The Art of the Pitch: 35 Screenwriters Share What Actually Works

When it comes to pitching screenplays, there's no shortage of advice. But what separates generic tips from actionable wisdom? We asked 35 screenwriters who've consistently received script requests from their Stage 32 pitch sessions to share exactly what's working for them.

The responses of these Stage 32 writers reveal patterns, debunk myths, and offer practical techniques you can implement immediately. Here's what they said:

Before the Pitch: Preparation Matters

Do Your Research

Screenwriter & Filmmaker Michael Mouyal emphasizes doing "real due diligence" before pitching: "I never pitch in the dark. I take time to analyze each executive: what they've produced, what they're actively looking for, and what they've responded to publicly. Then I match that with my inventory of scripts."

Chloë Bellande, a Screenwriter and Post Production Manager, whose contributed to scripted series for Netflix, HBO Max, and most recently, Amazon, takes this further: "I research the executive I'll be meeting with, what projects they've worked on, the kind of material they respond to, and what they're actively looking for. Many executives even include helpful notes on their Stage 32 profiles about how they like to be pitched, and I always tailor my approach accordingly."

The writing team of Jeff Hassen & Sean Plemmons put it simply: "FULLY read their bio and what they're looking for. And finally, only pitch the execs you feel align with your material."

Writer Richard Turner does research on the exec: "...To learn what sorts of projects they've worked on and how I might match my voice and themes to their preferences."

Screenwriter Stacy Bannerman does all her homework well in advance: "So I'm relaxed, ready, and on time for the pitch. Also, put the cat in the other room."

The takeaway? Deliberate targeting beats volume every time.

Perfect Your Timing

Screenwriter Kris Wilson aims for precision: "I try to get the pitch to 4 and a half minutes, 5 and a half max. I need some time for chit chat, deeper opinions on the material, etc. And it helps me not feel rushed."

Avril David, a writer from northern Virginia, echoes this: "I always time myself, aiming for about 4-5 min max to allow time at the beginning for an initial greeting and time at the end for follow up questions."

Musician-turned-Screenwriter Thomas Newman goes even shorter: "Be short, leave time for questions. Once you have fleshed out your big idea, and given them something to chew on, stop the pitch and take questions."

Writer/Director Sam Tahhan, who signed a development deal after meeting with Jack Geiger of Zero Gravity Management on Stage 32 last year, offers a memorable test from his mentor John Rice (WINDTALKERS): "If you can't keep a kid interested in your pitch, either your story's not that cool or you're telling it wrong. Kids ALWAYS ask 'Why?' So you should ALWAYS have an answer."

Screenwriter Obum Eji practices using a timer: "...to make sure I have enough time to discuss with the producer. At least once a day leading up to the pitch and sometimes in my car. I want to know it inside and out."

Screenwriter Nancy Ostertag and her writing partner do a rehearsal: "To get ready my writing partner and I always do a rehearsal with each other on zoom, usually in the hour before the pitch is scheduled. We run through the script and visuals, and talk through our answers to the most likely questions.

Practice Makes Natural (Not Perfect)

Double-Recommended Screenwriter/Actor Michael Kearney, who was a Finalist in our 5th Annual TV Comedy Contest last year with his script 25 TO LIFE is emphatic: "Practice, practice, PRACTICE!! You should have your pitch down to a science to where you can say it flawlessly with music blaring at max volume in your car."

But Sunil Dhokia, a UK-based screenwriter, warns against over-rehearsing: "Early on, I tried to 'deliver' a perfect, fully scripted pitch. It sounded polished, but it wasn't very flexible. Now I focus on engaging the exec, reading the room, and adjusting based on what they react to."

Published Author Staton Rabin practices on everyone: "Before pitching a new script, I often practice on anyone I encounter. Even Uber drivers!"

Produced Comedy Writer Alec Moore finds a middle ground: "I have the whole pitch written out and on the screen in front of me, so I'm mostly reading, but I try to know it well enough and do it conversationally enough that it doesn't sound like I'm reading."

Writer Elsa Sze notes: "The real work is emotional, not mechanical. For me it’s almost like acting, I practice until I’m not just saying the words, I’m feeling them. When the passion is genuine, my heart races from excitement rather than nerves. That energy is contagious, and executives seem to respond to that sense of belief and embodiment."

Filmmaker Maggie Grant  never wants it to look memorized: "Being an actor and a producer myself really helps me a lot here. I know where I want to go, what answers I want to hear when people pitch to me. No one knows you work better than you. SO, tell the story, get the listener engaged. PASSION is the key to a great pitch. Be passionate about your story and LOVE your story as much as you want the listener to love your story too."

