Screenwriting : Vpf... by Kaitlin Gagnon

I have used VPF on and off, have made some solid contacts through it, several requests, several conversations, nothing concrete, yet.

How many pitches did you guys buy

I don't know. When I find a producer or company that feels right, I'll buy some to pitch to them. It's cheaper than driving down to their office and parking, plus they have to respond in 5 days. I don't write horror, or rom coms, and it's really all about connections and relationships and I have made both, enough so that I have their emails and we stay in touch.

Benjamin, I purchased ten the first round, received four yes/script requests, then purchased another five... only submitted four of them, received three "strong project/no thanks" responses, waiting on one more response and waiting on an agent to return to the site so I can use the fifth one up. my advice is, go big! buying 10 is something like buying 9 and getting one free. It's worth the $90. Also, if they dont respond within the 5 day period l, you get a pitch on the house.

Over the last two years, I've collaborated with four different producers thanks to VPF.

Hey everyone! I'm the Director of Script Services over at Stage 32. We know the VPF team and are friendly with them. That being said, for those of you who aren't aware, the biggest advantage that Stage 32 pitch sessions have over all others is that you are able to 1) pick the executive you want to pitch to and 2) spend time speaking with them directly if you so choose. There is no recording of a video nor is there any anonymity to the process.

You are in control of your material and who you are pithing it to. We work hard to make sure that our executives specialize in a wide range of genres and formats every week. So no matter what you are pitching, you are going to get great feedback from an executive who specializes in what you write. You can find those pitch sessions here: https://www.stage32.com/scriptservices/pitch-sessions

And of course if anyone wants to reach out to me directly, you are welcome to at j.mirch@stage32.com

Jason Mirch It certainly is not an either/or situation. Stage 32 offers camaraderie and the ability to learn from others (I know I have, a lot) and share thoughts and their pitch opportunities are more expensive, but offer more value, too. Each has its place and purpose. When people don't want to pay for that opportunity, I compare it to a flight out to LA, parking, car rental for basically the same amount of time and opportunity to reach someone working in the industry. Those chances are here, too. But cost/benefit explains the reason to pay for a pitch.

thank you for the great feedback, everyone! and thank you, jason, for responding as well, i am still utilizing the stage32 pitches (one in fact ended up featured as a success story on your site, but due to the sensitive/provocative nature of my feature, the producer ultimately ended up bowing out gracefully). wherever the road will lead! thanks again, best of luck to all

I've submitted to Virtual Pitch Fest. I've been denied 3 times so far. I've been reworking my pitch but it could be that or maybe just bad timing.

I've done a few VPF - my advice is do your research on the people you pitch to. Most of them are "assistants" or other low-end positions - which is not necessarily a bad thing, but just be aware.

VPF vs. S32 - the pitch opps on S32 are definitely more focused, relevant to your pitch (assuming you've carefully picked who you're pitching to), but more expensive. S32 wouldn't be a place to "test" your pitch - hone it first (like on VPF), then spend the money on a couple of S32 people.

One thing I've never understood about the S32 pitch sessions is why they're so pricey. It's essentially the same system as VPF, but 3X more expensive. Yes, I've had it explained to me that for the execs here, their time is valuable - I don't buy it. Those execs are in the business of looking for material; is it the mind set that they're "doing us a favor" by looking at material? If so, thanks but no thanks. I'd rather not start a potential relationship on that foot.

And yes, these execs are "higher" than most anybody on VPF - which means they should be faster at weeding out projects (via the pitch) that don't measure up. And the "rating" you get back from the execs is pretty useless as a tool for improving your pitch.

In all, I see the S32 pitch sessions as more of a way for S32 to generate revenue (although there have been a few writers who've scored real success), rather than offering a truly valuable service.

Geez, I didn't mean to rant! I guess this post struck nerve - sorry if I offended.

Yeah i too don't get the pay to play mentality. I was at one of these borgie parties at Tony Hseigh's Airstream park in Vegas and i met this producer who did Ted Talks and shit. We had a conversation about the stagnant state of the movie industry and he was like, "i want to get in touch with THAT, those grounded, real concepts, where do i find those?" and i was like "They're everywhere and you're not even trying! The whole industry operates on invite only behind closed doors. All you have to do is step outside and look."

Surely a single brilliant pitch is worth the time of sorting through the duds. If you want to price your time at 100$+ an hour, you're not sending the message that your time is valuable, you're sending the message that you know you're a failure as a talent scout and this entire process is an inherently worthless time investment from the beginning. If you're sure you can find that million dollar project and you have the connections to make it happen then what the fuck is 100$ to you?

I bought a 13-pitch bundle at VPF, only 1 pitch request, and no response from that person after sending in the requested script. But my VPF stats may be low because I was new at pitching and my concept was pretty out there and provocative. I've had a better batting average with verbal pitches. Agree with everyone's advice to research folks, target your pitches to them. Pay to play may seem unfair, but there's just too many of us to wade through -- so don't be surprised if you get treated like this:

https://youtu.be/B4DqVw1fCik

Good luck! Geoff, IsMyScreenplayCrap.com

John Day can i ask what you did differently?

I have a conundrum. Everyone who reads my scripts loves them, but nobody reads my scripts xD

I get that. A producer i'd worked with suggested that i open a series from the perspective of a supporting character. I thought it was crazy at the time, because i couldn't see how to make it work. I eventually used that feedback to do a full rewrite that introduced much more mystery to the series.

