Screenwriting : So why DO they Say "Pass"? by Corinne Friesen (Lovarra)

Corrine Any interest in collaboration?

Take a moment and read my complete description of pitching. THE ART OF THE PITCH DEFINITION: A pitch is a presentation of an idea, or project, the purpose of which is to interest, inspire, or persuade someone to consider some measure of involvement. The pitch is delivered verbally but other components may accompany the presentation. Graphics, statistics, and comparisons to previously released films can heighten the impact of your pitch since they will help convey a more total vision and concept to your proposal. However, these ancillary components must be offered after the verbal section has been completed; to present them while the pitch is being rendered would serve as a distraction. The “pitch” deals more with the overall sense of the project, concentrating on the theme, genre, beats, characters, set-up, climax and resolution, and does not attempt a telling of the full story. This differs from “coverage” which analyzes and evaluates the separate elements of a script, ie; premise, synopsis, structure, dialogue, characterization, setting, etc., and serves the purpose of concluding whether it is a viable project to undertake. APPLICATION: Your audience is a potential investor, distributor, or someone who can help get your project into production. However, please note that the benefit of the exercise is not limited to this scenario; pitching is something we all must do in the Motion Picture Industry. Whether it’s presenting your qualifications in a job interview; interpreting a role to a prospective actor; or defining the look, texture, and design elements to a Production Designer or Cinematographer. All of this is pitching and is necessary to accomplish any of these objectives. PREPARATION: A pitch cannot be extemporaneous—it requires serious preparation. Researching the most recent box office performance of the genre; the budget comfort range of the company to whom the pitch is being made; and potential casting suggestions are all rudimentary requirements. You will save valuable time and energy if you avoid submitting a sports story to a production company that experienced a recent box office failure with that genre, or a special effects laden script to a company that specializes in ultra low-budgeted releases. Further, the fact that you knew enough to do this research will add to your own credibility which, in turn, will have an impact on the validity of your project. It will receive a more serious consideration. PRESENTATION: Since very few of us are born motivational speakers, it is imperative that you carefully rehearse your pitch. If you attempt to “wing it”, you’ll be looking down at the floor or up at the ceiling, as you mentally search for what you’re going to say next—the silence can be deadly. However, be yourself; you are not required to tap dance or harangue; you’re not selling used cars or snake oil. A good joke, previously proven, can help relax the room. And the audience is not hostile. They are eagerly hoping—the odds are not good—that finally, they will be offered a project they can sell. The ideal method is to record yourself on video tape; you’ll be amazed at all the nervous tics and physical distractions that dilute the impact of the pitch. But failing that, you should, in the very least, record your pitch on audio tape. You will then have the opportunity to edit out all the insignificant things you find yourself saying. Remember—you have between 5 and 7 minutes to make your case; after that, the attention span declines rapidly as the people you are pitching start bringing out their cell phones to make luncheon and golf reservations. To summarize—credibility is greatly aided by a succinct, well prepared presentation and that includes the presenter as much as the material being offered. If you exhibit a complete knowledge of your subject, then you deserve to be taken seriously, as does your request for participation. Go ahead and do it. Larry Kostroff

Back in 2004 when I met the (new) co-writers of DUNE and asked them if they could help me get an agent, they told me, "Just keep writing... and eventually, you'll write something that does get noticed."

Thanks, Larry, this great!

Zooming out, the reason why a producer, agent, or manager passes is because s/he can't see a clear enough path for how s/he can sell that project and/or sell that writer in a reasonable amount of time with a reasonable amount of effort. To give yourself the best shot, you should prepare yourself to be as professional as possible, which means a lot of things (from interpersonal skills to general business knowledge to credentials), but even still, some things are out of your control in that moment. For example, you could very professionally pitch a period piece to a producer who hasn't had any luck selling period pieces. You did your job, even if you get a pass, and you should walk away from that experience knowing that you just can't win 'em all.

Hi Corinne, my Stage 32 Next Level Class will cover several topics that are relevant to you. If you want further details, please check out the class page and PM me for more info: https://www.stage32.com/happy-writers/classes/How-To-Hook-Your-Reader-In...

You beat me to it, Regina. I was going to recommend your class to Corinne as well. :) I thought perhaps in regards to first impressions it would be prudent to back up and be sure the opening of the script is at its best. Really nail it. After giving a successful pitch, Corinne could confidently seal the deal with a buttoned-up, killer script. :) Best wishes to you, Corinne!

Hey Beth, do you think we covered "why they say pass" in class?

Yes, very much so! Two big reasons given in class for a possible "pass" were lack of clarity and marketability issues. These reasons were thoroughly explained among many others. Incredibly insightful and helpful information, Regina :) Thank you!

Writers in so many cases forget that you write a screenplay to sell! It must be a marketable commodity. Subject matter counts unless you just want another memento in your collection.

Listen screenwriters speaking of Marketable I need a collaborating partner to work with me on yes highly marketable films!

Also, isn't it part of our job in the pitching process to research a company to see how their particular projects have done? I saw in a different post a suggestion that stated if a company had a dismal return on a sport movie then they probably wouldn't be interested in another sports script no matter how good it was. Just like I doubt Disney would be an appropriate company to pitch a graphic horror movie to but what would I know since my pitches receive "Pass" every time.

