Tom Kuhl: Screenwriter in Minneapolis, Minnesota.

Congratulations Tom Kuhl! And female-driven content is massive now. You're in the right space for sure. Keep us posted!

Hey, Tom! Welcome back, and thanks so much for the kind words! Glad to hear you had work. What are you working on now?

Oh, hey! I noticed you added a storyboard trailer for your film? How cool is that! Just from one viewing, I can tell it's a very helpful tool. Have you gotten any responses from it? Here it is, for any readers who would like to jump in and check it out: https://www.stage32.com/media/2629882981480670932

Agreed Tom Kuhl I love this site. No other site givefs you direct time with real producers. And the chance to practice pitching is stellar. I love the Writer's Room. But someone here, Bill Taub (of Hill Street Blues fame) mentored me and I finally decided to ty my hand at production. Just starting with a podcast. Anyway, Agreed. Stage32 is the best.

Thanks for sharing my stage link Karen "Kay" Ross !

No, I haven't gotten responses from it, but that could be because I haven't tried much. I had someone create those boards on Fiverr less as a marketing tool for producers and more of a motivation tool for me. I didn't write the script because of an emotional connection to the idea of a woman finding herself by opening a strip club. I wrote it mainly because I like the irony. I also wanted to prove my range and avoid being stereotyped as a writer with a disability who can only write shallow stories about disabilities where the only major obstacle a character faces is related to their disability.

I've found that I can passionately write a good story without an emotional connection as long as some aspect or character is relatable to me; however, marketing falls flat without that connection.

The storyboards were an inexpensive way to bring the story to life on a small scale and provide a bit of an emotional connection in an uphill battle. Someone so outwardly prudish as Maddie may no longer exist in modern society, but her initial belief system before her arc certainly does.

In addition to the Writer's Room here, I also belong to Gary W. Goldstein's Creative Edge group. Gary produced Pretty Woman. That experience plus his positivity makes the $100 monthly cost worth it. Like Rich Botto, Gary understands that genuine relationships sell scripts better than used car salesperson tactics. A small number of quality connections are better than a large number of shallow connections in the long run.

I'm probably going to write something like the above that explains why I wrote the story and include the storyboard pitch, then post it on LinkedIn, to see what happens.

Sarah Gabrielle Baron Congratulations on the Podcast. For great stories and some advice on producing, I highly recommend Christine Vachon's books. I had the pleasure of driving her around in film school. She's a great person and as honest as she can be without getting sued in her books. I was so happy when her production company signed a first-look deal with MGM.

Hi Thomas, I think - but guys please correct me if I am mistaken - let's say a producer is interested in your work - you could call a manager - say, Ashley - and explain the situation and ask him to represent you in this instance. Since you have done the work in fining a producer, it would be a win win situation.

True, Selma. Valid point. It makes sense to me. If you also consider what Tom wrote to create your selling strategy, you can tackle the issue from two perspectives.

I think most people who have broken in have done so without an agent or manager by submitting to production companies (and sometimes actors). If a company or actor with pull in the industry likes your script, it'll generate heat that will attract an agent or manager. I started this way until one of the producers who read my script said it had wide release potential and a lead role that will be attractive to A-list talent. You can't get to A-list talent or studio-level production companies without representation.

The catch-22 to going to producers first is that if they make an offer, you usually have a limited time window to then find a lawyer/agent/manager to look over the contract (sometimes as little as 24 hours). Entertainment lawyers are pretty easy to get on the phone, especially if you have the cash to pay them right away. Agents and managers (even Ashley) may not get back to you right away as their existing clients come first.

If you go this route, always have enough cash on hand to hire an entertainment lawyer to read the contract ASAP.

No Film School has great articles and videos, as does Film Courage. Below is the link to an interview with Christine Conradt on the path she took to break in:

https://youtu.be/sgahPm0C81s

I wouldn’t worry at all. Everyone of the professionals on Stage 32 know they are communicating with people trying to break-in and will be nice as long as you follow the rules.

