Screenwriting : Who's Pitching? by Captain Coffin

Yeah I was going to attend a book seminar and it was too much also. I would not pay for these kinds of things... seems like an on-line wishing well to me...

I did one once - FadeIn Online Pitchfest - about three years ago and actually got a number of requests. Definitely worth a try/look.

Very legit... I have 3 films requested so far....don't ask me where they are in terms of being read, but it's is CERTAINLY worth the $$$ and the contacts...

I've done one voice pitch, but think the time is too short to do any pitch justice.

That's one reason to do a written pitch.

Isn't it strange though that they need stories to make movies, but we have to pay them to listen to our ideas. Most of the book publishers have internet submission protocals and they are free. If these are legitimate producers, why don't they have sites where you can submit your pitch - maybe your podcast pitch - for free? They are the ones wanting to find producible scripts.

Hello all. Allow me to answer some of the questions/comments. Virtual Pitchfest is a completely different model. You submit your pitch and then it is sent to the exec. If the exec does not want your script, you receive no feedback. Our pitchfests are LIVE with the exec. You are communicating directly with them. You not only receive feedback DURING the pitch, but you get a follow up AFTER the pitch. This is invaluable, of course. You're getting feedback on your story and your pitch. These pitchfests open doors and get writers, filmmakers, and producers beyond the "No unsolicited material" barrier. This past week, there were 3 success stories from writers pitching during Stage 32 / Happy Writers pitch sessions. One landed representation, one has had meetings and is working toward a development deal with Ambitious Pictures (there will be more on these stories in our email update tomorrow). We expect more to come... Thanks. RB

One more quick note...If you go into the comments section of our original announcement, you will read some glowing endorsements of Joey and the pitchfests. https://www.stage32.com/blog/Introducing-the-Stage-32-Worldwide-Creative... Thanks again...

I was tempted to pitch but the pitch from what I gathered was 45 per for only one person I chose? One would think a pitch to all three at the same time..Like The Voice? Sound like a show? Yet what about NDA?

$45 to get a pitch REALLY in front of an executive? I'll take that all day long!

Glad you feel that way, Curtis. And I should have mentioned this in my previous post, these are real execs, not the office administrative assistant or a guy from the mailroom. As you can see on the page for Pitchfest IV (below) the execs we bring in are Directors of Development, VP's of Development, and managers with spec script sales and clients on the Black List. Even the mediators all have impressive credentials. https://www.stage32.com/creativefest/Online-Pitchfest-IV-Filmmakers-Dire...

try it first by your self and see if its worthy it by your own judgement , in any business ,there is always a gamble , for sure if it works for you , it will then be legit , but i doubt if it can be legit for every one . good luck in any case . Julian

Hi Laura. I'm a screenwriter. I have been for years. I've attended and spoken at numerous festivals and pitchfests. You will never find anyone more pro writer than I. So, I do take the idea that we are "squeezing" the writer as a bit of an insult. There is overhead to running anything like this. Execs need to be paid. Mediators need to be paid. Joey spends a remarkable amount of time with each writer. Trust me, no one is getting rich here. We offer written pitches for two reasons. 1 - Some people aren't available to pitch live. 2 - Some people are terrified to pitch live. Still, every single written pitch is read by the exec. He or she offers feedback and/or requests the script. Joey then spends a great deal of time following up with the writer. Let me tell you a story relayed to me recently by someone who attended a pitchfest in LA last year. I won't name the pitchfest except to say it WASN'T GAPF or Screenwriters World, but it is one that has been around for some time. This (very talented) woman traveled from NY to LA for the fest. The round trip flight cost her $600. Her hotel cost her $425 for 2 nights. Her badge to pitch cost her $450. She estimated her meals for the two days to be about $100. So, we're talking $1575 all in. She had marked off 10 execs and managers she planned to pitch to. Had her day completely figured out. Ultimately, 3 execs didn't show up. 2 of the execs listed in the book were replaced by jr. executives. The other 5 were as advertised. Of the 7 pitches, she received 4 script requests. She sent those scripts and then.........nothing. No response. So...7 pitches, $1575. That's $225 a pitch. No feedback. Nothing. Dead air. This same woman took Joey's pitch prep course and then over the course of 2 weeks, pitched to 2 different executives. She received feedback from a manager (off of one of her script reads) that caused her to rewrite one area of her script. That manager read the new version. Within two weeks he had signed her. Feedback. An open invitation to submit again. Representation. I should mention, this is with a management firm that only accepts submission through referral. I joined forces with Joey simply because no one in his area has a better track record. And no one cares more about his writers. It's up to the individual if $45 is worth getting in front of an exec that can seriously change their the trajectory of their career. Writers pay much more just to enter contests, which are, of course, a complete crapshoot at times. Thanks for listening.

