Screenwriting : The written pitch process is killing me. Here's why. by Daniel Goudreau

Hey there, Daniel. Totally agree with you on how difficult it is to distill your script into a 2-page pitch (after your intro and setup, it's really more like a page). I would say it's even more of a challenge than actually writing the script! Just this past couple of weeks, my writing partner and I have received four script requests, so there is some hope. After quite a bit of trial and error (and more than a few passes with similar responses as yours), here's some pointers from our experiences:

Laser focus on your HOOK and PROTAGANIST'S JOURNEY. In a pitch, it matters the most. You will never please everyone trying to squeeze every story beat into that one page no matter how often you hear it, so don't waste your space. Every word, every sentence counts, treat it as such. What makes your story compelling? What would make an exec/producer/manager perk up and say, 'I want to know more''? Keep distilling your pitch until the hook becomes undeniable. Instead of explaining story beats, HINT at story beats.

If you get similar notes over multiple pitches, those might be things to look at changing. Otherwise, treat all passes the same---your story isn't for them and move on. At the end of the day, all people will react subjectively to your pitch. We've literally gotten a pass and request on the same day; one exec saying he didn't understand a lick of the pitch (giving us all 2's) and another saying it sounded awesome and wanted to read the script (giving us 4's and 5's).

Do research and carefully choose your people to pitch. Be discerning. If you don't find any potential matches, I know it's hard, but wait, there will be others. Don't force it. If an exec can't give me at least a few genres they're currently reading, I usually keep looking. There are exceptions, of course, but for the most part the majority of passes we've gotten are from execs who 'specialize in all genres'. It negates the word 'specialize', as you can't specialize in EVERYTHING and sounds unfocussed. I'd only consider an exec like that if they had worked on similar movies as mine.

Stage32 does have some excellent resources. We found our script consultant through Stage32 and have worked with her on our past three scripts. And she also gives us feedback on our pitch decks and 2 page pitches, as well. Look through Stage32's list of development execs or email Nick or GiGi at success@stage32.com and get their thoughts.

Finally, you will get passed on--A LOT. There's definitely some people who'll give you horrible, unhelpful feedback and it'll be pretty clear that they probably didn't even read past your opening paragraph. Remember them and avoid pitching them again. And don't let that discourage you, as most of the execs are legit and are actively looking for projects. Keep refining and keep swinging!

Hi Daniel Goudreau, my philosophy, distill it to the beats and they will know you have a grip on the story and structure. If you have these sorted, they'll come back to you for more. Best of luck!

@Rebecca Great points. I’ve found execs think about what’s on screen to extent of bypassing great writing.

I feel you Daniel Goudreau .Right now I'm currently banging my head against the wall as I try to put page to pitch.

"Why not ask for the script then? To keep saying the Pitch would be better if it had soooooo much more is just ridiculous." Yessssssssss Daniel Goudreau !

I'm so glad someone agrees with me. I work in a void without a single other person to discuss scripts with so when I send a written pitch that I know is a masterpiece only to find the "professional" has no earthly idea what they are doing beyond collecting an easy buck with a solid set of "pass" but by what they took 3 minutes to jot down it is clear I know what makes a great film better than they do but we never ever speak so it's just a quick buck as everything is "pass". When they complain something confused them, all they are really doing is admitting that 1.5 page isn't enough to pack in all the nuances of character and their relationships to each other and the beats and the connections and sinews and the themes and the setups and payoffs and what happens next. This is asking god knows way too much from 1 farking page so when they complain there isn't enough there for them to see everything, instead of asking for the script or setting up a call, it's a quick pass buck. I have not found a single worthy "Professional" yet who knows what they are doing. So my recommendation is to go for phone/skype because the writer has to help the invalid "Professional" who is so helpless to see the film from 2 pages of compact pitch perfection. Is there even one out there who knows what they are doing? I wish I could meet even one. These "pitchees" are scamming just to get a quick buck because they know they can hit 2-2-2-2-2 and simply say "It's not clear to me blah blah blah". Then get out of the way so someone serious can open a frickin' dialogue and make some serious films WITHOUT YOU IN THE WAY

!

Sean Plemmons I really, really appreciate your honest answer. I am so happy for your writing partnership and your success so far. Kudos.

I used to think the same way, but now I realize that I was wrong. on two pages, you need to write the essence of the plot, not the whole plot. if you don't have enough words to describe everything, then you have a lot of adventures, but little sense in the plot. and you need to convey the meaning of your script. this can only be done by working on yourself and on the script material. no professional will look for ideas for your script for you.

Daniel Goudreau I can understand your struggle. But don't think that the pitch reader wants to pass on your story just because they are just looking for a quick $20. These people want to be WOWWED. They really do want you to win because guess what? They can get PAID to help make a good script into a movie. But YES. There is a narrow bullseye that needs to be able to make that possible. And it starts with your pitch. The better you can condense a highly skilled pitch into 2 pages, the better a reader is going to trust the overall condition of your writing skill. If you just give someone fluff in a pitch, they are surely going to pass. You must have specified intent and really draw a clear hero’s journey in your pitch. When you do, they’ll say “YES” more often.

