Screenwriting : Virtual Pitch Fest - too expensive? by Stefano Pavone

You could get a free one-month trial of IMDB Pro and use that month to do a lot of research to find the emails of various industry execs you might wish to pitch in an email. But if you go the email query route, a high percentage won't respond, others will mention they don't accept unsolicited queries. If you get a script request from 5% of your queries, you'll be doing well. But it's free to try!

Been trying that for 6 months... still at it. I got a reply... and they cannot make exceptions or allowances - I MUST use VPF. I am genuinely angry, if not sickened... because I refused to part with my money. I feel really disgusted not just with VPF, but with the industry as a whole (I wasn't expecting a walk in the park with the Care Bears, but I wasn't expecting a monster closet of infinitely respawning enemies, either). Greed triumphs over sense, it seems.

I am going to be judgemental. If you believe in paid services you shouldn’t read this.

Pitchfests are the open mic night of writing, but it costs writers to play.

They are Ex-somethings or worked with ..... They are not still there. So there claims are useless.

They are not wanting to purchase your work. They are selling you on the idea that they are getting you ready for industry. An industry that they likely failed at, being an “ex” something.

The industry is set up to part you from your money. It is all it is meant to do.

They give you a pass, recommend etc so you feel you have achieved something and come back. Eric is correct. Do research. Find producers that make movies like yours. Make a list, 100 if you can. Then get the free IMDBPro and reach out

1) Your work has to be perfect. You need to read scripts. Not get assessed by EX. Perfect your craft.

2) if perfect, start reaching out.

We fed an industry set up to take money from writers.

Sigh

Craig is correct.

If you send out queries, you have to send them to the right people, which is based on what they have produced in the last 3-5 years (genre and budget).

If you aren't getting requests to read your script you have one or more problems: your query isn't driving requests (work on your query), you are sending them to the wrong people (genre, budget), or you aren't sending them to enough people - it's purely a volume game.

For smeg's sake. I think I'm going to go and have a long weep (been doing this since college). :'(

Just put a plan in place. Execute it. If it works great.

If not find what parts did. Refine a second plan, execute that plan.

You get my point. Think of it as a business. Does any other business in the world work like this? Where people take your money to grade you and not supply a certification or qualification.

They assess your product, but are not your customer.

Think how you may reach the people you need to reach. Go to a festival where they are attending perhaps.

What Eric said. Just e-query. It's free. It's also a numbers game, and entirely dependent on your concept. So if you aren't getting any bites, your bait is the problem. Your script doesn't sound to them like anything that they have to read.

There are maybe a million scripts in circulation in any given year and around 100 sold. So it's not like any other job. Never will be. You have to be the best of the best.

Also what Craig said. Any place that charges you money for access has a business model designed to stay between you and the producers. To make you believe that they are the only way in. Not true.

But you need a script with an amazing concept. You need to be the 1 in 100,000.

Hey Stefano Pavone I replied to a similar post asking about posting on InkTip and Black List and my answer will be the same here. The biggest difference is that at Stage 32 the power is totally in your hands. You pick the executive you want to pitch to based on their credits, experience, and sensibilities. Even the executives who have their names private on the site give you a full bio to review and critique. You are able to be proactive in your career instead of reactive, waiting for someone to hopefully reach out to you.

The other thing these other websites don't have is our Script Services team. I've been in the business for over 15 years working in every aspect of the industry from representation, development, finance and production. Every executive I know personally and we are constantly talking about what they are seeing in the market and how it can impact your career. That is a massive advantage for writers who are hearing what I am hearing.

The other thing that I would suggest which is totally free and can offer a ton of success is networking on this site. Get yourself in the mix. Many of our educators, producers, and industry pros utilize the lounges and other areas of the site to offer thoughts and advice. Get in the mix and connect with them. Build the relationships.

Hit me up at j.mirch@stage32.com and let me know what you're working on! I would love to be of help.

Rather than email, I found a better response rate when I wrote personalised letters to my targets' home addresses with a short one page color pitch document and a stamped addressed return postcard with boxes to check. Not saying it would work for you but I did receive a number of friendly and helpful replies from some otherwise inaccessible "big names" here in the UK. (I had to do a lot of research for home addresses, but I found quite a few via the UK government business directory where many of the people were listed as company directors.) Ultimately though, there's no substitute for face to face networking - unfortunately.

