Screenwriting : Two things to prep ahead of meetings with execs by Geoffroy Faugerolas

Fantastic advice, Geoffroy Faugerolas!

Really enjoy your articles, Geoffroy Faugerolas!

Super helpful - thank you for taking the time to share your expertise. Bookmarking for sure!

Thank you so much for the helpful advice looking forward to make adjustments on my pitch. Stage 32 has given me a lot of tips to educate mr in this process thank you Geoffroy Faugerolas and stage32 team.

This is such insightful advice, Geoffroy Faugerolas - thank you for sharing it. As someone who can be quite shy, especially when it comes to talking about myself, it's encouraging to hear how much value is placed on authenticity and passion. I'm working on getting more comfortable sharing my “why” and embracing those story conversations, even if they feel intimidating at first. Every script I have written comes from personal experiences from my own life or bedtime stories made with my children. For me, storytelling is healing. Grateful for this reminder to lead with what fuels me!

I appreciate your candid remarks regarding the “ why” one writes.

I have been involved in multiple careers the most notable is a 28 year career in the Secret Service and covered Asia-Pacific doing financial crime investigations and executive protection. what I find lacking in most police &crime stories is the the humor involved in police work, there is of course tragedy that combination worked well for the late Joseph Wambaugh a former LAPD Detective Sgt. who mastered that rare combination and produced compelling novels. My first novel “ Shaloha Gems” attempts to combine humor tragedy & cross cultural romance.

This is a terrific piece of advice, Geoffroy Faugerolas. Something that could also help writers to feel a bit more at ease is to remember that the goal is communicating, just as they do with their writing. To write a good story, they should know their target, their genre, and what makes it different.

Geoffroy Faugerolas

Geoffroy.... What’s really likable in your posts is that it’s clear you genuinely want to help screenwriters. I absolutely don’t want to be a buzzkill, but I want to help writers and producers from another point of view — for those who actually want to make films. There’s a major contradiction in saying that a producer or studio is initially not interested in the film but in the writer. Please explain this exactly, because the way it sounds, it’s like a company’s HR department looking to hire someone who tells them what they want to hear.

But writing and making films (at least successful ones) is the opposite of that. The film — even just the core idea — is what matters in the beginning. And sometimes even later too, because it’s common that the idea person doesn’t want to write for others full time — or can’t. But the idea itself is worth millions. Period. And this is actually what producers need early on.

Sure, if they can and want to write too, then great — jackpot. You get two for the price of one. But otherwise, whether the writer can even speak well is irrelevant. Especially because many writers in this field are introverted. That’s no surprise. There's a reason they can quietly create entire worlds.

If we say “I care about who you are, the film is secondary,” we’re not only insulting them, we’re wasting their time and our own. It’s like telling a young Jack Nicholson at a casting: “Hey, what we really care about is how you play drunk basketball.”

Although, I can totally see how Jack would react — that would be a scene worthy of a movie.

Now, if in your post you meant what’s become trendy lately — that studios tie writers to 9-to-5 contracts to churn out content for streaming series — then it’s understandable. Not a great practice, but at least it makes sense.

Why not a great practice? For several reasons:

Like I said earlier, the best writers don’t deliver their best work in a real-time group setting.

Sure, some projects really do need a team — lots of material, tight deadlines, etc. But there’s no actual proof that five writers produce better results than one with a strong personal vision working from home. The last 20 years of film output doesn’t prove that. There are exceptions — mostly in series. But even there, it’s not conclusive. In some cases, it’s valid, especially with technical stories like military or courtroom stuff. I’m not saying it’s wrong to bring in another writer later. Brainstorming can be great in the early stages — I led that kind of work for over a decade. For outlining, it’s helpful. For writing the actual screenplay — more questionable. There are more points on this too, but let’s get back to the main thread.

If the writer’s intellectual property doesn’t matter at first — then what is he to you at that moment?

It’s extremely common — almost standard — that in a screenwriter’s lifetime, they might create 5 noteworthy scripts. Usually just one that’s truly classic. And often, that’s their first one. I’m not talking about flawless, but classic. And if you immediately demand their second or third material instead, that’s like sawing off the branch you’re sitting on. I’m starting to feel like that’s a new sport in the industry — self-sabotage.

Of course, there are special cases where neither you nor I are right. That’s the beauty of not making movies based on formulas or academic checklists.

Why do we make them? Because we love it. Are they flawless? No. That’s exactly why audiences love us and our work. Studios might try to model this in Excel sheets — but that’s a dead-end.

If you send me any — I repeat, any — logline, even publicly on Stage, I can quickly tell you what could be done with it and how it could become a hit. I don’t need to know who the writer is. I don’t even need to meet them afterwards. Not to make a great film out of it. I’d only need to meet them for the contract. But sadly, most never get to that point.

