Is Your Pitch Working?

Is Your Pitch Working?

Before we get started this week, I want to remind you that Pitch Festivus. our annual pitch party and holiday event is coming up. It’s FREE! Thursday, December 8, Online, from 7-10 pm Eastern/ 4-7 pm Pacific. The entire JKS faculty is going to be there. We’re going to teach you about pitching, we’re going to teach you how to handle pitch meetings, we’re going to talk everything pitch. And you’ll even get a chance to throw your name in the hat for a chance to pitch your script! The winning pitch is going to get a pitch consultation with me worth 1500 bucks. It’s a pretty amazing experience and a wonderful community. You can RSVP here for free.

With that in mind, in this podcast, I want to talk a little bit about pitching. I want to help you get a little bit more comfortable with the idea of pitching. 

During Pitch Festivus, we’re going to talk a lot about how to deal with the insecurities we feel around pitching the fears we feel around pitching. But today I’m just going to talk about how to pitch your script, and what a pitch actually needs to do. 

The first myth I want to bust about pitching your screenplay is this: the purpose of your pitch is not to sell your script.

I’m going to say that again. The purpose of your pitch is not to sell your script. 

If you are thinking of your pitch as something that is designed to sell your script, you’re going to be so stressed out. And you are going to be behaving in a way that’s going to make it a lot harder for you to reach your goals. 

Nobody likes the feeling of being sold. 

Have you ever been to the store to buy some jeans, and some particularly “helpful” salesperson comes over and starts talking to you, and you can feel their intention is to sell you jeans? You want jeans. That’s why you came into the store. But at the moment you feel the pressure to buy, all you want is to get out of that store! You want to choose to buy. You don’t want to be sold. 

Nobody likes the feeling of someone coming at them with an agenda. 

(Now, if you happen to have a career in sales, and you’re great at sales, if you’re one of those people who can sell anything to anybody, please disregard this advice). 

But if you’re a normal human being, most of us are very uncomfortable selling, and even more uncomfortable selling ourselves. 

If you’re one of those people who is uncomfortable selling, which is most writers, I’m going to urge you not to sell.

 

Think of your pitch not as something designed to sell your script, but instead as something designed to open the door to a relationship. 

It is not 1983 anymore. Unless you are a famous writer, you are not going to sell your script off of a pitch. 

The only purpose of a pitch is to open the door: to get somebody to say, “yeah, maybe I want to read that.” Or, “yeah, maybe I want to help you get to the right person.” Or, “I just believe in you as a writer, maybe I’m interested, maybe there’s a connection here.”

The only purpose of a pitch is to open the door. So how do you open the door? 

It’s important to understand that pitching is just like any other human interaction. Though you might be very uncomfortable with the idea of having to sell something, you’re probably very comfortable with the idea of talking about something that matters to you. 

You probably already talk about your script with friends, family, and people who you feel comfortable with (and if you don’t, start doing so!).

 

While you might not be comfortable trying to sell your screenplay with a pitch, you’re probably relatively comfortable with talking with people about things that you happen to be an expert in. 

The truth is, if you actually have a script that has a chance of selling, meaning you’ve actually done the work on your script, gotten professional feedback (real professional, not coverage reader feedback), and brought it to a point where it is ready to be put out into the universe and potentially sold, then you’re already an expert on that script. 

You know that screenplay inside and out, you’ve rewritten that script 500 times, and you know every element of it. 

What I want to suggest to you is to get yourself out of that sales mindset. 

If a person is at No, unless you have an entire career in sales, the chances of you moving a person from No to Yes when pitching your screenplay are very, very slim. 

It’s important to understand that a lot of people are going to be at No on your pitch. That doesn’t mean your pitch is bad. That doesn’t mean your script is bad. What that means is people have different tastes. 

What you’re doing when you pitch your script is actually trying to find people who have the same taste as you!

And that means you’re going to have to pitch your script to a lot of people.

If you pitch your script to 100 people, maybe one of those people has exactly the same taste as you, are looking for exactly what you have. 

That’s because executives, producers, managers, and agents are just like you, and make decisions about which projects to “watch” the same way you do!

Look at all the crap that’s on Netflix. That crap was made for somebody! And you’re flipping through and doing the same thing that a person listening to a pitch does: you’re going, “Nah… nah… oh, maybe?… Nah…. Oh, that’s interesting.”

That’s exactly what producers, stars, directors, and agents do when they hear a pitch. 

