Screenwriting : First Pitch by Cara Rogers

I had a marketing friend (expert in the field) look at a pitch I put together. He sat back and said. You never once mention them.

That hit me hard. You have to tell them about your story, but keep it in the context of what is in it for them (not profit - that is in all deals). What makes your film a match for that producer. It would be like me asking Portia De Rossi out on a date, she’s married and she is gay. There is nothing in it for her. There has to be a match if the offer is taken up, otherwise the offer will never be taken up.

Craig, when you say "What makes your film a match for that producer," what do you mean?

The producers I am working with for “The Valley” are based in the UK. They had a 2 month window and some money for a second project (about 200K pounds).

They asked if I had anything that would work for that budget. I did. I sent them “Love, Money, Bombs” a alternate reality movie set in the UK. It is similar to “V for Vendetta” in feel. It is about a terror group placing barrels around England. These barrels contain explosives or money. People are super poor and open the barrel. This cause chaos and makes the government unstable. The movie focuses on two mean that find a barrel late at night and their conversation and the struggle to decide to open it or not.

They said it was for them. It ticked all the boxes. Small cast, limited locations, could be filmed on a shoestring. But it wasn’t for them. They were looking for something contemporary. LMB did suit their style.

If a producer makes action heavy films, they are not going to be interested in a romcom. Because like us, they know what they are good at. I am a drama, someone has to make a decision that will probably kill people, guy. If you don’t like tense stuff that has death, don’t read my scripts.

Got you, Craig. Thanks for explaining. That sounds like an interesting movie.

Maurice Vaughan I like it. If I get enough cash I may make it myself.

Don't pitch to someone that's not looking for what you have. Second as was mentioned already show your character's journeys, you don't necessarily need to point out how their journey's end, do they live or die, show what gives them purpose, the adversity/struggle they must overcome. And with the story, you don't necessarily need to tell divulge the exact ending, but you should mention where the finale takes place, or at least where it's leading to...do this, love your script, know it inside and out, create in your mind a sort of trailer key moments, piece it together, and say it aloud, like you're a narrator. I do it all the time and my wife hates me.

Nick is right. It needs to show a complete picture of what you are pitching. This helps the reader to get an idea of what the audience's overall experience of the project will be.

It is also good to make sure it is always clear how the plot is being driven by your characters and what is driving them, as it is the characters audences connect to.

Here's Shonda Rhimes 2-page pitch of Under the Knife (Grey's Anatomy).

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Dan MaxXx thanks so much! I've been trying to find samples, in case my interpretation of Stage 32's Pitching Guide is way off.

Hi Cara,

The most important thing? Generally speaking....to present a written document that is appealing enough from start to finish and that will make someone think "I want to read this" (because I think it's something I want to make and can successfully market.)

These notes are based on what has been told to me in the past by a studio exec and a couple producers. I think it's pretty good advice.

Speaking to the points of a pitch....Start with a premise that is unique and appealing ("tell me a story that I haven't heard before")...is relevant and/or maybe captures a zeitgeist type-of feeling...and is conceptual and visual enough so that it can make the person reading it "see" it in their head.

Mix the literal of what is happening (goals, conflicts, twists, unintended consequences, climax, character strengths and flaws), with the themes; realizations (or lack of); potential needs for change; transformations; and ironies. Devote at least a few paragraphs to specific scenes. Make them "feel".

I would take a look at each sentence from a few feet away (cuz that's what works for me) and say "is this visual enough?" I would also try and use the best choices for verbs, and try to pace the pitch in a nice, rising action sort-of way.

You can write a really strong pitch, and still get a "pass." Even if someone admires your presentation, not everyone is always looking for what you might specifically have at that particular moment. Making relationships can still happen in those moments, and that's still a win. And someone might be impressed enough to open their door to you for future communications, and maybe even offer you a writing contract. Major win.

You can also check out the Studio Binder website, which has some really nice info on the subject, as well as a template and examples. Oh wait a minute....I think that's just a treatment for film, and a pitch template for TV/Cable shows, but I could be wrong.

Hope this helps a bit. Best fortunes in your creative endeavors, Cara, and stay safe!

The most important thing if for the person with money to understand your vision whether it's for a grant or production.

Bill Constantin thanks for all the great info, especially the resource