It would be amazing if you could write a blog or post about what’s going on with the 99% of the creative crowd — the ones who really want to sell their film ideas. Maybe they live on the other side of the world. Maybe they don’t want to work in a Disney writer’s room tweaking 10-second episode arcs. But they hold the future of cinema. They have the ideas.

The next big hits — lost. Thousands vanish every day. Billions of dollars burn away. I alone have hundreds. And I see people throwing around a few here, too. And I repeat — I can bring out the best even from those that seem like they don’t have much in them.

Two lines: “A kid accidentally travels back in time and has to get his parents together or he won’t be born.”

That one got tossed around for years too — even though only an idiot couldn’t see that was a hit.

So what writers really need — what would truly help them — is clarity.

“Anyone who wants to be a full-time series writer, stand in the right line.”

“Anyone who has the new Star Wars written and wants to work on it alone with a bottle of vodka, stand in the left line.”

And what can each line expect?

You write about research. But even about successful producers, we can only find a name and filmography. No way to reach out. They reject unsolicited work by default — and that’s not just self-sabotage anymore, that’s cutting down a redwood tree while standing on top of it.

And honestly, it makes no sense. It’s like the hamburger having to go hunt the hungry customer.

Please don’t take my questions the wrong way — I never offer criticism without also having real solutions on how things could be better. I don’t want to tear down, I want to improve the business.

But I won’t deny that I represent the audience first and foremost.

And the studio should recognize that this makes me their best ally.

Just like you. What you’re doing is valuable — but it’s in all of our interest that hit films get made. And for that, writers need to know exactly what, why, and for whom they’re creating.

Thank you, Patrick. Big respect for your viewpoint.

Lauren Hackney it's beautiful to hear! There may not be an obvious connection at first, but I agree with you - our personal life experiences always seep through one way or another.

Terry Chodosh what a background! This is certainly something you should mention and highlight in your meetings and pitches. Right away - it makes you stand out, positions you as an expert and shows how and why your work is different.

Patrick Kovács it's a people business but also Hollywood is a small community. Executives or Managers want to get to know you. It's not contradictory. Think of it as an interview. Or a first date. Before checking to see if they want to work with you, they want to get to know you. And I'm not saying the script doesn't matter - it's just that you want to have coffee with someone before you invite them to dance.

Geoffroy... Yes, in any long-term collaboration, that's a smart thing to do—if you're looking to be asked to dance while you're standing at the bar selling drinks. What I was writing about is that coffee and dancing should come after there’s a seller and a genuinely interested buyer.

What exactly does a producer want to get to know in a screenwriter—and why?

a) They want to produce the writer’s idea or sell it onward. In that case, it doesn't matter what the writer is like as a person. If he’s a grumpy bastard, maybe they just buy the diamond and skip the dance.

b) Do they want to hire the writer? Because they see from one piece that they can write? Well, if the project is good, any smart person would produce it and take the writer dancing. And if it’s not good—why the hell would you want to dance with them? Hoping they might write something better?

c) Or maybe they just have coffee with everyone, and hope maybe one of them will lead to a dance?

I believe anyone who genuinely wants to make a film and find success with it understands that a filmmaker might only have one big shot in their life. And that moment might be right now. Wanting to have coffee and dance is a great thing—once there’s actually something to talk about. The business.

Fantastic advice and insights! Very valuable Geoffroy Faugerolas

Thank you for this.

Patrick Kovács Absolutely. Producers could work with an insufferable writer if the spec or IP is undeniable. But more likely then not, the writer will be cut out of the filmmaking process and won't be asked to do the re-writes themselves. And features always go through many, many re-writes and polishes. It would be a shame if the producers don't have faith in the writer's ability to execute. They'll hire another writer. It's not viable for writers looking to have a career in this business and not just sell a one off.

Geoffroy... Thank you for the reply. Let’s see a show of hands: which screenwriter built a career while their first successful film was left out of the equation? I’m asking because several phases remain unclear—almost like you’re skipping over them.

In a normal scenario, what motivates a screenwriter is the actual production of their first film—and the money that comes with it. It’s about staying alive long enough to write the next one. Some might deny this, but it’s safe to say that the idea of a career only crosses someone’s mind after they’ve seen that people actually watched their first film. Not even awards guarantee this—anything can still happen, even with an Oscar. Because not just producers, but the writers themselves rarely know in advance whether this path will actually work out for them.

And that’s not something decided over coffee.

That’s decided when a sharp producer options/buys/sells the writer’s script to a studio. That greenlight moment is when the first film gets made. After that, coffee becomes relevant—because now there’s a real chance the producer is dealing with an actual screenwriter. In fact, I’ll go further: this is also where it’s decided whether the producer is a real producer.

The first successful film—that’s what writers lose sleep over, pray for, sacrifice relationships over. Nothing before that—under normal circumstances—is a "career." Not even as a dream. Unless maybe someone wins a place in Disney’s yearly fellowship or something like that—and even then, only after the first successful film can you even think about grabbing coffee.

And even then, there’s still no guarantee of a next hit. No guarantee of a career.

