do and ONLY pitch via written material. I mean it is the writing they are buying, right? So, why would I pitch it to them any other way, if I had a choice? I know I CAN do it verbally and I know, being "good in a room" is important, but why do it before I have to? I've done that sort of thing all my life, was a salesman for several years, can hold a room by myself. That doesn't mean I like it, or wan to do it. I didn't like being a salesman, but I was good at it.

Well, at least one person's seen me vid.

I feel everyone here who answered has a positive “nugget” of advice. Eg Can pitch for free, do written pitches, this a people industry etc. @Bill’s advice very in depth. I cannot access your video right now cos I’m travelling just with i phone that won’t link. The feedback from your video sounds like possibly, you are feel you’re “on stage” and self consciousness kicks into performance. It’s easy to lose “Story” cos you aware of “yourself”. As @Bill states first five cool, then you lost track. Do not push yourself to video pitch and instead concentrate on written or “live face to face” pitches. Master the art of pitching pure excitement of story, with no obstacles and then do another video.

Stefano - I made it through about half of your pitch. In my humble opinion; it has no sizzle - it just sort o lays there flatter n a fart in a frying pan.

That makes two... I think I know what I must do now.

Stefano Pavone , I warmly recommend you consider this year's BFM at Tirana. Lot's of Europe's producers and distributes attend each year and it's good opportunity to present any work you have, be you professional or eh...freelance :) Main point is it's free of attending fees (been so far, at least). Good luck!

I would never pay to pitch. In the same way I don't pay more than a few quid to enter writing competitions. A lot of people are making a lot of money on the back of people's hopes.