It’s not a personal thing. They’re just asking themselves, “Do I feel this? Is this my taste? Is this something that I like?” And this often has very little to do with quality.

You and your partner, lover, or friend might both have great taste in movies or TV shows. But that doesn’t change the fact that you may have different tastes or even different preferences.

Even if you generally like exactly the same thing, there’s been a time that you and your partner have been in the mood for something different on Netflix. 

 

It’s important to understand whether your pitch is liked or not by the person you’re pitching to, is not personal, and may not have a thing to do with the quality of the pitch or the movie or TV show you’re pitching. 

And if you’re pitching somebody for whom your script is the wrong script, then there is likely nothing you can do to move them from a No to a Yes. 

If you’re pitching somebody who makes zombie movies, and you’ve written a romantic comedy, there is nothing you can do to move them from a No to a Yes.

Again, if you have a background in sales, then you know that there are in fact ways to move people from No to Yes. But I’m not trying to turn you into a master salesperson overnight. I don’t want you to spend the next 10 years developing sales techniques. I want you to spend the next 10 years developing writing techniques.

This is advice for people who are primarily writers, and who are uncomfortable with sales. 

The purpose of your pitch is to open the door. Yes, of course, ideally, what we want is for a producer to say, “Oh, I love this! Yes, I want to read this. Yes, I want to buy this.” 

But we have to understand that most people we’re pitching are not going to be that person. Just like you don’t want to watch most of the shows on Netflix. 

Fortunately, there are other ways that we can make our pitches valuable, even if we end up pitching someone who does not want to buy the movie or show. 

 

The greatest value of a pitch is an opportunity to make a connection to build a mentorship relationship.

A lot of writers think of pitching and networking as a very selfish, manipulative process. 

If you have that feeling if you’re coming into a meeting thinking, “What can you do for me? I’m networking and I’m only out for myself,” well, people are going to feel that. And that’s an even worse feeling than the guy trying to sell you jeans. People are going to feel that and they’re going to shut down. 

What you’re actually looking for when pitching is your people. People you are actually excited to connect with creatively and interpersonally, and who are excited to connect with you.

Sometimes your people don’t have exactly the same taste as you. 

You probably have a lot of friends who have different tastes in movies. And some of them you really like hanging out with. You don’t really like the movies and TV shows that they like, but you’d love to help them.

The same thing is true with producers, agents, managers, stars, and directors. Sometimes you just meet a person, and you realize, “wow, their thing is really not for me, but I like them, and connect with them. I think they’re cool. I think they’re passionate, I respect them, I really admire them, and I think they’re funny, deep, interesting, etc.” 

There’s something that you connect with about that person. 

It’s important to understand that, just like your script, a lot of people are not going to connect with you, nor should they! 

There are going to be a lot of people that are just not your people. 

Sometimes, you’re going to find yourself in a room pitching those people who are not your people. And that’s okay. Those people are not going to become your friends, and they’re not going to become your mentors.  And you’re not going to try to manipulate them into some kind of weird connection, because you don’t even like them!

Remember, you’re looking for your people. You’re looking for people that you connect to, and that connect to you. 

All pitching is personal. 

The real purpose of your pitch is to open a door. Your pitch might open a door to a sale of your screenplay. Your pitch might open a door to someone reading your script. But usually what your pitch is going to open a door to is mentorship. 

People want to mentor people they care about. People don’t want to mentor people that they have no personal connection with. 

If you come into your pitch meeting and launch directly into your pitch, what you’ve basically done is eliminated the personal part of the connection. 

Now the pitch has to do all the work because you haven’t done any of the work. 

What I like to do instead comes into a pitch with a little true story about myself, related to why I wanted to write this script in the first place.

If you feel you don’t have time to do this in your 2-3 minute “elevator pitch,” you’re making a terrible miscalculation.

 

There’s this whole myth about the elevator pitch. The elevator pitch doesn’t really exist. 

Yes, you should have a quick version of your pitch, you should have a nice short pitch that captures the essence of your story.

But if you’re in an elevator with Martin Scorsese, and he’s enjoying what you’re talking about, he’s not going to break out a time and say… “Sorry, that was 1 minute 37 seconds, I cut it off at 1 minute 30 seconds.”

You want to give yourself a little freedom. 

You also want to recognize how long 2 minutes is! 