Unfortunately, there is so much nonsense out there that we -- the hopeful, amazing, sometimes brutally desperate, creative screenwriters that we are -- become skeptical. The ups and downs for a writer are gut-wrenching. However, if something has the "RB stamp of approval" you know it is trustworthy and fair. Personally, I'm now kicking myself in the a** for not taking advantage of the Stage 32 pitchfest!

Doesn't insult me at all, Laura. All I can say is that you're missing quite a bit in your analysis. Also, as the saying goes, you can't please everyone. I received an option through a contact I made pitching through Joey's services. It was certainly worth $45 to me. Your opinion is yours, and I respect it. No one is forcing you to pitch. And, of course, this site, which has employees, overhead, and obvious other costs involved, is 100% free and will remain so. I've been criticized for that as well. Can't win em all ;)

Understand your choice.

These things do, however, bring up the greater (ethical?) issue of monetizing the query process. And I say this as someone who uses Virtual Pitch Fest quite a lot. I know for a fact that there are companies who once took queries by email that no longer respond to them because they are now on VPF and/or do other pitch fests where they are paid to respond, albeit a small amount. Some companies now even expressly state on their web sites under the "submissions" tab: "We no longer accept email queries. If you want to pitch us, please do so through virtual pitch fest." So...on the one hand, yes, online pay-per-pitch services are opening doors by allowing newbies to pitch big companies that would otherwise totally ignore them. On the hand, they are also closing doors in the sense that a lot the smaller/mid-sized companies once open to email querying are now only taking pitches if you pay. So -- kind of a double-edge sword. I didn't mean this to be a manifesto or anything. Just think it's an interesting turn of events in the screenwriting cottage industry.

Geez -- sorry about the typos in that. Promise there are less in my queries :)

So, please, Mark, tell how you optioned your script. We are neighbors, so I'd like to know, if you're willing to share....

Actually it was through an online pitch fest. :) JK... No -- actually it was via a (free) web site you may have heard of called the International Screenwriter's Association. They have a "gigs" section -- which, interestingly enough, and coinciding with my larger point about the monetization of the query process, was freely accessible then but recently became only partly accessible for free (you now have to be a paying member to access the better gigs) – in which an independent producer had posted an ad looking for a horror or comedy script. I sent him my script and he liked it.

Thanks Mark. I belong to ISA and wondered about the 'gigs' section. Maybe I'll give it a whirl!

No prob. Good luck!

Happy to report that another writer from last week's pitchfest is meeting today with a lit manager for possible representation.

Congratulations' glad it worked. Still a shame writers have to pay to get read, guess its the way things are.

My script is not quite ready to do a pitch. I'm curious as to what are the types of scripts that are being pitched? Are they high budget scripts or low budget and what are these execs really looking for? The next billion dollar idea or just the next talent in the industry... or really just to give advice? Do these online pitchfests occur often on this site? Lots of questions!! :P

Hi Kevin. Some of our pitchfests are themed. For example, this week is Horror Week. Those pitching have either horror, psychological, or contained thriller scripts ready to go. This weekend, however, these managers and production company executives are listing to pitches from all genres. If there is a particular genre a manager or exec is NOT interested in, it will be listed on the Pitchfest page. You can learn more about the hows and whys by clicking the middle banner (Pitchfest IV) on the top of this page. Thanks!

Oh okay cool! Thanks for the heads up Richard. I was happy to see the roman numeral IV, signifying you guys have done this before... and hopefully want to do it again. Plus, it gives me motivation to finish this project so I can have it ready when things like this pop up! Thanks again for your time and feedback!

Hey Kevin...Yes, this is our 4th pitchfest. But The Happy Writers, who we have joined forces with, have been running pitch sessions for over 2 years. They're fantastic.

I did the Horror Pitchfest with 2 of mine and got some really good feedback. It was a humbling experience when I discovered that my stories weren't as ready as I thought they were. And that's good, because after a while you get jaded and begin to think you've got lots of good material until a pro in the industry lets you know why they passed on your story. However, one man's trash is another man's treasure... if one production company doesn't find a story appealing, that doesn't make it gospel. It just didn't fit their criteria, but it might do well with a different company. I'll be doing it again. Every "no" is another step closer to a "yes". On the flip side, with all of the crap being puked out of Hollywood lately, who says they're the final authority, anyway. No matter what you do, it's a gamble. So take a chance on yourself and enjoy the experience. Thanks to RB and Joey for giving us the chance to get the material out there.

As for me, I seem to do better doing written pitches, I guess they didn't love my melodious voice...but with the Happy Writers, I have my script at some big deal places, and a couple rejects but...consider it a door opening.

Another topic for discussion: agent, manager, production company, where would you want your script first?