What Makes Executives Respond Positively

Lead With Your Logline (And Make It Killer)

Staton Rabin is unequivocal: "I can literally spend months getting a logline right, and testing which version works best. If that's not working, nothing else will matter. I  do think that having a great logline is key, and pitching with a little 'pizzazz' but without any self-praise is what works best!""

Emmy Award-winning Writer/Producer Stan Evans, a Finalist in our 9th Annual Sci-Fi/Fantasy Screenwriting Contest last year with his script EXPIRATION DATE, focuses on originality in his concept development: "My process is to write about thirty different ideas before I even start a screenplay. I whittle the ideas down to three. Then I badger my friends and family and ask them if they've ever heard a movie with anything remotely like that premise. If they say yes, I go to the next one. Originality is my constant goal. I want the exec to say, 'I've never heard that before' and this year I had about five say just that."

Screenwriter Justin Jerreau structures his pitch systematically: "Start off with your story's logline, then follow up with the format of the story. The genre of script, tone, comps, the hook, and why you - are important to the making of the film itself."

Else Sze believes clarity builds momentum: "One of my early mistakes was over-explaining mythology and plot. What works better is: a sharp logline, a few compelling layers beneath it, and restraint. I think of the pitch like a mini-episode. Shape it with rhythm, build curiosity, and even leave it on a subtle cliffhanger. The goal is to make them want the script, not feel like they’ve already heard it."

Show Genuine Passion and Energy

Kris Wilson puts it simply: "Charisma and excitement to tell your story. You have to love it first before anyone else will, even if your particular story's themes are somber."

Romance Author Julie Georgina Shackman agrees: "Being enthusiastic about your pitch is essential. It resonates and the executive can feel your energy, which always helps!"

While Writer Kimberly McLeod emphasizes: "The most important thing to bring into your pitch session is genuine excitement for your material. You have to sell why your script is worth someone's time."

Sam Tahhan uses positive self-talk: "I bring the 'inner child' in me who fell in love with movies at a very young age. That kid's love of movies is contagious."

Make It Personal

Screenwriter / Producer Shadaè Lezama has found success when executives "understand my 'why this story and why I'm the one to tell it.'"

Jonathan Almanzar, a writer from Fort Lauderdale, Florida, makes this concrete: "I ALWAYS ground my pitch to my life: 'One time I heard' or 'This is where I grew up' or 'The first time I...' those kinds of things."

Chloë Bellande confirms this approach works: "Why are you the best person to tell this story? And above all: passion and confidence matter. Executives respond to creators who truly believe in their project and can communicate that energy."

Screenwriter Rosemary Griggs affirms: "Start with why you wanted to write this script and the hook. If you aren't excited about how great this story is, no one else will be. I think about a friend I love swapping stories with and channel that energy before I enter the room."

Screenwriter Tim Kontje, who won our 4th Annual Action/Thriller Screenwriting Contest in 2025 with his script KITBASH shares: "Include your personal connection to the story. Most of your pitch should be about the script itself, but efficiently covering this in a couple sentences helps show why you’re the best person to tell this story and can show off more of your voice and brand."

Screenwriter Jacqueline Pereda agrees: "You have to love the story you're telling and be passionate about it. Humans are smart and we intuitively know when something is personal to someone and when it comes from an organic place, so be honest and genuine as possible, and know your "why" beforehand."

Focus on Character Over Plot

Jeff Hassen & Sean Plemmons learned this lesson: "Don't try to get every story beat into a page. News flash: You can't! HINT at story beats and make your main character's arc the majority of the pitch."

Avril David discovered: "In my initial (failed lol) pitches, I told the story beat by beat. I then switched to emphasizing the emotional core and themes, the major points of change or growth, which seemed to work better. Also, tip: clear character goals are very important!"

Justin Jerreau notes: "Most executives want to know the character that has the most heart, their story arc and/or their emotional arc."

Sunil Dhokia confirms: "Executives respond most when they can quickly grasp who the story is about, what that person wants, and what stands in their way. The concept gets them interested, but the character and the emotional engine are what make them lean in and ask for the script."

Screenwriter Sophia Angeles adds: "Make protagonists complicit in their own conflict. I noticed executives respond to active, messy, morally ambiguous characters."

Treat Executives Like Humans

Screenwriter David Page offers refreshing perspective: "Don't worry, be happy. You're not in a bunker in a war zone, you're sitting at a computer."