If you’re hanging out with your friends, and you just talked nonstop for 2 minutes and didn’t let anybody else in, you would be acting weird. 

This is obviously different in a pitch contest, where we really have to limit time just to keep things moving along.

But in the real world, you want to have the 2-5 minute version of your pitch. And then you want to have a longer, say around 15-minute version of your pitch for somebody who’s really interested. Then if the project actually is going to move forward, and you have a producer who’s deeply invested, you might have a half-hour version of your pitch, where you really get into the nitty-gritty. 

 

But you don’t want to be focused on the time when you pitch. You want to be focused on making the connection, even if that means you don’t get to include every element of your movie or TV show!

You want to be watching how the person you’re pitching response. You’re not going to keep talking if they’re bored! You’re going to tailor the pitch for the person you’re talking to. 

Let’s say you are preparing for a 2-minute pitch. For many writers, this is their first experience with pitching, because often their first pitch is part of a contest. They give you a set amount of time, say 2 minutes, and you’ve got to bring in your whole pitch in 2 minutes. 

This is not the way it actually works in the industry. I want to make that clear. This is how it works in a contest.

 

Take your first 15 or 20 seconds, and don’t use it for your pitch! Use it to talk about yourself. 

Use it to tell a quick little story about what made you want to write this. What made you care about this script. 

Everybody else in the contest (or often everyone else meeting with a producer that day for a pitch meeting) is going to be coming in hot, trying to sell.

But you’re going to use that first 20 seconds or so to build a personal connection, that makes the person you are pitching actually care!  

You’re going to tell a personal story about yourself that allows the person you’re pitching to understand who you are, and why you wanted to tell the story. That can be a funny personal story, that can be a serious personal story that can be a dramatic personal story. 

I’ll give you an example:

This is not for a script. I’m going to talk to you about Jacob Krueger Studio. 

When I was coming up in the industry, I had a mentor, who was my boss at the time. He was a very talented producer. And he was a terrible human being. If you’ve seen the movie Whiplash, that was basically my experience in the industry.

I was taught everything I knew as a screenwriter, by a person who was also one of the most damaging, abusive, and complicated people in my life. And that created a really challenging emotional dynamic for me, where I was both brought forward in my craft, but also nearly destroyed in finding my voice, by this person who just didn’t know how to be kind. And whose agenda wasn’t always about the script. 

Even though I still have a lot of gratitude for this person– I wouldn’t be the writer I am today if he hadn’t taught me so much. But I also had to do so much work to undo the emotional and creative damage of that relationship. 

So why did I create Jacob Krueger Studio?

I created Jacob Krueger Studio because I wanted to give new writers the kind of mentorship that I actually needed when I was coming up.

I wanted to give them the kind of mentorship that didn’t just build their craft but also built their voice. The kind of mentorship that not only helped you become a better writer but actually helped you live a better life and feel better about yourself and find your confidence as an artist–  all those things that I needed coming up that I didn’t get. 

Now, notice, I haven’t really told you anything about the school and how it works. 

I haven’t talked about Protrack. I haven’t talked about the Write Your Screenplay Podcast, I haven’t talked about Pitch Festivus. 

I didn’t talk about any of that stuff in that little story. 

And yet… you probably already know whether you want to study with me, just from hearing that story.

You probably already know whether I’m your person or not. 

You probably have a better understanding of why this matters to me and why I’m the right person to study with if you’re looking for a mentor. 

(Or, if you’re looking for someone who’s going to “Whiplash” you, why I’m not the right person for you to study with! And that’s valuable, too).

That was a very short story, but it probably already either brought you to a Yes or No, about your interest and made you curious about how the Studio works.

That little true, personal story about yourself that somehow connects to the writing of the script is going to change everything in your pitch. It’s going to give people the opportunity to connect to you to care about you than trying to shove the script down their throats.

If I started that exact pitch and said, “Here’s why you should take me Write Your Screenplay Class,” you would feel like I was serving myself.

But when I start with a story that lets you know, “Hey, this is something that matters to me. This is what I’m doing. This is why I care about it. This is my true, vulnerable experience that actually happened to me, that really messed me up, but that I somehow kind of found a way to navigate through…” When you get a little bit vulnerable like that it’s really powerful.

I also want to warn you: this will never happen at my school, but there will be some people that you tell your personal story, and the first thing that they do is respond, “I don’t care about you, I want to know about the script…”

There’s a technical name for these people in the industry… “assholes.”