Tough one... I choose manager or agent. Most prod cos will NOT look at a screenplay that isn't recommended by one of the other 2.

All of the above, Michael. Never, ever, ever close a road on your own. Some of the biggest independent films made over the last 10 years were scripts that were represented and pushed by the writer him or herself. Not by a manager or agent. And never underestimate the power of networking. You need champions in your corner. Although J makes a point that certain bigger production companies may have a "No unsolicited material" policy, that doesn't mean they won't look at an unrepped writer's material. It just means you need a champion of your material that they trust. That could be an actor, and editor, a cinematographer, just about anyone. Try anything and everything. Be relentless in your pursuit. And never let "no" get you down. The most successful hear that word hundreds of times a year.

That's what I'm doing RB, striking while the iron is hot!

Good on you Michael.... strike away and forge a path....

I'll tell you what, Michael. You inspired me to do something I was procrastinating on for some time. Thanks...

Important Question: should a screenwriter pitch an adaptation even if they do NOT own the option? Even if that writer thinks it would be a fit to a MAJOR studio?? Asking for a friend...

Absolutely not. Any exec will want to know they control the material. Would be wise explore if the material is even available first.

Gotcha, thanks, I sure will tell my friend about that...

@RB so I was correct when understanding that it is one pitch per 45. On that note; How does one select which to pitch to? Meaning does one house prefer certain scripts over the other? IE: Romantic Comedy / Drama. Or is it suggested to "Shot-gun pitch to all spots available? Hence me stating prior "I think it is 45. per pitch, per Co." Also, while I have your attention. That pitch spot is for one script only and not say two scripts at once? Right? In other words If I have two shorts, that could easily be expanded to features, I pay for a spot. I then may only pitch one not the two? To only one house, per spot? Correct?

Definitely just a single script per pitch. You want them to love that script; then later if they ask what else you got... personally, I try to do a little research on the company to see what they're most interested...

I pitched this past weekend (10/12)... couldn't get my SKYPE working properly... was nervous... found myself rambling although I practiced a five minute pitch with friends... may have been better off sending my "pitch" in writing... it was a learning experience to say the least... Joey and Laura were patient with me, but the 8 minutes ticked off oh so fast, it was like a two minute drill in football... I felt like I was on the show "CHOPPED". I'm wondering now if I indeed got CHOPPED in the first round, although my script is delightful. Nevertheless, I'm hoping for the best. I tried my very best to explain my script, and perhaps presented enough of it to prick the producer's interest. I hope so anyway. Looking back, I would suggest you pitch an extended logline, and a few hooks and twists, and leave the rest of the time for feedback and questions.

All I can say is that I'm very happy Stage 32 and The Happy Writers have partnered! I know we already have benefited from this marriage. Keep writing, keep pitching people!

We had another writer land a meeting with a manager this week off her pitch this past weekend. Fantastic...

Way to go writer....

Just received this in an email message from Marvin Acuna. Fits your comment on pitching. "Do you smell it? It's the sickening stench of fear in Hollywood. It's everywhere. Many screenwriters are ruled by it. Everywhere they turn it's fear, apprehension, and frustration. "Is my screenplay good enough?" "Will that agent read my query letter?" "Should I move to Los Angeles?" "Am I too old to make it in this business?" "How do I get Hollywood Professionals to read my material?" The doubts and fears never stop. And as an ambitious screenwriter it's only natural to get caught up in this fear. However, paying too much attention to it will cripple you. So one of the numerous ways I teach screenwriters to deal with this fear is to create situations where the odds are heavily stacked in your favor. What does this mean? For instance, many screenwriters will devote their blood, sweat, and tears into crafting their screenplays. Yet they’ll spend little to no time crafting a pitch that will make a Hollywood Professional’s eyes bulge and her heart race. Or spend the time doing the research and analysis necessary to target the Hollywood Professionals who are far more likely to respond to your material. Or spend the time creating and nurturing relationships with these Hollywood Professionals, opting instead to go for the “one-night-stand” approach. Or spend the time doing ALL the other activities that are instrumental to your career, but most screenwriters don’t know how to do. So yes, your writing ability is critically important to your screenwriting career. It’s the engine that makes everything else run. But the truth is, it doesn’t matter if you have a Ferrari sitting in your driveway… if you don’t have the key! " He says it all so well. If it were only so easy to overcome the fear. Good luck to you - I don't have the courage to pitch so I can't help you. Janet

Thank you Katherine I shall do.... much appreciated.

I agree, Kathryn. I've never met someone who truly cares about the writer and his/her success more than Joey.

The only problem is waiting for the verdicts. I think Joey doesn't like to give bad news so he avoids writing those e-mails!

How do you find Joey???

Thank you again Katherine.... going to take a look now... THERE NOW...