Script Magazine Editors - Pitching a Screenplay: Essential Advice for Before, During and After a Pitching Event
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Congratulations! Youve written the next blockbuster hit! But...now what?
Writing your screenplay is just the first step. If you dont take it out into the world and pitch it, your script will never get sold. Pitching a Screenplay: Essential Advice for Before, During and After a Pitching Event can help you take that next step. This collection of articles from Script Magazine will take you through the ins and outs of crafting and delivering a truly impressive pitch.
Just how valuable are pitchfests? These articles explore what you can really expect to get out of spending your time and money at pitchfests. You will learn about pitchfest misconceptions and how networking and building relationships with producers can be the most valuable takeaway from any pitching event. You will learn how to prepare for a pitchfest: what research you need to conduct, what to bring, what to wear, and how to begin. These articles cover how to make a great first impression, the dos and donts of pitching, what phrases will make you sound like a rookie during a pitch meeting, and important tips to know before submitting your script. You will learn the 5 steps for pitching success, which include concentrating on the needs of the producers besides your own and turning rejection into connection. Pitching a Screenplay: Essential Advice for Before, During and After a Pitching Event also delves into the importance of listening, having both a prepared and improvisational phase of your pitch, and knowing your weaknesses.
Contributors to this collection include Jeanne Veillette Bowerman (editor for Script Magazine), Lee Jessup (career coach to notable screenwriters), Jacob Krueger (writer of The Matthew Shepard Story), Stephanie Palmer (leader of the American Film Markets annual Pitch Conference), and Wendy Kram (producer and owner of L.A. FOR HIRE).
Dont let your script gather dust of the shelf! Take the next step toward getting your vision produced with help from Pitching a Screenplay: Essential Advice for Before, During and After a Pitching Event.
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THE SCREENWRITER'S GUIDE TO PITCHING A SCREENPLAY. Copyright 2016 by Script Magazine. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Published by Script Magazine, an imprint of F+W Media, Inc. First edition.
Writing a great screenplay is only the first step in building a successful screenwriting career. Once you have that script on your hard drive, itll never get sold unless you take your baby out into the world and pitch it to agents, managers and Hollywood executives.
Pitching can be a terrifying experience for writers, who often prefer to stay in their caves and create story. In this Pitching a Screenplay ebook, youll get the must-read advice from Scripts top contributors on how to prepare for a pitching event, how to behave in the room, and how to handle the post-pitchfest followup.
If youve never attended a pitching event before, or if you simply want to make the most of the next pitchfest you attend, dive into the advice from Scripts resident experts.
Above all, believe in yourself! The only thing standing between you and a sale is one yes.
Jeanne Veillette Bowerman, Editor
Script Magazine
Jeanne Veillette Bowerman: Jeanne is the Editor and Online Community Manager of Script Magazine and a webinar instructor for The Writers Store. She is Co-Founder and moderator of the weekly Twitter screenwriters chat, #Scriptchat, and wrote the narrative adaptation of the Pulitzer Prize-winning book, Slavery by Another Name, with its author, Douglas A. Blackmon, former senior national correspondent of The Wall Street Journal. Jeanne also is President of Implicit Productions and consults with writers on how to build and strengthen their online and offline networks as well as face their fears in order to succeed in writing and in personal peace - a screenwriter's therapist. More information can be found on her blog, ramblings of a recovered insecureaholic, jeannevb.com.
Lee Jessup: Lee, former director of ScriptShark.com, is a career coach for screenwriters, specializing in guiding aspiring and professional scribes toward long-standing and prolific screenwriting careers. Her coaching clients include Golden-Globe and Emmy nominees, best-selling authors, sold and produced WGA members as well as writers just starting out. Her national Business of Screenwriting seminar was sponsored by The New York Times and launched in corporation with Final Draft, and her book Getting It Write: An Insider's Guide to a Screenwriting Career is available by Michael Weise Productions. To learn more about Lee and her coaching services, visit leejessup.com.
Jacob Krueger: The founder of Jacob Krueger Studio, Jacob has worked with all kinds of writers, from Academy and Tony Award Winners, to young writers picking up the pen for the first time. His writing includes The Matthew Shepard Story, for which he won the Writers Guild of America Paul Selvin Award and was nominated for a Gemini Award for Best Screenplay. To follow Jacobs blog or learn more about his Screenwriting Workshops, Online Classes, and International Retreats please visit WriteYourScreenplay.com.
Stephanie Palmer: Stephanie helps creative people learn to pitch, persuade, and sell. She is the author of the book Good in a Room and has been featured by The Today Show, NPR, Variety, and the LA Times. She leads the American Film Market's annual Pitch Conference and has presented workshops for Google, William Morris Endeavor, Merrill Lynch, and Disney. Previously, Stephanie was the Director of Creative Affairs for MGM where she heard over 3000 pitches. She gives pitching advice on her blog, goodinaroom.com.
Wendy Kram: Wendy is a producer and the owner of L.A. FOR HIRE, one of the industry's leading consulting companies for screenwriters, filmmakers and production companies, assisting them in developing, packaging and selling their projects. Creative Screenwriting Magazine ranks her in the Industrys Top 3 Picks for Best Script Consultants with expertise in marketing. She is a respected, working producer with multiple features and series in active development, and she is responsible for securing high six-figure deals for her clients. To learn more about Wendys services, success stories and how she may be able to help you advance your projects, visit: la4hire.com
Jeanne Veillette Bowerman
Aspiring screenwriters and professional screenwriters dont always agree on whether pitching events are of value to writers, or if they are merely a way to take advantage of them by dangling hope and promise for a price tag. Having attended many pitchfests in my day, I can say without any hesitation Ive found great value in them, but I am only one screenwriter among many non-believers.
One of the many things Ive learned in life is when one person feels a certain way, usually more than one person shares that opinion. Therefore, before I begin, allow me to address the non-believers of pitching events who might think Im not considering all sides. I absolutely agree to disagree on anything that is opinion based. Why? Because it is a fact, not an opinion, that we live in an amazing country where we can all speak our minds freely. Its also a fact that there is more than one way to break into Hollywood. Some writers may be doing quite well without ever having attended a pitching event. Bravo to them! I genuinely applaud whatever paths they took that worked. While others, like myself, enjoy the experience of mass pitching and find value in it.
Theres more than one way to skin a cat as the saying goes, and as many ways to break into screenwriting as there are successful screenwriters. No two paths are alike.
One of my major pet peeves is that people who complain about the value of pitchfests are almost always ones who have never attended them. As Ive already stated, Ive attended many. So, lets address these objections one at a time, starting with claims I have heard from skeptical writers.
Has anyone really polled all the pros? Seems to me some of them must believe or why else would they be keynote speakers and lecturers? But I have absolutely heard of some pros who do not believe in paying to pitch, which Ill address later. Even if that were true, that all pros collectively disliked pitchfests, every pitchfest I know of consists of more than just the pitching event. There are classes to learn about both the craft and the industry, often taught by professional writers themselves. Who would object to a screenwriter learning how to present themselves to executives? This is a skill you will need when you have general meetings set up by your future agents. Who would object to learning more about honing their craft? No matter how good you are at pitching, if your script cant stand out, youre doomed.
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