Yes, absolutely. You need to make sure what you are pitching fits the "brand" of whom you are pitching to -- also a key point in Regina's class. :)

Other than the reasons already listed, I'd add this: It's very important to know EXACTLY what type of sub-genre, hook, theme or locale the producer or studio is looking for. It's hard to drill down to that level when you know someone is looking for just, say, a "horror" movie. Some producers I know who are looking for a "horror" script already know EXACTLY what type of horror movie they want to make. It may involve resources they already have access to - like an old mansion; a closed factory; or a desert locale. Or it may involve a hook or theme that they in their minds know is the only hook or theme - and nothing else - that they really want to make. That's kinda what makes it even harder for writers who are kinda blindly pitching their scripts....when the writers don't know those essential details that some producers already have in their minds. This is really a relationship business, more than anything, when it comes to getting your script desired by someone, and it's really nice when you can have that inside information straight from the producers' mouths: what EXACTLY it is that they really want to do, or have the resources to do. That's also why it kinda helps to live in a place like L.A. - or at least go to the face-to-face pitch sessions there, or have some really solid relationships there - where you can establish in a meeting that you're a capable writer who understands markets, and who can then, in those few minutes, find out exactly what that producer exactly wants to do. THEY WILL TELL YOU if they feel you're capable of executing that concept, and if they are willing to share their "inside scoop" and are not fearful to do so. And then you can ask them, "so if I come up with a horror script that is set in the woods and where the giant bat that only comes out at night, snatches them up and entombs them, and where the small-town sheriff with the help of an eight-year old genius who is a physics geek saves the town....can I call you?" You'd be surprised how many of those folks will say "yes." One of my neighbors would only tell writers whom he completely 100% trusted - and I met him by chance because we both frequented the same dog park. And he only told me what he was really looking for after we became acquaintances and he trusted me. The same goes for a producer who I met because his wife worked on my newspaper. I met him for a few minutes every week at their house while I was spending an hour or so with his wife. For months, he'd sit there and listen to his wife and I talk and edit her story for the paper, and he didn't tell me anything that wasn't related to her story. Then, all of a sudden, one day he told me exactly what his studio was looking for. That was like a major coup when he told me that - and I wasn't even trying to get that inside info. I was just trying to make my deadlines for the paper. Some other websites provide that type of service. It would be nice if Stage32 had some more of those types of specifics for the Pitch Sessions here. I'd imagine in the Skype sessions...you might have the opportunity to find out a bit more of what people really want, but it would be nice if some of those drill-downs were listed on the marketing page for the Pitch Sessions beforehand. Granted, some aren't that sure, and are simply looking "for good material", or "good ideas." I can understand that. But a lot sure know exactly what they want, and love it when writers have exactly that type of script. Good luck, Corinne.

Bill wrote a great post. He mentions this, but I want to add that as much as big companies message their own mandates/needs/agendas, there is always room for anoff-mandate project to come in and blow their socks off. That may not happen often though!! For example (and this is an extreme example), HBO is not known for detective shows. Typically, detective shows can land on any network from CBS to TNT to a kids' detective show on PBS, and HBO dismisses them because they are looking for shows that can ONLY be on HBO or other premium cable nets. That's how they brand/define/message themselves. HBO is not calling up agencies, managers, and creators to solicit detective shows. But then... even though it's off-mandate, the True Detective package comes in, and HBO says hell yes. Granted, TD is not a typical detective show. My point is that HBO made room for an off-mandate kind of show because it was the right version of a detective show for them and the right package for them. All that said, is trying to sell something off-mandate when the buyer is telling you "we don't want that" in any way a high percentage play? No, it's not. Sometimes you go for the high percentage play - the layup, and sometimes, probably much less frequently, you go for the half-court heave and pray.

I am so grateful for his post! I didn't get to take your class Regina and I am so jealous of those who did. I get so discouraged when I get a pass (I have gotten 3 now) so I wish there was more detailed direction on what to do better or different next time. How can we find out what the executive representing the studio or company is truly looking for market wise and how we can give it to them? I wish I could just get my scripts in their hands but I can't even get a request from a pitch yet. I took Joey's class on how to do a pitch, so I think I got that. But if some things are out of our hands, other than moving to Los Angeles, snooping and stalking people, I don't know what I can do except keep writing and HOPE somebody wants to read it one day?? I don't want to give up!

Dawn, my class will be available "on demand" at some point around Sept/Oct once the live version wraps up. You can take it at any time once the on demand period starts.

Thanks Regina, but I bet you cant get the "homework" and the coverage of the first 5 pages like in the other class right?

That's correct. As a trade off, the S32 on demand classes are offered at a lower price point than the live class for just that reason. They want to be fair to people who don't get the interaction with the instructor so they make it cheaper.

You can always seek private consulting help from me or from other knowledgeable consultants.

Hi all, in response to posts like this one, I started a new thread: https://www.stage32.com/lounge/screenwriting/How-to-Interpret-a-Pass-Per...

And: https://www.stage32.com/lounge/screenwriting/Why-you-get-conflicting-not...