Hey Writers!
Thought I'd start a reference thread for this since I deal with these issues weekly. This thread specifically only applies to meeting requests via Stage 32 from our pitch sessions and coverage services. This isn't universal email meeting advice, though some things might apply. If you have any questions, just drop them in the comments.
These are the top things to keep in mind to help you out, and are questions I answer or mistakes I see constantly.
1. If you received the notification that you have a meeting request, you will almost immediately see an email from me introducing you to the executive. If you don't see it right away, check spam. If it's not there, email me at writerhelp@stage32.com
2. When I make the intro, most writers ask, "Should I introduce myself or wait?" Introduce yourself! Feel free to say hello and that you're available to talk whenever.
3. Should you send them additional materials? No. Not unless they ask. I see many a writer barrage the executive with a long essay and several other scripts. This is a surefire way to overwhelm them and shoot yourself in the foot.
4. Should you ask them for favors immediately? No. You're building a relationship here. I recently got into it with a writer who was insulted by an exec. He was introduced to the exec via email and then immediately asked the exec to recommend him to some manager friends of his. Without even a conversation. He shot himself in the foot, and didn't take the lesson either.
5. How often should you follow up? If you don't hear back right away that's fine. That's actually pretty normal. Everyone is busy. But every week I get panicked emails about a lack of response the next day after the introduction. Give them time. Especially if they requested your script alongside the meeting (they'll probably read it first). Checking in every few weeks or so is okay. Checking in every day is too much.
4 people like this
Great advice Nick Assunto! Everyone - we have had more than 120 meeting requests since the start of 2021 alone. If and when you get a meeting request make sure to keep this advice handy!
4 people like this
Nick Assunto Great feedback - I usually wait a month after the initial connection, then a follow-up each month to see if they need anything and just to check-in. It can be a frustrating time especially when you send them something they asked for and you do not get a response then you have to make a decision to either send another email phone call or just stop altogether since they have not responded back even though they initially said they are interested in getting the project off the ground.
I had been working on a project with a stage 32 producer who I pitched to in October and was so interested in the project and we spoke for months and then all of a sudden just silence and no response so not sure what to do at this point. I just hope he is okay as he travels a lot.
2 people like this
:) I had one of those, although the producer dropped off the radar before we had a chance to meet. No biggie though, since I am talking to others.
1 person likes this
This is great, Nick Assunto!
2 people like this
Nick and community great advice and tips. One way to spend the time is working on the rewrite if necessary. I use the model of a class Ultra High Speed Rewrite Class that I took. (30 day, 15 day, 10 day, 5 day, 3 day, 1 day)
1 person likes this
I completely agree. My wife is in a film software sales position and this exactly what she does and it is very important to her. People buy from people and relationships are so important. Great advice!
5 people like this
This morning we had an unfortunately great example of a cautionary tale I see a little too often and would like writers to learn from this so more don't do it.
An executive opened up the door to one of the writers who pitched to her on Stage 32. She offered to help her nurture her script and get it to a place where she could pitch it and have a great project behind what she was pitching, as the script needs a lot of work but was a great idea. She was essentially offered a free mentorship with a wonderful exec, and instead said her script didn't need any work and demanded the exec pitch it to her company for her.
The exec said no, so the writer emailed us to complain, as if we have some sort of power to tell the exec how to live their life. So naturally the exec cut off the relationship and closed the door on that writer.
The lesson: don't be entitled. If you're offered an opportunity you either take it or leave it, you don't demand a greater opportunity when you didn't earn it yet. I very much hope the writer learns from this incident and gets another shot down the line.
1 person likes this
Thanks so much for Sharing Nick!
1 person likes this
Thank you for sharing Nick.
1 person likes this
Nick - I've experienced an awful lot of those 'entitled' writers; to the point that I generally no longer offer to help 'em.
2 people like this
Nick Assunto thanks for sharing - I learned early always take help from anyone who offers. I meet lots of entitled folks when I do casting and all the actors seem to know who they are, sadly
1 person likes this
WOW! Thank you.
1 person likes this
Well, I loved my meeting with my one request, Alexia Melocchi. She LOVED the fact that I have so much material. We were pretty informal and actually joked a fair bit about divorce. I'm so grateful I've been with Stage32 for so long. It armed with being aware tat I can and should ask questions of a potential manager. I had at least a ball park idea of what sorts of questions to ask, and I learned A LOT from her answers. Unfortunately, Alexia has changed the model for her company, but I just had such a shot in the arm from our first meeting, it has sustained me through the doldrums of a pitch-less winter and slogging through re-write #3 of Hosptialler. Great question, Nick.
1 person likes this
Nick Assunto I worked as an editor for many years (academic publishing - humanities), and I have come across authors like that. I also had many, who were grateful for the opportunity to improve their writing. Guess which ones ended up looking better in print (and were nicer to work with)?
Currently I write for comms as a day job, and my partner and I always kite our stuff back and forth for editing. It makes for better writing, and also keeps your ego in check.
Seemingly there is little overlap between producing TV and publishing academic books, but I find myself having a lot of sympathy for the producer's POV.
1 person likes this
A lot of these questions have started to come up again with the increase of meeting requests via Stage 32 pitch sessions and coverage. Bumping the thread so more newer members can see it!