Stan Evans reinforces this: "Don't elevate the exec in your mind. They are no different than you. They are not exalted. And writers are generally smarter than execs. I treat them as friends and have no fear pitching any of them."

Michael Kearney adds: "Treat them like you are talking to a friend. Be yourself. What's meant for you will come."

Sam Tahhan frames it perfectly: "Pitching is like speed dating. Getting repped is more like an engagement. If you come in too hot, too full of yourself, or too 'worst date ever', you're going home alone. But if you treat people with kindness, in a world that often takes that kindness for granted, you might just find a lifelong partner out of the deal."

Common Mistakes (And How to Fix Them)

Talking Too Fast

Julie Shackman admits: "In my earlier pitches, I had a tendency to talk a little too quickly due to nerves. I received this feedback a few times, so I started to take a breath and slow down a little."

Alec Moore agrees: "I think I used to speak too fast sometimes, so I've had to shorten the pitch to make sure I can do it slowly enough that everything registers."

Overloading With Information

Thomas Newman learned: "Lack of clarity, giving them too much plot or story" was holding him back.

Jonathan Almanzar corrected this mistake: "One early mistake was packing so much info in that I had to read or memorize my pitch to make sure it hit in the time allowed. I would craft it so perfectly that it didn't feel real."

Richard Turner shares his challenge: "I tend to get overly excited when pitching in person, so I end up talking too much and trying to cram the whole script into 10 minutes, which is impossible, of course."

Using AI Instead of Developing Your Voice

Justin Jerreau admits: "In the beginning, I was using A.I. versus learning how to write my own pitches through trial and error."

Jeff Hassen & Sean Plemmons emphasize: "Always lean into your 'writing voice.' Make your pitch uniquely yours and move away from anything that reads robotic, clinical, or something out of a textbook."

Misunderstanding Television Pitches

Chloë Bellande had a revelation: "After seven Stage32 pitch meetings for one of my TV pilots, I noticed a recurring issue: I was spending too much time breaking down the pilot episode instead of pitching the series. Some executives wanted more about the overall season and tone, while others asked where future seasons would go. That taught me an important lesson: for television, the show is bigger than the pilot."

She revised her approach to include: brief pilot synopsis, full Season 1 arc, short paragraphs outlining Seasons 2 & 3, and clear tone/style references.

Ritchie Johnston, a UK-based Screenwriter and Novelist, distinguishes formats: "When I pitch a feature, I pitch Logline, story, characters etc. If I'm pitching a series I'll go Logline, characters, then story - as your characters drive the series."

Using Dated Comparisons

Writers Room member Al Naffah cautions: "I try not to list comps which are more than 10 years old, or if so, to keep them minimal. Executives are looking for films to produce which generate returns, so will want recent benchmarks to measure your project against."

Jeff Hassen & Sean Plemmons confirm: "Cleaner formatting, significantly improved loglines, better comps, and leaning more into our writing style for the actual pitch itself" were key corrections they made.

Specific Techniques That Get Script Requests

Structure Your Written Pitch Strategically

Screenwriter Jose Manuel has developed his own format: "I like to try and stand out a bit more by splitting the written pitch in different sections. The beginning is always the logline, the ending is always comps, inspirations and sometimes accolades, and the sections in between break down the story itself. I keep it all in one page, nice and concise, and I bolden important phrases and character names throughout the pitch."

Al Naffah makes his comprehensive: "I make sure to include all the essential information (synopsis, tone comps, projected budget, why this movie now) so that the document answers all the questions an executive might have."

Chloë Bellande notes: "I've found that written pitches are often more effective than a 10-minute Zoom for TV projects because there's simply too much material to cover in a short conversation."

Writer Lori Lee Peters, who signed with Manager Tammy Hunt of Sandstone Artists after meeting on Stage 32, discovered through trial and error: "After trying live pitch vs written pitch, I realized what worked best for me is written. Go with what works for YOU"

Match Your Tone to Your Genre

Michael Kearney advises: "Bring a personality/flare to the pitch that mirrors the genre. If it's a comedy, you need to have jokes somewhere in the pitch, if it's a drama, add a dramatic flare when you discuss the climax that mirrors the weight that moment deserves."

Jeff Hassen & Sean Plemmons reinforce: "If you're pitching a comedy, make sure the pitch is actually funny! If it's horror, make sure it's creepy/scary, and so on."