Because none of this gets decided by conversation—it gets decided by whether a producer or studio has the guts to buy that first script. And once again, it doesn’t matter who the writer is.

That’s why I’m asking: at the very least, screenwriters deserve clarity—about the things you see and we don’t. Concrete information about what you mean by a “screenwriting career.”

Because for us, it means the first Hollywood film someone actually pays us for—whether we write it from beginning to end or not.

I know everything before that first sale feels like preparation, not career. And you're asking the right question - what concrete steps lead to that sharp producer who has the guts to buy your script?

Here's what I see from working with writers who made that leap:

Quality + Positioning - The script has to be undeniably good AND fit what buyers are actively seeking

Direct Access - Getting to decision-makers who can actually get movies made

Timing + Persistence - Being ready when the right opportunity surfaces

The writers who break through understand it's not just about craft - it's about knowing what specific producers need right now and getting your script in front of them at the right moment. But it's complex. There are different screenwriting careers: the spec writer (who sell projects), the writer-for-hire (who gets hired as a script doctor for re-writes etc...), the TV writer...and overtime, the paths merge and writers can work across multiple segments of the industry. But you have to start somewhere. Often with that first sale or that first project getting made.

The hard truth? Nothing in life is guaranteed. But network is paramount. Every contact, every relationship is how you find advocates and get to that place where you are recommended, your script is being given to the right person etc.

Geoffroy...Thank you for taking the time to give such an informative answer. We are making progress, and this can benefit everyone.

However, the reason I’m writing to you here is because you wrote in your post:

“For a business built entirely on scripts and the written word, it's fascinating how no one wants to discuss story. Not at first, anyway.”

And I replied that I see a contradiction, and this contradiction not only exists but is actually growing stronger.

If an undeniably good script is needed (which is subjective), then why does no one actually want to talk about the film? For example, what if the screenwriter (like me) is a spec, high-concept writer?

It is completely impossible for a screenwriter to know what a producer is hunting for if the producer himself does not know.

They accept people and projects randomly. It might happen that they don’t find each other for 150 years. At best, you see that John Smith reads dramas, thrillers, etc., basically like everyone else.

But then you say that initially they don’t want to talk about the film, only want to get to know Jane Smith. But for what? Why? If they don’t want to buy the screenwriter’s script, even if it is undeniably good, what do they achieve with each other? Ok, they talk, maybe even develop themselves.

Another contradiction is that a sharp-eyed producer must be found. In fact, this is an anomaly.

If there is a sharp-eyed producer, they will find the screenwriter just from the logline. More precisely, their project. Then they have already progressed. The other way around is almost impossible because the screenwriter blindly flies toward someone who does not want a blind pilot. This is a gigantic waste of time.

Another anomaly is this: “The writers who break through understand it's not just about craft - it's about knowing what specific producers need right now and getting your script in front of them at the right moment.”

If someone manages to break through by blind flying, they only find out afterward whom they bumped into. If they knew beforehand, they would likely find each other in one day. This is exactly what I want to achieve — that this happens like this.

This whole breakthrough thing is also an anomaly. The screenwriter simply writes a script; they do not want it to be born, do not want to break down walls. They want to tell a story. It gets finished, and as far as I know and have read (including the known ones), 99 percent are partly or only slightly good. It is the same with the known ones. Most classic scripts are either flawed or do not even come close to the film they are so loved for. How can this be? The reason is that a sharp-eyed producer does not want to turn it into a painting but quickly put the diamond into the machine, then development, and off it goes. But anyway, it’s subjective who thinks what is good, especially over 100+ pages.

The screenwriter can also experience that the producer does not necessarily sense these things. They sniff out or don’t sniff out some advantage in it, but it doesn’t require much more than that.

And this advantage, as I wrote, is either in the logline or it isn’t.

And then we are back to the question: why do you need to get to know the screenwriter and sympathize with them for this? Are they looking for a developer for a TV writer’s room? Can you know what for?

How do producers know if a screenplay is undeniably good when even the classics aren’t necessarily so? Often the director breathes life into the whole thing. What is the comparison basis?

How does the poor screenwriter know what a producer is ACTUALLY looking for? And is the producer really looking? Will they pay for it? Will they sell it? Will they make it into a movie?

What do you think success is? I’m not asking for guarantees, just cases of what kind of successful film was born this way, to whom, where, and for how much it was sold? How did the screenwriter know the producer was looking?

If the producer is sharp-eyed and really wants a hit film, why don’t they jump on film projects that contain this? Why wait for luck so that even a beginner who doesn’t even know what’s going on might find it?

This is really great advice for any screen writer to know before they meet any type film executives. I will definitely rely on all this info before I have my next meeting with a executive, manager, agent or any one that could get me closer to selling my scripts.

Great advice Geoffroy! If executives like your work they want to know more about you, your perspective and your creative voice. It is also very important to know about the company you are meeting with so you can talk about aspects of your work that are important to them.