In some of the recent pitch submissionsome of the results were fair about minor character development to took to heart however some the critiques I am starting to question. One critque asks "how was my story related to me". Does such detail matter in a pitch if it is not relevant to the story? I've changed the script and the logline and the pitch and i don't believe I can do further updates on anything.
Does anyone else had similiar situations? I don't know what producers, mangers, and agents are looking for anymore when it comes to creativity. If movies in general, whether good or bad, box office blockbusters to bombs, get pitched, what would they say yes to or at least be interested in.
I am probably one of many who have talked about this topic but to keep this resurfaces can help notify others and learn for each other the best we can.
Thank you all
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I've heard the same thing when pitching, Drew Anderson. I've been seeing it in the industry more and more. I used to figure out how a story related to me after I finished the script, which made it hard to figure out. I figure it out when I start outlining a script now. Is there something in the story that's related to you? Maybe the reason you wrote the script?
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Michael Hauge asks, "Where are you in the script?" Maybe that's what they meant - personal experiences or perspectives.
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Drew Anderson The question stems from anticipated and likely rewrites. So how deep you are into the topic is a concern. Will you have enough understanding to contract the story and have it still be on point; or expand parts that will fit the existing narrative. Providing your connection to the story gives them confidence it can be adpated to meet marketability needs as they envision them as well as practical concerns that shooting the movie may present.
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So I should write in a tibit the inspiration of the story or the subject of the story in the pitch correct? The script is complete. If it they're asking about rewrites for the script I can't do anything further otherwise my vision would be lost to changes that I can't keep appeasing to those who think it needs it.
Yeah, I think you should, Drew Anderson.
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Drew Anderson I wrote a horror screenplay on a broken town due to closing of coal mines and loss of work. I included this bit of my background in the pitch deck to lend credibility to the story. It helped me with the world building of evil.: "When I was a kid my best friend’s grandfather, a coal miner from Kentucky, came to live with them. Sick from black lung disease, he would tell us about friends who died in the mines, how the coal company repossessed his company house and would not cover his medical. I recalled those stories when writing this screenplay."
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Pitching is a skill that writers often don't easily learn, or have. It's sales. And like sales, the listener to the sales call makes a subjective judgement. On one of Fred Astaire's early auditions... I read once that it went like this...balding, skinny, can dance a little.
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Drew Anderson "I can't keep appeasing to those who think it needs it." He who pays the piper calls the tune.
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Hey Drew Anderson Thank you for sharing your pitch experience and frustrations - this is something many writers in our community can relate to.
Regarding the question about how your story relates to you personally, this actually touches on something many executives look for today. While not explicitly relevant to the plot, your personal connection to the material can signal to executives:
-- Your passion and commitment to seeing the project through
-- Potential unique insights that could enhance authenticity
-- Marketing angles for the project (writer's journey stories can help promote films)
That said, you're right that this shouldn't necessarily be a make-or-break element in a pitch evaluation.
The landscape of what gets purchased and produced can seem frustratingly unpredictable. Executives are balancing multiple factors: commercial viability, budget considerations, current market trends, and their company's specific mandate. What feels like rejection of creativity is often more about business factors beyond the writer's control.
Some strategies that have worked for our most successful members:
1. Focus on what makes YOUR unique voice stand out rather than chasing trends
2. Consider how your project fits into the current marketplace (similar successful projects)
3. Make sure your pitch clearly communicates your story's most marketable elements
4. Remember that different executives have different tastes - persistence is key
Would you be comfortable sharing your genre and logline? This might help me provide more specific guidance based on the current market.
Remember that feedback, even frustrating feedback, usually contains kernels of truth that can strengthen your project. The best writers I've worked with take what's useful and leave the rest.
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Ultimately, it's all subjective. I've submitted the same script to multiple people and gotten a wide range of feedback. One person suggests a change, while another thinks it's perfect as it is.
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I had feedback on one script from two readers after submitting to the Nicholl Fellowship. They each saw a different story. One loved it. The other hated it. Astonishing and a true eye opener..