Jacqueline Pereda also cosigns this method: "Be aware of the genre you're pitching. I am mostly a comedy writer and my current TV show I'm pitching still makes me laugh every time I talk about it. There are parts that are so silly, every time I mention them they make the executive laugh. Which is good because my goal is to make the audience laugh. If you're pitching a horror movie, executives should be creeped out. And if you're not sure your pitch is striking the right tone, practice in front of a friend or person in your life that will give you honest feedback. If your project is Jurassic Park, and the executive thinks it's a rom-com, you need to reassess."

Use Strategic Self-Deprecation

Stan Evans employs this technique: "If you can drop a self-deprecating, humorous line in there early, that can set the mood. Not something obviously jokey but something real. I worked for years in Reality TV, so I bring up my history 'producing bad reality shows you'd be proud to say you've never seen.' They usually smile and have something to say about the awful world of unscripted, and then we move on. They know I have a sense of humor about this whole thing and I don't take myself too seriously. Being too cocky is the kiss of death."

Tim Kontje has his own particular method to lighten things up: "This isn’t something I’d necessarily recommend doing for every script, but it’s one example of a way to communicate the project’s tone and voice quickly. Right at the top of the pitch document, I start off with a dictionary-style definition of the title along with an additional more playful meaning. I consistently get comments on this as a fun way to make the pitch stand out and establish the tongue in cheek tone right off the bat."

Speak Their Language

Stan Evans also offers controversial but practical advice: "Speak like they do. After doing so many pitches you learn the hackneyed buzzwords, things they all say and things they reflexively look for. One example is 'does the female character have "agency?"' I find that to be an overused excuse to pass, so I make sure to bring up the female character's 'agency' immediately. Just saying 'agency' seems to relax these execs who really are part of a herd."

Sophia Angeles notes: "Frame it as a "Why Now?" project. I connect my pilot to universal modern anxieties like loneliness or ambition. When executives can see the cultural conversation a story belongs to, it feels relevant and timely."

Think Like a Buyer

Al Naffah reframes the exchange: "Making sure you are thinking from the point of view of a buyer rather than a seller is important. Executives are there to look for their next projects to develop, so if your pitch helps them to do that, they should respond positively."

Michael Kearney adds: "At the end of the day, nobody cares about your passion project because everyone who's pitching is pitching something they are passionate about. They want to know how your project fits in the current trends of the industry. Do your research and be prepared to discuss why your project is RELEVANT."

Stacy Bannerman has a saying: "Concept is QUEEN! Write the concept no one else can write! That gets you scripts requests. And in my case, signed with a Manager/Producer and a Director attached."

Produced Screenwriter Ron Jackson's basic philosophy is pertinent: "I am first and foremost selling my script / my writing. My personality comes second. As a result, I spend a lot of time boiling the script into a fine-tuned pitch. In the beginning, I don't want to distract the producer/exec with "me." I want them to read the script first, then I join the conversation later. I'm not selling me, I'm selling my writing ability. Having said that, it really comes down to having a clear, simple pitch - a great story - that will curl the reader's toes and then ask for more. More than anything, that's what you need - a GREAT - not a good story."

Hook Them Early

Thomas Newman identifies the crucial opening: "What is the big idea. The message at the top which you want to grab their attention and stick with them once they have left. In the case of STOP ZILLA, one of my most requested scripts, is the question that my pitch answers 'What is next for the female led musical?'"

Avril David uses set pieces strategically: "After the title, comps, and logline, hooking them with a set piece has worked well."

Sophia Angeles starts with character: "I focus on the protagonist's first moral compromise. Instead of just pitching a premise, I highlight the specific choice the main character makes that they can't take back. That immediate sense of consequence creates a "ticking clock" energy that draws executives in."

Be Clear About Market Position

Sunil Dhokia emphasizes: "Be very clear about the lane and the audience. I always frame where the project sits in the market (tone, scale, and rough comps) so the executive can immediately picture who this is for and why it's relevant. That clarity seems to make it much easier for them to say yes to reading."

LA Times Bestselling Author / Screenwriter Michael St. Lawrence discovered: "Work hard at being able to give a pretty good description of your story in less than 10 seconds and then why it's got high odds of success in 10 more seconds. And then the audience you're after in 10 more seconds. That's where to start."

Nancy Ostertag confirms: "Showing that you understand your project's place in the market is key. Target audience, performance of similar shows, etc. should not be left out. They are not just looking for a good story, they need to know you understand the business and could actually make the thing you are pitching."