Other feedback i've received is much less helpful. A friend who reads for screenplay festivals gave me a few notes and said once i fixed that it would be "perfect" and he was "sure i was going to win". His coverage mostly included things that he thought were strong and dialogue he thought was poignant. Get a second opinion from the blacklist and they rate my script a 4, saying i should "ground" the script (whatever that means) for "mainstream audience comprehension" (who the script is definitely not for). No character breakdowns, no plot breakdowns, no nothing, not even an explanation for why it was scored so low. The only feedback i got on the actual script itself was that the concept was good and had marketing potential for netflix or HBOgo. Also referenced the "mystery box", a gimmick i abhor. I was even planning on doing a youtube critique of "J.J. Abrams and the Insult of the Mystery Box". Feh. Never using the blacklist again.

Even if they don't buy it you'll get professional feedback which probably or let's say hopefully help you to continue. So, take a deep breath, relax and wait is all you can do at the moment. The rest will come, they always reply at least.

I just got a script optioned through VPF. Not that that really means anything. An option is basically a step above a read request. We'll see.

Funny thing...

L.A. says we can make all online.

The reality is if you virtually and realistically create heat or essence for the sharks you must sell yourself in-person.

Anyone who claims otherwise hides behind a blind that the ducky lucky people won't find but if you do you now have the upper hand exposing or disposing integrity.

I'm not sure however if they hope or hope you don't find this taking control as the creator.

Screenwriters and especially good ones have more power than the line to producers want to admit.

Its really about investment, commitment and conviction of self beyond a really good 1/3000- 4000 production ready screenplays that a virtual "pitch" can reflect.

There truly is buzz about those that can commit to getting out from behind the box being sometimes as least as much if not more than being in their own world reflects.

Sell yourself... be an IN PERSON as least as much as the in-person creator.

Derek Reid it also is an important thing to completely vet and think about the people you submit to since you don't get as much information as you do even with a stage 32 pitch. I usually run IMDb right next to VPF. If they have a website, I go to it, read the "about us" page, anything I can to get a better feel for who they are before I submit to them. I mean if I have a thriller feature and even though they list "thrillers" and "features" in their interests, but all they have ever done are comedic shorts, I'm not going to waste the $10. This is especially true when it comes to Westerns, of which I have a couple. They list Westerns as a means of clicking on all the boxes and only a few that will consider Westerns are actually searching for them or are prepared to act on one if it came across the desk. Westerns are sort of a "yeah, well, what the hell" sort of box to click.

Had a few successes, a few read requests, but no progress... over the course of a decade and over £1,000 (around $2,000). :'(

thank you so much for all of your feedback! it's been about a month now and I still have yet to hear from the six requests who have the full script (hoping this is good news instead of the "no response is a hard no" outlook) :) good luck to everyone, I am rooting for all of us!

Pretty much the hard, unvarnished truth: If your script has 'sizzle' and it falls into the hands of a Producer - s/he is gonna be on that sucker 'right now'. The Producer knows that if a script is any good but doesn't grab it right now - that someone else will.

Obviously the Producer, genre and budget range must match. Occasionally a Producer may 'option' a script just to keep it out of circulation and away from the competition and/or a similar project may be in the works. A 'ho-hum' script will languish on some desk until it falls into the paper recycle bin. That's pretty much how it works - sorry 'bout that. Please feel free to argue about it 'till hell freezes over.

Doug, I was told to expect about a six week turnaround on average just to have the requested script read. Friday marks four weeks for me, I'm not losing any hope about it. I do agree with your point to an extent but I also know you can't expect several top ten agencies/management companies in LA to read your material and option it within a week's time, no matter how hot it may be.

Dan MaxXx isn't that what a spec script is? I haven't turned down any writing assignments.

A. S. Templeton that's only a list of those interested in what you are interested in, I have made good connections with verified production executives not on your list, but I'm not sure they request your interests. But, you have a good list of those whom I have also verified.

T.L.Davis - No that's not what a spec script is for (although it does occasionally occur).

Doug Nelson I was being a bit sarcastic.

okay everyone, it's official, I'm losing it lol- today marked four weeks for the two top managers that i sent my script (as requested through vpf), about three weeks for three others who did the same, and less than two weeks for one that requested it outside of vpf. for those of you who have had success (john, TL, eric), how long did it take for you to hear back after you submitted the actual script? I've heard the rule of thumb is to wait 6-8 weeks before following up but I can be really impatient and I'm stalking my phone way more than I want to be... help. lol

Kaitlin Gagnon I usually wait at least two months before I check back and to be honest, I rarely check back at all. I got a couple who requested it that I checked back on the anniversary, yes, one year. I had to pull the one back that had been requested that got ultimately optioned, but I got a quick thank you and congrats from that producer. I thought managers were a little quicker on the uptake. The pitches I have had that went through Stage 32, were responded to within the 10 days. On the 10th day for one was the most positive response and we are in regular communication now. It might be a little jaded, but even when they request them, I don't give that any special attention, except when it's been a year or so. The other one that turned into something, several requests for other projects, took about two weeks, I think, but he had responded favorably to something else I threw out there and wanted to see more, we are in regular communication, too. So, after all of that, I would say not to panic until it has been two months, but I wouldn't not submit just because they requested it. I do leave it open for a few days, a week or so before I submit to someone else, but I'm sure I'm doing this all wrong, there are others that could probably be more accurate with their advice, but that is the experiences I have had.

Kaitlin Gagnon I forgot a couple more. They requested it, I checked back in two months, they said they were getting to it, but have not heard back. Another one they followed up after receiving the script and said it would be a little bit, because they were doing two features back to back, so I'll give that guy another couple months, maybe six.

thank you both for the sound advice! I'm trying to stay positive and I've already come to terms with the fact that the odds aren't in my favor but man, it's hard not to get your hopes up when your script is in "big" hands. in the past, I've received really positive feedback from a producer/manager regarding this particular script but the sensitive nature of the subject matter makes it very hard to sell. either way, still haven't lost faith yet, just may start pitching my comedic TV series quicker than I had planned. wish you the best, thanks again, guys!