Pitchfests - To Pay or Not to Pay for Access?
To pay or not to pay? Are pitchfests useful? Yes. And they
should be part of your screenplay marketing strategy. There are
several respected pitchfests coming up in the next few months (check
out our events list on our home page for
links to them).
Even the newest of 'baby' (unproduced) writers assume that the road to
become a working writer is to get an agent or manager to represent
your work and VOILA! - instant deal, fame and fortune!
However, getting an agent or manager is not that easy. There are
also plenty of fringe industry-types who prey on new writers.
Writers that deal with these sharks quickly find that the road to fame
and fortune is paved with fool's gold.
You've done your research, you've identified the respected agents and
managers, and sent out endless query letters and made hundreds of
unsolicited cold calls only to be hung up on and/or you received a
handful of 'thanks, but no thanks' rejection letters'if you were lucky
even to get those.
So how do you get and agent or manager if the query/cold call method
fails? Well, one of the easiest and surest ways is to have them
come to you. How do you do this? One way is to win or
place well in a respected screenplay contest, but the easiest way is
to get interest from a production company that either wants to buy
your script or at least thinks highly of it and will provide a
referral.
Next, you can query and cold call every production company in the
Hollywood Creative Directory or the Fade-In Writer's Guide to
Hollywood Producers Directory and try to get producer's interest.
However, many of these companies have a policy of not accepting
unsolicited material and even a simple query letter may fall into this
category with them. So if you have a perfect action script for
Mace Neufeld Productions or a horror script for Wes Craven but their
policy is to not accept unsolicited material, how do you get to
them?
Pitchfests.
A Pitchfest is usually a one or two day event that usually takes place
in Los Angeles (since the majority of producers are based here) where
writers pay the organizers of the event to have an opportunity to
pitch their ideas, screenplays and novels to agents, managers,
producers, executives and/or junior executives at production
companies, studios, networks, and literary agencies. These
invited executives spend the day in a large hotel ballroom or
convention center room where they sit at a table with a sign
identifying their names and their company. The writers wait
either in line or with a set appointment time to sit down in front of
the execs for usually a seven minute pitch session. To be honest
the actual time is only five minutes as two minutes are set aside for
getting to the table and for leaving the room. The execs listen
intently hoping to find the perfect idea from a writer with a fresh
new voice.
For some writers this is sheer agony. An exercise in flop sweat,
stuttering and complete mental shutdown. Not a pretty
picture. Even the most seasoned 'pitcher' will experience this
for the first one or two pitches of the day. But quickly you
will find your rhythm and be able to spit out your pitch with ease and
confidence. Not only do these events give you an opportunity to
market your material but also to hone your pitching skills.
Pitchfests have started to pop up all over the place. A few
years ago there was only one: the Fade-in Pitchfest which started in
1996. Today there are at least eight. We don't endorse any
one in particular but have found that though they vary in prices and
formats, they all have merit and are worthwhile.
Fade-in offers two pitching events a year. Then, there is the
Great American Pitchfest (held
at the Los Angeles Convention Center) and the
Great Canadian Pitchfest (held
in Canada). The
American Screenwriter's Association
holds a pitchfest at the San Diego Film Festival.
Creative Screenwriting Magazine
holds a pitchfest at its annual Screenwriting Expo in Los Angeles
every fall. There is also a
'Take-A-Meeting'
pitch event at the Austin Film Festival and at the Final Draft
sponsored Screenwriter's Showcase event which just took place in Los
Angeles last month.
Some of these events charge a flat fee for the two day event while
others charge a per pitch fee of about $25 or five for $100. The
Fade-In events are a flat fee and usually entitle you to sign up for
12 set meetings over the two days plus unlimited opportunities to take
additional meetings by waiting in a standby line.