I did Skype pitches rather than phone calls. You get eight minutes period, so I scripted a four minute pitch then used a teleprompter program to read my pitch while still looking at the screen then took the remaining time to answer questions. Some don’t like using a teleprompter as it can make the pitch feel “canned”, neither of the producers I pitched said anything; one rarely looked into the camera because she was busy taking notes.

Also, you don’t have to worry about asking to send the script at the end. The person you pitch will send you written feedback about two weeks after and either ask for the script or pass.

In my case, both producers liked the pitch, but passed on the read. After I tested the waters some more with a few ten page reads, I went back to the producers I pitched on Skype and bought full reads and an hour-long consult. Both liked the script, but still didn’t offer to option it. The company for one doesn’t produce female-driven comedies and the other produces independent films and she felt my script has studio potential, which is why I took this class. You need representation to get anything read in the studio system. The independent film system is different.

If you want to hear the four minute pitch I used, it’s on my Stage 32 profile.

Thanks Tom, this is really helpful and comprehensive - you are very generous in sharing all this and I'm grateful. I'll keep you all posted in what I do. I'll listen to your 4 min pitch later - thank you again :)

Awesome tips!

Thanks so much!

I've only taken advantage of the education on here as well--not the Script Services just yet. I've honestly only done a few of the education courses so far but I've been writing for a long time.

I keep forgetting that Coverfly exists! It's good to know the difference between Coverfly and Stage 32.

Thanks again for the info!

Thanks Tom, this is really helpful! Cheers!

Thanks for sharing your experience - I have used pitchfest. Three weeks ago I sent a query out about my Hemingways script . Several producers requested the script which I have sent- them. So lets see. However, I sent my Carole Lombard script to 20 producers and managers. last week. All said NO. Strong project blah blah .I can't tell if it is due to the letter/log line . It seemed to be the subject of the film that was rejected - the life of a Hollywood star from the '30s.

That's the downside of not getting any replies or a simple "No". You don't know, where you went wrong. Have you entered any contests or received any other sort of feedback before sending it to producers/managers, Selma? Maybe they can point something out, that might put producers/maangers off. On the other hand: It's a good sign, if you were allowed to send the Hemmingway script already to producers.

Thanks. No, I haven't tested out the Carole Lombard story. That's the plan for this weekend...competitions, maybe the 10 page read that Tom has recommended.

Ooh! This is so cool -- very interesting to see a full one! Thanks for sharing!

It was very informative. It's good to have clarity now between Coverage and Evaluation. And your example, Tom, is really nice. From my point of view, it is encouraging to read that one of the most successful films of all time "only" managed to receive a "good" in all categories.

Exactly Thomas! To me, the only difference between a good (consider) and excellent (recommend) is how well the reader personally liked the story. I’ve had a professional reader (a former studio executive) tell me a script was ready for production and then proceed to give it a good rating.

I've read in one of the many guides out there, that you should try to contact the smaller addresses first. Which makes total sense with the Solar System analogy. If you first try with the big players and contact immediately a large studio and they reject the script, all 'moons' and 'planets' attached to it are burnt for the opportunity.

I absolutely agree. The script was great and fun to read. Creative encounters and jokes, I really liked it. And as a German I try to complain as much as possible, but couldn't find much. It's a great inspiration.

Fun to read, but started to feel like a long SNL skit at times. See why it's a calling card though.

Hey Selma, I hope you only got cut off in the beginning and didn't miss anything else of the class. With your academic background in English literature, I suppose you have a broader view of the language. Does it help you a lot? And good luck with your project, Hemingway really was one of a kind.

Thanks! Interesting question about language - I have found that I have been pretty good at writing American style dialogue and British dialogue - I get the nuances. But I think any writer, whatever their academic, background, probably has a good ear and can pick up the subtleties of the language. On the other hand, too much acquired knowledge can be limiting - the more I think I know, the less I know!!!

I guess I chose the wrong studies in that sense. While I think I generally have a good notion for cultures and social dynamics, the languages I've learned are all dead: Greek and Latin. Can't properly write in those, can I?