I've been filming/writing for screen 20 years now. I've been to 3-4 film festivals, screenplay workshop, Film market, 2-3 contests and 2-3 live pitching sessions and all of that I've paid nothing to enter or to expose my work (minus traveling expenses occasionally) My only 40 bucks in all of this time-frame went to Nicholl Fellowship in 2015 for entrance fee...but you can't beat the curiosity of that :)). Bottom line, I still believe I do not have to pay a dime unless I get paid (selling, optioning) and even they I would consider giving my money to anyone more like investment then just a fee.

As an older writer, I share your perspective, CJ. You just have to do the work and then be smart about it! Well said.

Stefano, I thought about going to VPF last year...only to back off.

Instead, a couple of months ago, I hooked up with networkisa.org. I'm paying $10 a month...but since April, I've been able to submit five of my screenplays to producers. Haven't heard back yet from any of the producers I found through ISA, but I feel good about being able to get some toes into the water.(As long as I keep plugging away, I'll be able to actually swim in that water!)

I'm one of the thirty people who participated in the webinar that CJ hosted on 5-30-2020...and man, I really needed that webinar! Because of it, I'm trying to develop lookbooks and trying to create my own movie posters (in addition to working to get better at writing screenplays).

Anything to step up whatever game I've got.

I know you've got stuff on Script Revolution, too, Stefano...and CJ's offering another webinar. It's this coming Wednesday and next Saturday, and you're welcome to check out one or both.

Hang in there...and I wish you nothing but the VERY BEST!

Thanks, Jim. I'm with networkisa.org... you saw my work on Script Revolution!? Wow. I'm flattered. :) Thanks for letting me know about the webinars.

Hi Dan, I've done just that, but because I don't have an agent, no one will look at my work. I think the script services can be helpful in opening the door, maybe even just a crack. I hope that's what they will do for me.

Stefano, you're very welcome!

How do I do that? Also I have a juicy part for Peter Dinklage. But have no idea on how to reach him.

Dan Guardino and CJ Walley - good points, all! However, I can't approach anyone, even on IMDBpro without an agent, and I can't get an agent because I don't have an agent. So round and round we go. That's the kind of hope and help I'm looking for here.

I don't live in LA and have no personal contacts with producers or actors. or the entertainment community. So you all are my community!!

Rebecca D Robinson you don’t need an agent to reach out to a producer or director. They will tell you if they can accept unsolicited material or not.

Be VERY careful on "unsolicited material", since the definition is so sketchy, it can mean anything (I've used a few psychological tricks to get some to reconsider).

There's nothing sketchy about it. Some people can't receive material they didn't request without an agent or manager being involved.

Christopher, in all the years I've been doing this, I've only had a producer or director once say they would look at something I wrote without representation. It is beyond frustrating.

Christopher Phillips I think there is. It can mean one of three things:

1. Don't send us stuff we don't ask for

2. Don't send us stuff without an agent or manager

3. Don't send us stuff even if you ask politely

I've used some reverse psychology in the past to get some to back off.

Yes. It could be used as a gatekeeper response, but producers and directors that work at companies tend to not be able to take unsolicited material per their legal team. Independent people don't have that hangup.

Oh, good to know, Christopher.

Pay to play, this is the unfortunate part of the game. The good news is, when you start spending your own money, you start forcing yourself to get better because you don't want it to be a waste...

Erick Freitas That's a great point. When I paid for coverage on scripts it definitely inspired me to make them bulletproof cause I didn't want to waste the money. But paying to pitch is different. I don't think anyone should expect results. The process itself is the reward. You are practicing for when you have to really do it. Nothing more.

Coupla things:

CJ Walley I would've loved to join the webinar, but I work full time and the day/time of the webinar is impossible for me. Plus, 5 1/2 hours is way, way too long.

And I've posted this before, a screenshot of Bryan Woods and Scott Beck's (A Quiet Place) path to where they are. The most important point, I think, is that they admit it took 23 years!

Anything writers pay for - at its root - is an attempt to shortcut the process. Shortcuts don't work! Put in the time and effort to perfect your craft, build your network (no matter where you live) and prepare for a marathon. In a way, IMO, the existing system exists because the biz wants long-distance runners, not sprinters. If you're not prepared for the long haul, maybe you're not cut out for this business.

Thanks Dan. The deep end of the pool can be a little scary, but I'm getting better and stronger!

Hi John, I’m in the process of deciding which person to pitch to right now. Period dramas are not everyone’s cup of tea! Any suggestions are most welcome.

Thanks, John. I will do my research before I spend the money to do the pitch and I will be sure that it is tight and polished. I did a pitchfest some years ago in Burbank; by the 4th or 5th table, I had gotten into the groove and was relaxed (and a little funny!) too. So I'm not intimidated by the process - just hoping I pick the correct person.