Screenwriting : Seeking Advice: How to Get Scripts Read by Producers on a Budget by Lisa Weiss

Are you willing to have a producer read your screenplays for filming purposes? Or just to evaluate them?

@Jose Luis Madrigal I’m seeking producers with experience in mid to high-level budgets, as most of my scripts fall in the $10–30 million range. I also have a few lower-budget projects, but my focus is on finding collaborators who can help bring these to production.

How are you getting that estimate? Witch kind of actors are you looking for?

@Jose Luis Madrigal I’m basing the estimate on comparable films, especially since several scripts are period pieces. Some were written with A-list actors in mind as creative inspiration, so budgets could shift depending on casting and packaging.

Maybe with a premise and a little brief with the movies reference the producer could give you an option for production. Try The writers' room

Congratulations on your scripts placing in contests, Lisa Weiss! You could post them on your profile. Producers search profiles for projects. That and networking are how I sold four short scripts to a producer. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.” You can also post your scripts on your profile this way: www.stage32.com/loglines (near the top where it says “Add a Logline”)

And something I do to pitch my scripts is post pages in Stage 32's Your Stage Lounge, on Twitter/X, and on Instagram, like First Page Friday, Third Page Thursday, and Sneak Peek Sunday. I post loglines and script posters with the pages. I've gotten script requests this way. And sometimes I post short pitches (like two-word pitches and three-word pitches) on social media.

@Jose Luis Madrigal When I pitch my scripts, I provide refined loglines with comps polished through professional feedback. Producers often say my loglines and pitch letters are strong, and that my ideas are high-concept, marketable, and fresh. I also submit to Stage 32 OWAs.

Hi Lisa: where are your titles / loglines / genres posted? If you wish for assistance they need to get an idea of what your scripts are about. You've mentioned "period stories" and that actually will make many shy away. Also, if you do not have professionally completed shooting schedules and budgets, you do not know what your budget is. While it is true your cast can impact the budget, your BTL and post-production will not be impacted. A producer that takes on your projects will still have to have schedules/budgets done since you haven't done this. Your attitude is wonderful about constantly reaching out, pursuing producers for opportunities. So do keep at it!

@Maurice Vaughan Thanks for the tips. I usually keep my loglines private and only share them when pitching directly to producers. I have not been active on social media or Stage 32’s Your Stage Lounge. I mainly focus on submitting to producers who have experience with projects like mine.

You're welcome, Lisa Weiss. Hope the tips help!

@Lindbergh E Hollingsworth Thank you for your advice. I understand what you are saying regarding budgets and schedules. My estimates are based on similar films to mine, and I know a producer will finalize schedules and budgets once attached. I also realize period pieces can be challenging, but that is what I love to write. I do have scripts in different genres and at lower budgets as well, so there is some range in my projects. Regarding my loglines, I keep them private unless I am pitching them directly to a producer.

@ Lndbergh E Hollingsworth

A top-level producer told me my story is necessary and vital and hasn’t been told before. Other producers have also called it a powerful and beautiful idea that deserves to be made.

I asked another him what he was looking for, mentioning my other feature projects, and he said his small boutique company isn’t taking new projects right now, which I suspect is partly due to risk management around unsolicited material. I continue to seek producers interested in bringing these projects to production.

Hi Lisa! How are you packaging your scripts to present to them? Have you created pitch decks or treatments to go with your query?

@Krista Owen I’m currently focused on getting the script in front of the right producers. I don’t have a pitch deck and the project isn’t packaged yet. That is why I’m looking for producers who can take it to the next stage.

It's good to have one-pagers. But a full pitch deck tells a much larger story with visuals and it can include what's in it for them. I just designed pitch decks for our feature film scripts and a TV series we are working on that are getting traction. Let me know if you'd like help with that. I love bringing stories to life visually and it just might be what you need to gain more interest from these producers. Just an idea!

@Krista Owen Well, thanks for your reply and feedback. I really appreciate the advice. I just don’t have experience making pitch decks, and I don’t currently have the resources to hire someone for that at this time. I’m more focused on the script itself and connecting with the right producers who can take it to the next stage.