Prepare Key Talking Points

Shadaè Lezama customizes for each executive: "Before any pitch session I like to make a Google docs of my key talking points that I need to focus on for each pitch, I curate each talking point based on the executive I'm pitching to. I also like to have at least 3-4 questions down to ask them."

Sam Tahhan nails down specifics: "I don't rehearse my pitch. But I do nail down a few key phrases I want to stick in the exec's mind. I then try to relate those phrases to personal stories/experiences I've had in my own life."

Tim Kontje notes: "Clarity is key. You don’t want someone to pass just because they didn’t understand what you’re pitching. It might sound obvious, but start with the basics: give the title, format, genre, logline, and comps. That way you’re setting up the audience to know what they’re in for and they won’t be distracted trying to figure out what it is."

Screenwriter Donovan Cage treats his 10-minute pitch session like a military briefing: "I deliver a polished, uninterrupted 5-minute presentation that covers every critical beat of the story. This ensures I control the narrative flow while leaving exactly 5 minutes for targeted Q&A. If an executive interrupts, I address the query with precision and immediately "re-index" back to my planned rhythm. I memorize my pitch word-for-word until it is second nature. This frees up my "mental bandwidth" to read the room. When the script is internalized, I can adapt my energy and tone to the specific "vibe" of the executive without losing my place."

Use Visual Aids Thoughtfully

Michael St Lawrence shares: "I used slides on my computer to keep me on pace and moving quickly. 5-8 minutes goes really fast. Organize your pitch."

Ritchie Johnston adds flavor: "It doesn't hurt to throw in a few stand out lines from those characters within the sections of the pitch to give the exec an idea of who and what it is you are offering them."

Nancy Ostertag and her writing partner use tech to bolster her pitch: "We have coordinated visuals for our pitch. We use the Zoom share screen function to share them while we speak. They are particularly helpful for the comps and target audience portion."

Create Conversation, Not Performance

David Page reminds us: "It's not only a pitch, it's a conversation. Invite engagement from your pitchee as time allows."

Sam Tahhan learned: "I used to treat the pitch like a sales presentation. While it is in many ways, no exec really wants to get pitched. What they DO wanna do is talk about the cool movie they saw last night. When I started talking about my spec scripts the same way I talk about movies I really love (with passion and nuanced details), everything changed."

Refine Based on Patterns

Steve Statharos, a lawyer by day and screenwriter by night, keeps it simple: "I refined my pitch based on the most common feedback I heard among numerous pitches."

Susan Lander, a former lawyer turned screenwriter herself, elaborates: "The more I refine a pitch, the more script requests I get. Patterns in feedback matter. If I hear something three times, I take it seriously and adjust."

Ritchie Johnston uses the "rule of three": "I have a personal rule of three, I'll send the same pitch to three different execs, take the feedback from the pitch and adjust it on the consensus of what didn't work."

Tim Kontje pays attention to to the feedback he gets and adjusts accordingly. "That’s not to say you need to take every single note or suggestion, but if multiple people are consistently making a similar comment, that’s probably a sign that you have an issue that needs fixing."

Run Focused Pitch Blitzes

Susan Lander strategizes: "I run focused 'pitch blitzes.' I dedicate a concentrated stretch of time (usually a month) to one script and pitch producers who are a strong fit, rather than scattering my energy."

Take Notes

Maggie Grant shares her secret method: "After EVERY SINGLE pitch I have ever given, I evaluate the pitch. I keep notes for myself. What went well, what could have been stronger, where can I improve? We are always learning and growing. That is what is so great about what we do!"

Mindset Sustains You

It's a Numbers Game

Lori Lee Peters is pragmatic: "It's a numbers game. The more executives you pitch to the more likely you'll succeed."

Sam Tahhan offers perspective: "Before you go into that call, remind yourself you have something they want. You put in countless hours writing your script. Now it's yours to sell. So set your doubts aside and sell the hell out of your script and yourself. Not everyone's gonna buy what you're schlepping. But all it takes is one great relationship to move some serious needles."

Richard Turner adds: "The same pitch that gets a request and positive feedback can also get numerous passes and some pretty harsh comments. The only things that truly work are trusting in the process, staying positive, and being persistent."

Don't Take Rejection Personally

Michael Kearney provides crucial perspective: "Don't stress whether or not you get your script requested, because just because they request your script doesn't mean they want a meeting, doesn't mean they will option it, etc. There are a lot of layers to getting a project produced that are COMPLETELY out of your control. So don't self-sabotage by overthinking and putting unnecessary pressure on yourself for the one part you can control. All you can do is put your best foot forward. Your goal everytime you do a pitch is to walk away and feel like you represented yourself well, did what you came to do, and learned. That's it."

