Screenwriting : Script Requests by Tommy DiMassimo

I went to a Pitchfest, which is like speed dating. I pitched to 20 companies and got 9 read requests. But I did a lot of research on learning how to pitch, writing an Ace "One Sheet", and finding out which companies were looking for the genre I was pitching, long before I ever set foot in the room. And the fact that my screenplay was a contest winner didn't hurt either.

Kay. If that is the case they are getting ripped off.

So really I was hoping for specific numbers. Like I have received six requests in 2019. That's the feedback I was hoping for. I'm well aware that the intention of the pitch sessions is mainly educational.

Kay. There is no such law. Personally I don't attend festivals and I don't pitch assistance.

I studied California Law and I never heard of such a law. Maybe Hollywood has their own laws. LOL

I current work with the former DA for Orange County. I can ask if you like? Lol

I think the law is called Krekorian Act. Started because casting directors were charging for auditions and access but the Internet boom happened in year 2000s. Who would have guessed the general public would pay money for opinions on screenplays and access?

Anyways back to question. I paid $50 to 5 solicitors on virtual Pitchfest (before I had an agent). Got 2 read requests. I have sent over 300 free queries over 3 years. Have about a 3-4% percent read request. It’s all a numbers game, some Craft talent, Luck and Fate.

Kay. The AB1319 is the law I believe you are referring to defines businesses that offer talent services. I don’t think that has anything to do with pitching a producer or someone who works for them. Personally I don't pay one penny to pitch anyone but I sure as heck would not pay to pitch a producer or an exec just for educational purposes. Everyone is entitled to their own opinion of course. Just because someone works in the industry doesn't mean they know what it takes to break in as a screenwriter.

I'll pay $ to someone who can teach me something (but trying to learn anything from a Mocking Bird is pointless). Paying $ to someone I'm trying sell a script to is outta question. Just think of how much you could make if all those tv advertisers had to pay you listen to their spiel?.

I agree with Doug although I never paid anyone for anything but looking back that was probably a big mistake. Anyway it might just be me but I can't figure out why so many aspiring screenwriters assume that execs know more about screenwriting and breaking in as a screenwriter than an experienced screenwriter.

Hi Tommy,

I've only made a couple paid pitches in the last few years. I received great feedback, and haven't really followed up on those two scripts. I have probably made 30-40 paid pitches over the years, and probably had script requests for around half of those. I have optioned a few scripts as a result - none of which led to a sale - and I was contracted to write a different script.

From a writing improvement standpoint, I did very well, too. Some of my pitches got my stories read - probably half of the pitches - and I was given notes/ideas/suggestions on ways to improve the stories from some of those folks, which improved my skills as a writer. I also developed friendships and relationships that last to this day - 15-20 years later in some cases.

Most importantly, what i learned, experienced and netted from pitching is this: I was given the opportunity to not only pitch a specific story, but to create a relationship with an industry professional. In some instances, they allowed me to send them future work. I was able to gain their confidence, and some of them shared with me the ideal type of story they were seeking. Like, not just a "low-budget horror story", but one that was set in a certain place and with a certain amount of characters and had a certain type of theme, setup and outcome. That type of information from a producer or exec is like gold. Usually that type of specificity was a result of resources they had available, and they just didn't freely share that information with everybody who came (and went). They shared it with writers in whom they felt could pull of that specific type of story.

So having that potential to build those types of relationships - and getting contracted to write a different script than the one that I had pitched - are pretty valuable results, and especially in an industry that relies so much upon established relationships. In the beginning, you might call that an "unintended consequence," but it's really something I then aimed for in all of my pitches: building relationships. And I also met another person as a result of that script contract, who did some pretty important things in the world, and who trusted me enough to give me her life story.

Other writers that I know have had the same things happen to them, too - which kinda underscores the belief about how a spec script can be a "calling card", or a "writing sample," because it really can. And maybe even more importantly: about how you are really selling yourself, because you really are.

We all want to do a pitch that leads to an option and sell of that pitched script, but other good things can happen as a result of that, too. Paying to pitch is a great way to open doors; break into the business; develop relationships; learn about the business and to improve one's writing skills. I hope everyone else gets the same benefits that I have received. Many writers' careers have started as a result of their paid pitches.

Best fortunes in your creative endeavors, Tommy!.