Hi, Lisa. I'm told that AI tools can help one make pitch decks for free nowadays. I'm stubbornly script-focused too, though, and I've only ever made a pitch deck once.

@Eric Christopherson Yeah, I get what you mean, but I personally prefer leaving pitch decks to producers once they’re on board. It’s really their domain, and they know how to tailor it to financiers and partners. My focus is on the script itself.

Lisa Weiss I find myself with the same conundrum. I think there are some good ideas here. But, truth be told, the main factor is you. It's your perseverance that will make the difference. Your readiness when you meet that right person to excited them with your passion. I don't think there is one right answer to your question because if there was, we'd all do that. I've started small by continuing to write words on a page and keep asking for feedback to get the best polished draft, which sounds like you've done. Then you need to connect with other like minded individuals. Get on a film set as a PA or extra and ask the question "How can I help?" They say there is only six degree of separation to met anyone in this world. It's about meeting the right six people. So. I say meet one person. Then another. See where it goes. It's ok to be selective on how you spend your money. But, there is no limit to how you offer your time.

@Daniel SilvasThank you for your thoughtful message. I appreciate you taking the time to share your perspective. I agree that writers must rely on passion, persistence, and perseverance, and that being prepared when you finally meet the right person is essential. The right producer or advocate can make a meaningful difference.

I also agree that working on a film set as a PA or extra can be incredibly valuable. Unfortunately, due to my current circumstances, that is not something I am able to do. Instead, I focus on what is within my reach. I network online, reach out to producers, and send carefully tailored queries. I have received some responses, but the primary challenge I continue to face is access. Many producers cannot accept unsolicited material, even when I offer to sign a release or suggest having my lawyer submit it on my behalf.

An ocean of scripts and limited time for the readers-it is too crowded to try someone new, and now with AI...it is even harder.

With everything I've tried, next year (Limited success) I'm going to start producing proof of concept videos.

@Jon Shallit I understand that producers need to manage risk, and I respect that. At the same time, I do everything I can on my end, offering to sign a release or even have my lawyer submit material to remove that risk. Still, the barrier remains. In reality, much of it comes down to hesitation to read unsolicited material. They may assume the quality isn’t there because it’s not coming through a trusted agent or representative, rather than due to any actual risk.

You're trying to effectively buy/short-cut your way in. I don't mean that in a mean way. You've just mentioned the routes most people use and recommend - despite never getting anywhere.

Competition placements are next to meaningless within the industry. Even the "big" ones. The better comps, like Stage 32, push their winners hard to industry members. Most don't.

Querying is often effectively spamming. There's no reason for someone to give you the benefit of the doubt. They're getting hit by strangers every day. Believe me, now I have a few producing credits, I know all too well.

The answer is networking in a qualitative rather than quantitive sense. One deep connection you have with a producer on your wave-length is worth ten thousand cold-queries and a million social media impressions.

It's hard to get started, and those without any existing connections generally have to start in the trenches with shorts and indie film, but it's something that grows over the years if you're patient. In 2014, I knew next to nobody. In 2024, I was flying to upstate New York and staying at an Oscar nominee's home to workshop one of my specs. We tend to overestimate what we can do in one year and underestimate what we can do in three.

If you’re trying to protect your ideas, it’s going to be difficult; the best thing is to make a pitch deck with the minimum information that explains the story, idea, or project. As Krista Owens said, if the producer doesn’t know it, it could be hard to conceptualize the idea. like

@ CJ Walley Thank you for your perspective. I understand that contests alone carry limited weight in the industry and that building meaningful connections is ultimately what matters.

Referrals are not easy to come by, so I focus on what I can do within my circumstances. Querying is one of the tools available, and it is not spamming, especially when done thoughtfully and with the goal of offering value to a producer. While producers are understandably busy, querying has still led to opportunities for many screenwriters.

I do not pursue short films because I do not want to be a director, and my circumstances limit what I am able to do.

I recognize that success in the industry takes time and persistence, and I remain committed to developing my work and pursuing opportunities as they arise.

@ Jose Luis Madrigal I prefer to keep my projects confidential unless pitching directly to a specific producer. My focus is on the writing itself rather than creating a pitch deck, which is generally the producer’s responsibility.