I sent a written pitch for “Who Framed Bobby Babbitt?” to the Executive Producer at Story House Productions via Stage 32 back around Thanksgiving of last year. Yesterday I got the results, which were mixed. The bottom line: He passed on my script but the scores he gave my pitch were, I would say, solid. Out of a possible 35 points, 5 points possible in seven areas, I got 23. That comes out to be a 67% score (rounded up).
Mr. Maroni’s comments: Thank you for sharing...It’s a little too far from we are looking to develop right now in the market. We are looking for historical dramas or feature doc series but best of luck moving forward.
The key phrase might be “moving forward”. I won’t dwell on the fact he passed but look at his scores for the different aspects of the pitch and improve my marketing materials. I watched a YouTube video done by a well-known producer in the film industry — I don’t recall the man’s name — in which the headline/teaser was basically, “Hollywood executives don’t want to read your script.” He went onto state that movie scripts are long and time-consuming to read. Movie executives are busy people. Reading a document carefully and thoughtfully enough to be able to analyze whether it’s worthy enough to make into a full-length film is a lot of work. They’d much rather read a logline and synopsis of the script. And if that knocks their socks off/piques their interest, then they’ll ask to read the entire script. His message to new and unproduced screenwriters: Learning how to write a killer logline, synopsis and treatment (longer than synopsis, shorter than a script) are just as important as writing a fantastic screenplay.
I immodestly but honestly believe my scriptwriting skills are extremely developed. I really think I have two or three scripts that are good enough to be made into feature-length films. But I’m sure there are thousands of other writers in that same frustrating, somewhat unfulfilling boat. What separates those wannabees from “successful” screenwriters are: 1) Ability to promote themselves and their writing better than the intense, prolific competition; 2) Persistence (successful people don’t quit until they get what they want); 3) Good fortune/luck (you happen to pitch your movie to the right person at the right time).
The last one is impossible to control but the first two are within my grasp. I have taken plenty of screenwriting courses and attended a three-day live seminar in NYC by John Truby. I’ve been writing scripts since around 2010. I know the story beats outline developed by Phil Synder. I’m well versed in “The Hero’s Journey” and the three-act structure. I review movies along Stephen with Craig on “The Movie Review Show” —
I really know how to analyze the different aspects of movies and to write a movie script. Now the challenge is to be persistent and improve my writing of promotional documents such as the synopsis, logline and treatment (more emphasis on the first two). Which I’m going to do shortly. Thanks for reading. Feel free to comment on this post and on my website in general.