My incredible manager accepted an invite to be pitched to this past weekend. Hundreds of writers turned out to pitch. He heard only one pitch that piqued his curiosity because the pitch itself was well-constructed and lucid, which led him to assume that these two guys (writing partners) had written a well-crafted script. But when he asked to see it, the script bore no resemblance to the pitch, and was a hot mess. He read only the first act; he didn't need to read any more. There is an ungodly amount of emphasis on pitching now, because a lot of people are making money teaching hopeful writers how to pitch. Aye, but here's the rub. It makes no sense at all to pitch something that won't stand up if you do get someone to request your script. Build the greatest possible script first, and remember that writing is rewriting, and get it right and then more right before you polish the pitch, and please beware of folks who take your money for pitch lessons.
Screenwriting : Polish the doorknob but for what door, for what house? by Diana Amsterdam
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I agree, but it's like talking about those people who embellish themeselves with fake hair, nails etc. and then they crumble into pieces everytime they go to bed... unfortunately appearence (pitch in this case) is what get's the eye's attention in a world too full of fishes. The thing is, never give up good writing, sooner or later some one will notice your script! ;)
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That is the irony, pitching skills and writing skills are totally unrelated. Yet if you don't hone your pitching skills, no one will read your writing. Yet those with fabulous pitching skills will get read even if they can't write a lick.
I teach a course called Practical Playwriting here in NYC with a producers' organization, Theater Resources Unlimited, and one of the modules is How to Pitch (although pitching is virtually nonexistent in the world of playwriting), and the CEO of TRU said just what you are saying, Mark, that the two skills are totally unrelated. I guess the problem for me is that, with all the revenue flowing in from aspiring screenwriters who are taught to pitch pitch pitch, the emphasis has shifted away from what really matters: writing the great screenplay. And I wonder, I really do, how many deals actually come from these pitch-fests--my experience says that the actual deals are rarely made from this kind of event.
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Frankly, 99% of all screenplays are a "hot mess", regardless of the pitch.