If you happen to get one of those people when you’re pitching, don’t worry!

If you get beaten up by somebody like that, don’t worry, that person was never going to help you! That person literally has told you they don’t care. 

And that person really doesn’t know what they’re doing. 

Because an experienced producer is going to know that when you buy a screenplay, you’re not just going on a ride with the script, you’re going on a ride with the writer. 

Maybe you’re going to have to fire them at some point, but you really don’t want that, because that’s going to cost you more money and a lot of time. 

Which means, if all goes well, you’re probably going on a couple of year-long ride with this person. You’re going to be spending a lot of time with this person. 

If you’re buying a TV show, you might be spending the next 5 years with this person! Or more, because you’ve also got to sell it! And then you’re hoping to run for 5 seasons. 

Of course, any good producer wants to know who this person is that they’re buying a script from!

Even if you watch a silly show like Shark Tank, you’ll notice, sure, they come out with this big, over-the-top presentation for TV, and they make pitching seem like it’s something supposed to be done presentationally with a ceremonial llama or something. 

But when the sharks are actually interested in a project, there are two questions they tend to ask:

Number one is, “Tell me about you…” (Number two is “how many units have you sold.)

If the number of units you’ve sold is zero, you still might get a deal on Shark Tank. You’ll just get less money. But if the answer to “Tell me about you…” doesn’t come out right, you’re not getting a deal. 

 

Despite the fact that the ridiculous, entertainment-driven way Shark Tank presents pitching is not how pitching actually works in the real world, the people buying the pitches are real investors. And they know it isn’t just about the pitch. It’s about the person. 

In fact, sometimes it’s a lot more about the person than about the pitch. 

One of my students is an entrepreneur, an angel investor, who’s reinvented himself as a writer.

I have so much respect for him. And, of course, I was very curious about angel investing and entrepreneurship and asked him a lot of questions. 

One of the questions I asked him was, you must get pitched a lot of great projects. How do you actually choose which one you’re going to put your money into? 

He said something very interesting to me. 

“Jake. Any project that makes it to me has a real chance of making a ton of money. And any project that makes it to me has a team that’s talented enough to actually deliver it. The way that I choose… I’m looking for the person who is so crazy that they’re going to make this with me or without me! Because that is the level of passion that you actually need to succeed in a startup. You need the level of passion where even if I don’t give them the money, they’re still going to do it.”

My first thought was, yeah, that’s exactly like screenwriting. 

When I was a producer, hearing a pitch, yes, of course, I cared about the quality of the project. 

But I wanted the writer who was so crazy, so passionate, that they were going to do it no matter what. 

Because that was the person I knew when we were on rewrite 32, and we got to note that we didn’t like and we had to figure out a way to make it work… that was the person who was going to go to battle with me, and figures out how to make it happen and figure out how to make it good. 

Communicating that you’re the kind of person that begins with that little story about yourself. 

And that’s the first thing I want you to remember when you’re pitching. Start with you. Start with something true, something real, something that matters to you, something that shows a little vulnerability.

 

The next thing I want you to remember when you’re pitching your screenplay: your pitch should not include every twist and turn of your script! 

Your pitch is the essence of your script and the essence of your character’s journey. 

There are several elements that we are probably going to need to understand to really get your pitch.

First: we’re probably going to need the main character. 

Now, this isn’t true for every pitch. Sometimes you’re pitching the world of your movie or TV show. Sometimes you’re pitching a twist on the genre. And sometimes you’re pitching an idea. 

But once you get past the idea, the world, or the twist, we’re going to need to know who the character is. 

If you don’t put that into your pitch, that’s going to be the first question that gets asked, “Who’s the main character?” We’re going to want to know who they are and what they’re like.

This is the other way that your little true, the personal story helps.

If you give them that foundation of your personal story, the person you are pitching will often just assume that the character is something like you, that their experience and their journey is going to be related in some way to your experience in your journey. 

What that does is allow you to cover a vast amount of structure in a really quick way, where the listener is already telling themselves the story of what happened without you having to delineate every element. 

This is not the only way to achieve this. But when you pitch, you’re almost always going to want some sense of who the main character is, and some sense of the incredibly challenging situation they find themselves in. 

You want it to be particularly hard for them, based on our sense of how they are. Maybe it would be easy for somebody else, but for them is the most challenging possible situation. 