Most of these pitches are honestly just for practice.. Even if you have an amazing pitch or an amazing script, unless it’s fully packaged with talent or a director people are excited about (because hardly anyone wants to do the work for it) or somebody in the industry with MAJOR pull vouching, they are usually always going to pass on it.

And when I say they will find a reason I’m not exaggerating lol. I have a sports comedy movie, and a studio passed because they didn’t know if they could “‘make the sports angle work globally”.

lol. Sports, the most global thing ever. So yeah it’s just the way it goes

I find that writing pitches, decks etc. is so much harder than writing the script. Still, you are actually supposed to have a 1-pager as well, and it is to sell the idea, vibe and premise.

Christiane Lange Makes total sense. Screenplays, to me, are just compacted novels/manuscripts/more expansive ideas...so further condensing the expression of the ideas into one or two pages is mind-numbing!

I had the same issue until I did about three or four written Pitch Sessions (plus a lot of alone practice) and got the hang of telling a script in two pages without leaving out important details, Daniel Goudreau. And Stage 32 has two written pitch examples that could help you. One for a movie and one for a show. Email success@stage32.com if you want the examples.

Cameron Tendaji I think you hit it exactly. I think it is all smoke and mirrors and a its a business of getting money from Writer hopefuls by creating all kinds of stages for the Writer to pay to get closer to their dreams. Pay, pay, pay with no way forward as a broke Writer because now after paying for all that training and coverage and years writing and writing until you are John Truby with Pitch Perfect scripts, THEN you learn everything is always a pass because the middle men are just trying to make a buck pretending they can do anything for you when they are also nobody and now the Studios want perfect Pitch Decks and attached Talent and attached Director or there is no sale. So how is that super broke writer in Peoria who has bankrupted themselves to become a great screenwriter ever supposed to then make a sale when there needs to be a lot more money and impossible connections he is supposed to have arranged before pitching his script? This is a Zero Sum game. I am starting think there is 100% no chance of ever making money unless with your pitch you also have a mind bending Pitch Deck, Tremendous IP with millions of followers, George Clooney eager to produce, Brad Pitt ready to star and Todd Haynes already signed on to Direct. What if all you have is your writing and not even a Pitch Deck? Does that mean there is 100% no chance of ever selling your script and all the pitchees are going to pass but enjoy a quick buck? How did it get this hopeless?

Daniel Goudreau i wouldn’t say it’s ALL smoke and mirrors. I just think you have to be VERY strategic using this platform. Or it can add up quick.

For example, I would target producers (verify their track record) on this platform rather than managers/assistants/etc if you want to actually sell a project.

I would only network with people who actually work for the companies they have listed on here. A lot of times, they won’t. Or they have but they haven’t worked for that company in years. (Used LinkedIn to check. It’s saved me a couple bucks on here more than once) and start building a rapport for those people.

And so on and so forth. You’re right. It is incredibly difficult and the line is always moving. So you gotta change your strategy to match it

I would say aim for a shopping agreement with a producer. (You’ll probably have to go through several shopping agreements) but you’ll at least be meeting with execs and companies and then eventually you’ll get to a point where those generals turn into development meetings.

I’ve found my manager here and I got several shopping agreements through here. Be strategic and be consistent and adaptable.

My 2cents: you already failed from jump by saying you have a "blockbuster" idea. "Blockbuster" means to me expensive, studio financed. I doubt any pay to pitch soclitor have the means$$ or the courage/time (years or decades) to invest in developing blockbuster idea

Aim smaller, like under $1M idea. What can you do on a small scale with unknown talent & crew? Then pitch studio bosses with your blockbuster idea. GL

Exactly what Dan MaxXx. You’re going to go through a lot of ideas until one that “makes sense”. The key is to make some connections along the way. Because that first idea is almost never going to sell. @Daniel

Dan MaxXx Understood

I second alot of what is being said here Daniel Goudreau. Learn how to effectively pitch your projects through pitch sessions and in addition, in the near term, focus on writing projects that you are passionate about and are conceptually sound while also being fiscally feasible for potential producers/financiers. It's these types of projects that are more attractive to indie producers who don't have as deep pockets as the studios but can still get more modestly budgeted films out to the marketplace. Develop a rapport with them if/when possible. It definitely gets very frustrating at times, for all of us, and it's great to see the community rally here to dispense some worthwhile advice.

I have a hard time believing that the professional wanted to know so much more about other characters' journeys. Your screenplay pitch should always focus on the journey of your main character, no matter what's happening with other characters other than mentioning your antagonist.

Nick, I understand. I've seen all your pitch sessions. You guys do a great job of preparing Stage32 writers with the "how to pitch" concept. My situation is so different because I did write an epic from my soul but it's 13 films with 13 themes etc with recurring characters. I know that would be better off as a TV series but there is no writer's room, I wrote every jot so they are features and expensive ones. Now I'm too exhausted to write the small digestible indie, though I do have one and it's very original but I am now too spent to dive into it without a single ally because I live in Maine and every single thing is a pass. The two Producer type who have shown interest were tricksters who just want money from the writer for Pitch Deck creation etc. Everyone wants money from the writer and no one wants to actually ever get on the phone and talk film. There is no way forward.

@Daniel Falcone, Do you still know how to reach Todd Haynes? He is my dream Director and my God do I have something for him.