One of the most common questions I get from writers is: "Should I pitch my script?" The honest answer? It depends on where you are in your process.
Pitching is powerful when you're ready. But pitching too early wastes an opportunity with an executive. So before you book a pitch session, figure out which stage you're actually in.
STAGE 1: YOUR SCRIPT ISN'T FINISHED OR READY TO SHARE
You're here if your script isn't complete, you've finished a first draft but haven't revised it yet, you know there are structural problems, you haven't gotten outside feedback, or you're not confident it's ready for professional eyes. If this is you, don't pitch yet. You only get one shot with most executives. If you pitch and they request your script, but the script isn't ready, you've burned that opportunity. Get script coverage or book a consultation with a development executive who can help you solve specific problems. Get your script to a place where you're confident it represents your best work, then move to the next stage.
STAGE 2: YOUR SCRIPT IS POLISHED BUT YOU WANT VALIDATION OR STRATEGIC FEEDBACK
You're here if your script is complete and revised, you've addressed major feedback, you're confident in the story but want professional validation before pitching, or you want to know if it's commercially viable and which executives to target. Your script is solid, but you want a professional opinion before you start pitching. This is smart. An executive's perspective on marketability, comp titles, and positioning can make the difference between a script request and a pass. Get premium coverage or notes from an executive who can assess commercial viability. Book a consultation focused on strategy and ask: "Is this script ready to pitch?" "Who should I pitch it to?" "How do I position this in the current market?" Use this stage to refine your pitch so when you do pitch, you get requests.
STAGE 3: YOUR SCRIPT IS READY AND YOU WANT TO SELL IT OR LAND REPRESENTATION
You're here if your script is polished and professional-quality, you've gotten feedback and incorporated notes, you're confident it represents your best work, you have a clear logline and can articulate what the story is in a few sentences, and you're ready to get it in front of decision-makers. This is when pitching makes the most sense. Your script is ready to be read. You know how to talk about it. And you're looking for the opportunity that moves your career forward. Book pitch sessions with managers, producers, and executives who work in your genre. If you write horror, pitch to execs who develop horror. If you write rom-coms, pitch to companies that make rom-coms. Targeted pitching gets results. Pitch to managers if you want representation. Pitch to producers if you want to sell or option your script. The goal is simple: get your script requested, get meetings, build relationships, move your career forward.
THE MISTAKE MOST WRITERS MAKE
The biggest mistake I see is writers jumping straight to pitching before their script is ready. They're excited. They want to move fast. But pitching a script that isn't polished yet wastes the opportunity. You only get one first impression with most executives. If you pitch, they request your script, and the script has structural problems or isn't professionally formatted, they're not going to request your next one.
The smarter approach is to move through the stages in order. Get feedback and fix the script. Validate it's ready and refine your positioning. Then pitch when you're confident.
STILL NOT SURE WHICH STAGE YOU'RE IN?
Ask yourself: if an executive requested my script today, would I be confident sending it? If yes, you're ready to pitch. If no, you need feedback first.
Have you gotten professional feedback on this script and addressed the notes? If yes, you're likely ready. If no, start there.
Can you clearly articulate what your script is about in a few sentences and you're confident in your pitch? If yes, book pitch sessions. If you're still figuring out how to talk about it, get strategic feedback first.
If you're still not sure what you need right now, email me at success@stage32.com and I'll help you figure out the right next step for your script. The right move at the right time is what launches careers.
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how convenient of you to write this cause I was just about to hit up one of you guys about the same exact question please help I don’t know where I fit
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I love this. Around two months ago I rushed my project into pitching only to realise it needed a little improvement. I got feedback from coverage and improved before sending it off again. Happy to say that I got a script request from an executive you recommended. Patience is key!! :) Geoffroy Faugerolas
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Crystal Rollen That's what we're here for :) please email me and the team at success@stage32.com with more information about you, your writing, what your goals are, what you've done so far with your scripts and we'll help you. The more information, the better, honestly.
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If writers are sure their script is ready to try to sell, I think they should seriously consider whether the best Stage 32 product is the Pitch or the First Ten. If your script is high concept and super commercial, and you've absolutely perfected your quick pitch, then go for that. But if it's more complex or character driven, or if it's your writing that shines more than the concept, then do the First Ten. Even a great pitch won't tell someone if you're a good writer, and for a busy executive or producer, the calculus as to whether spend two hours of their day reading your script, when (unfortunately) most scripts by unknown writers are pretty weak, is weighted against you. But taking ten minutes to read a few pages is an easier ask, and if your writing is really good, you'll hook them as effectively as a pitch and maybe they'll want to read more.
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Thank you very much for clarifying that. Geoffroy Faugerolas
I’ve finished the first draft and started polishing it, but I still feel it’s not ready and may need feedback first. Should I send the script to you by email once I continue refining it?
Contests are a great way to get "feedback" as well in terms of earning good placements, letting you know where your script stands. You can also use it as a talking point as well.
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I just sent an email to the success team last night for guidance on my most ready-to-submit project, Geoffroy. Time to step it up in the game! Great minds think alike.
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Shayla Anne Script requests are just what the doctor ordered :) Glad to hear the feedback was helpful. There's a reason we recommend being strategic. It pays off.
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Thunder Levin Can't agree more.
Mike O'Neill agreed with one caveat. Our team considers market viability when evaluating scripts but some competitions don't. Which means you could win a competition but have a script that's craft-wise a great sample, but super hard to sell. You have to see what works for you depending on what you have. If the project is just a sample, then why not.
Elle Bolan that's what I like to hear. Here to help!
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Geoffroy Faugerolas True. I've heard stories of winning scripts in good contests that were well written, but would attract a total viewing audience of about seven people, so went nowhere in the market. I was just meaning more in the sense that the right contest placement in the right contest would give a writer a better sense of whether their script had legs or not when pitching to someone.