Then you’re going to want to make sure that you include some of the big twists and turns of their choices, and the ironic consequences of those choices so that we can feel that this piece is going to take us places.

Yes, it’s going to take us to all those places that we expect, but it’s also going to take us to a couple of places that we didn’t see coming. 

We want to feel like this character’s journey is bigger than we imagined when we were pitched the initial idea. 

There’s a lot more that we’re going to talk about pitching during Pitch Festivus, when we have three hours to really help you learn how to craft a pitch. 

 

These are the elements I want you to remember as you pitch your script: 

Number One: Start your pitch with a true story about yourself related to why you wanted to write this movie or TV show. 

Number Two: Make sure to capture the compelling qualities of the main character, who they are, and a couple of the twists and turns of their journey. Remember to focus on the essence of that journey, and not every twist and turn.

Number Three: Remember to pause and breathe. 

When you pause and breathe, it helps us feel like you know what you’re talking about. 

When you try to power through at high speed, you end up seeming insecure, and you also end up feeling insecure. 

When you get to the end of a thought, I want you to practice taking two breaths. 

You will be amazed how the pause not only lends you more authority but also allows you to think! “What do I want to say next?”

 

The most important thing pausing for a breath during your pitch allows you to do is read the eyes of the person you are pitching.

I started this podcast by saying that all pitching is personal and that the purpose of pitching is not to sell but to open a door. 

Well, How do you know if the door is opening if you can’t read their eyes?

You want to read their eyes. 

If they look bored, maybe you need to change your inflection.

If you’ve been talking slowly, and they look checked out, maybe you need to get a little more energy into the room.

If they look confused, maybe you need to slow down.

If they look interested, maybe you need to dig deeper.

If they have a sad or impatient look on their face, maybe you need to acknowledge it: “Hey, this isn’t for you, is it?”

What that will do is it will give them a chance to actually respond. 

They may agree… “No, it isn’t.” Great! Now you can have a real conversation. “Okay, cool. What are you looking for?”

Do you see how that actually changes the whole situation?

Now, instead of pitching something they don’t like, you can pitch them something that they do like! You can pitch them exactly what they want because they just told you!

 

If you don’t happen to have what the person you’re pitching is looking for… Great! Now you can turn your pitch into a mentorship opportunity. 

You can tell them, “Wow, I do not have the script for you. Could I just bend your ear for 2 minutes, and maybe get a little bit of advice, because I could really use the mentorship?”

Now, instead of trying to shove something that was never going to sell down the throat of someone who’s never going to buy it, you’ve built yourself a mentor who might be there for you for the rest of your life. 

And you’re still going to pitch your script, you’re going to say something like this:

“Look, I know it’s not for you and I know this is not something you want to buy. But I also know I’ve done the work on this project. I’ve developed it with this incredible professional. I’ve gotten feedback. I know that the script is working. It’s like these movies (list them) that made a lot of money in the last few years, or like these successful shows… so even though it’s not for you, I know somebody is going to make money on this piece. And the script is really good. So my question is, if you were in my shoes, who would you bring it to?”

Then you’re going to shut up because whoever talks next loses. You’re going to be quiet and wait for them to respond. Remember, the job of your pitch is to open the door. 

If they’re really good, they’re going to try to not get into that situation. They’re going to say something like, “I don’t know…” 

In which case, you respond, “Look, you know better than me! I know what you did with this project and that project that you produced. You got those projects made, and that couldn’t have been easy. I know, whatever idea you’re going to have is going to be better than my idea! So, what would you do, if you were in my shoes, I know you’d find a way to get this made.”

Then you shut up again. 

Eventually, they’re going to say something like, “I don’t know, maybe bring it to New Line?”

“Great. Do you know anyone over there who’s good?”

Eventually, they’re going to give you a name. And then you’re going to ask, the most important question:

“Can I mention your name when I call?”

You see what just happened? 

 

Now, when you’re calling New Line, or you’re calling Netflix, or you’re calling an agent or manager or whoever they mentioned, it’s not a cold call anymore! It’s a referral. Your pitch just opened a door!

By the way, if they say, “No, you can’t mention my name when you call,” then you know that, despite your best efforts, you actually did not build the connection there. The door did not open. That’s okay. It just means the person is not your mentor.

Still, take their advice! Make that call they suggested.

But please don’t lie! Because if they didn’t give you permission to use their name, and the person they refer them to asks them, and they catch you in a lie, you didn’t just burn one connection, you burned two! 