Ritchie Johnston adds: "Don't sweat it. That one project isn't for everyone what doesn't work for one exec might instantly click for another."

Jeff Hassen & Sean Plemmons acknowledge reality: "Unfortunately, no matter how good your pitch is (we've gotten multiple feedbacks that were ALL FIVES, yet the script was a pass), there's just no guarantee with any pitch that it will get a request. But, ultimately, you'd rather get a pass because the material just wasn't the right fit, as opposed to a pass because the pitch wasn't effective."

Donovan Cage has an 'In the Trenches' philosophy: "The most important advice I can offer is to get dirty. Success is built on a foundation of failed attempts. I viewed every "no" in my first 50 pitches as intelligence-gathering for the next "yes." In this profession, just like in a script, the story doesn't progress without conflict, and a career doesn't progress without decisive action."

Keep Writing

Jose Manuel offers encouragement from the trenches: "I have sent out dozens of pitches throughout the past few years, and while I have managed to gain the interest of some producers/managers, I have yet to have a single one of my projects lead to any development at all. It can get frustrating spending so much time and effort on these projects while seemingly making no progress at all, but with every new project that I've written I've noticed my craft growing, my writing improving. We become better storytellers through our relentless efforts, and truthfully in the end it may not amount to anything at all because there is no guarantee for success, but there is a guarantee for failure if we drop the pen and give up entirely. Do not abandon hope, continue on."

Susan Lander adds: "I firmly believe that persistence always wins!"

Lori Lee Peters concludes: "I continue to pitch and enter contests. The more eyes you have on your work the better."

Focus on Relationships, Not Just Requests

Susan Lander shares valuable perspective: "While none of my requested scripts have gone into production yet, pitching and consultations have led to meaningful, ongoing industry relationships. I'm currently developing a project with a producer I met during a recent Stage 32 consultation."

Shadaè Lezama confirms: "I've had some great development connections so far with my scripts and have been in ongoing communication with the executives I've pitched to."

Sam Tahhan frames the bigger picture: "Write a great script. But don't be an a-hole. There are two types of relationships in this business. Parasitic or symbiotic. Either way, you've got to give something to get something. You want a rep? A development deal? Then know that the two things execs want most from you are a script they can sell (in a highly-competitive market) and a relationship that won't make them look bad. Generally speaking, the better the writing, the cooler the writer."

Final Thoughts

Alec Moore leads with credentials: "I always start by emphasizing that I had a feature produced already (my screwball romcom ADVANCED CHEMISTRY) and making a joke about it (to prove I am that comedy writer they seek)."

Staton Rabin leans into her unique background: "If I'm asked to tell my 'origin story', instead of shying away from the fact that I'm not 21 anymore, I lean into my ties to the Golden Age of Hollywood. When I was starting out as a newbie screenwriter, I wrote letters to my movie heroes, and I got personal answers from them."

Michael St Lawrence reminds us: "Nearly all the people I pitched to responded differently. I never found a 'one size fits all' approach. Some wanted more focus on stakes and plot… others more interested in characters… still others intensely focused on the durability of the concept for future sequels."

Kris Wilson offers perhaps the most important advice: "Aligning to what I think people want to hear is a mistake. From the comps to the way you tell it: make everything come from you."

And Jacqueline Pereda provides the perfect conclusion: "Most of all... have fun, believe in your project, and be gracious!"

These 35 writers prove that successful pitching isn't about following a rigid formula. It's about combining preparation, authenticity, critical thinking, and genuine passion for your material. Their collective wisdom offers a clear path to success. Among them, they've had a combined 150+ script requests from pitch sessions, so you should take their advice. But ultimately, you'll need to find what works for your unique voice and projects.

Now go practice your pitch. Time it. Refine it based on feedback. And remember: executives are just people who love movies, looking for their next great project.

Yours might be it.

* If you're looking to sign up for a pitch session, please use code VWXHWYY for $5 off on us when you book. Unlimited to use all February long! 

** And if you'd like examples of Written pitches or templates to help structure your Verbal pitch, please drop me a dime at Success@Stage32.com

*** Also check out any of our FREE webinars we have on pitching with extra tips:

• The Pitching Blueprint
• Pitching Film
• Pitching TV

Cheers!

Pat A.
Writer Liaison

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