The Great American/Canadian Pitchfests
use a different format where you stand in line for each company and
you can get as many meetings as you can fit in. Expect to wait
plenty of time though to meet the 'big name' companies and
execs. This format we have found to be less stressful and more
democratic in policy. These two events offer the standard five minute
meeting format. The events that are listed as 'Take-A-Meeting'
are fifteen minute long meetings and offer a much more relaxed pitch
and networking opportunity. You will be amazed at how short a
five minute pitch session is the first time you do one. You have
barely enough time to introduce yourself, describe your script(s), and
pitch the hell out of it.
The pitch organizers will provide you before the event with a list of
the companies and execs that are attending, their contact information,
a list of their credits, and the genres and budgets that they do and
do not want. This allows you to decide in advance who is best
suited to your scripts and ideas. Don't set a meeting to pitch
your big budget action script to a low budget indie producer or your
slasher horror project to Disney. You are wasting your time and
money. Use common sense and pay close attention to the 'what we
are looking for' section in the company listing. For instance,
Wes Craven wants to produce non-horror projects now. You may
think he wants horror, but the pitch materials will likely say 'no
horror!'
In every pitch session the key is to be brief and to the point.
If you have multiple scripts you want to pitch you may find it easiest
to say 'I have four scripts and I'd like to give you their loglines.
Then you can tell me which one you'd like to hear more about' rather
than just rattling off one idea after another. In five minutes
you just don't have the time to give four or more pitches. Not
quality pitches anyway. A typical response from the exec will be
'Just tell me the one you think is the best.' Give them what
they ask for and not what you want to pitch them. Do not go into
detail. You need to give them broad strokes. You may find
it best to pitch your script as a short three act plot. Describe
the main character then his/his dilemma (the first act break),
describe the complications that develop in the hero reaching his goal
(act two), then give them the climax (act three). Yes, tell them
the ending. Don't bother giving them just a setup and saying 'if
you want to know what happens, let me send you the script.' This
will not go over well. You must be passionate, confident, and
have a great idea. Lets face it - high-concept is king in
pitching. Intimate family dramas have a harder time succeeding
at pitchfests (and in the marketplace) than a comedy with a great
hook. That is just how it is.
Some other basic pitchfest tips: introduce yourself; mention if you or
one of the projects you are pitching has won a contest; dress casually
(these events are not formal and you will not gain points for being in
a suit); mention any connection you may have to the executive or
company; flattering them doesn't hurt if you were particularly fond of
one of their projects; only pitch completed or nearly completed
scripts; at the end ask if they have any questions (most likely they
will ask even in mid-pitch) and be prepared to answer any question
about your story with confidence.
If the exec isn't interested, or tells you the script just isn't right
for them, just thank him or her and move on. You aren't going to
be able to convince them that they are wrong. Leave them with a
one page synopsis or 'one sheet' that lists your loglines and your
contact information. Even if they don't respond to you
initially, they or someone else at the company may read this 'one
sheet' later and request one of your scripts. You will be given
their contact information and you should follow up with them a week
later and thank them for their time and perhaps remind them of the
idea you pitched them.
If an exec requests your script they may want it emailed or snail
mailed in along with their release form. Include a cover page
and remind them that they requested this script and at which
event. Also make sure to write 'requested material' in bold
letters on the outside of the package being delivered to ensure it
isn't thrown away unopened.
Many writers think it is wrong or a waste of money to go to
pitchfests. This opinion is typically held only by writers who
go to one event and have little success or object purely on
principle. Don't fall into this trap. Sometimes this is
the only way to gain access to these execs and companies. Even
companies that list that they have a 'referral only' or 'no
unsolicited submissions' policy attend these events. Yes, you
are paying money for access. But you pay money to print and mail
query letters and in phone charges for cold calls don't you? The
risk to reward ratio is worth the money.
Becoming a successful, working writer in most cases is about access,
networking, and talent. These events typically provide the first
two. You are responsible for the last one.
To learn more about pitchfests,
CLICK HERE, to read an
interview with Bob Schultz, the Executive Director of the Great
American and Great Canadian Pitchfests.
TO READ OTHER RECENT SCREENWRITING ARTICLES, GO TO THE
ARTICLES SECTION HERE.
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