The good news is, usually people are happy to let you drop their name. It doesn’t cost them anything, and it makes them feel great about helping you!

And now, you’ve got a referral to the next place. You’re not making a cold call anymore. You have a mentorship situation. And now the door is open.

The next most important thing, once your pitch opens that door, get the hell out of the room! 

“Thank you so much. I’m so grateful. It means so much to me that somebody in your position would offer so much kindness and mentorship to somebody starting out like me, I will follow up and let you know how it goes. And I’m just really grateful for your mentorship.”

Bang, you’re out of the room! You got the Yes, and now you want to get out because the only way to go from Yes is No.

You’re going to follow up and you’re going to build that connection, not only with the person you just pitched, but also with the person they referred you to, repeating and repeating until you have a whole network of mentors and connections that you love working with, and who love working with you.

It might be 5 years from now that one of those people finally buys a movie from you. Or it might be 5 years from now that one of those people finally introduces you to the person who does make your movie. But that relationship can now be one you nurture for the rest of your life. You’re starting to build your team, your people, and your mentors. 

You’re starting to build a creative family.

 

Of course, it is also possible that, after hearing your pitch, they want to read your script. 

Sometimes you’ll see in their eyes before they even say it: “Yes, I am interested… Yes, I want this.”

The moment they say “yes,” get the hell out of the room! Don’t keep pitching. Don’t tell them the next exciting thing about your project. Don’t tell them about the other project you’re working on. No!  The only place you can go from Yes is No. 

The moment they say, “I love it,” you say “Great! What’s the next step?”

That’s it. “What’s the next step?”

Because the purpose of the pitch is to open the door. 

Please, for the love of the screenwriting gods, DO NOT pitch them your other project once they’ve said yes to the first one because you just might move them to a No. Or you might put them back in a quandary where they don’t know how to choose… “Oh, I like both of these… which one do I want?”

No! They want this one. They said “Yes.” “ What’s the next step?” You get to the next step. You say, “Thank you.” You get out of the room. 

The purpose of a pitch is to open the door.

 

We talked about the idea that a lot of people their first pitch is actually at a pitch contest. Don’t make that your first pitch. 

Go to a bar and pitch your script to 50 people in 50 different ways. 

Do not read your pitch. That just tells people, “I am trying to sell you something”. Pitch it in a way that is only for them. 

Yes, there is a slight risk that someone’s going to try to steal your script. But when you get scared about that, you’ve got to think for a second:

If someone’s so good, that they can hear your idea and generate a script better than yours, then honestly, they deserve it!

And the chances of that happening are very slim. Because people who can write like that don’t need to steal your idea. They’ve already got more of their own ideas than they can write in 100 years.

But if you don’t pitch your script to a ton of people, if you don’t get out there and take the risk and pitch your script, you are definitely not going to sell it.

You have no idea who’s going to finally open the right door for you. It might be your dry cleaner who ends up actually making the introduction to the person that you need. 

I want you to go to a bar where you don’t know anybody, and pitch your script 50 times, 50 different ways, to 50 different people. 

What’s going to happen when you do that is you’re going to start to become comfortable with pitching. You’re going to start to be able to adapt. You’re going to realize, “Oh, when I pitch somebody like this, I always want to start here. But when I pick somebody like that, I want to start over here, instead. 

You’re going to start to develop a little library of practice pitches you can draw on when you’re pitching. That allows you to adapt in the room, and be so much more comfortable. Because this isn’t that new important thing you have to do for the first time. It is something that you do every day!

The other thing you’re going to learn when you start to pitch all the time is that a lot of things don’t actually work in your script.

You’re going to hear it in your pitch. You’re going to find yourself stumbling to land things. 

And this is something you’re going to notice at Pitch Festivus: you can hear the structural problems in a script when people pitch. 

And sometimes, just by working the pitch, you can also solve those structural problems. 

In this way, pitching isn’t just going to help your career. It’s also going to help your art. It’s going to help you become a better writer.

Come join us for Pitch Festivus, where you can start building that practice for yourself, FOR FREE! And also learn so many more helpful tips about pitching. You might even get a chance to pitch me and o

ur faculty, win some amazing prizes, and build some new connections within our community that can last a lifetime.

PITCH FESTIVUS

Free online event!
7-10 pm Eastern/ 4-7 pm Pacific.
RSVP here

 

*Edited for length and clarity.