Here’s the lesson I want to share today, especially for anyone pitching on Stage 32:
Don’t stop at one pitch—go back to the same executive.
If they didn’t respond or passed, circle back when you’re more prepared. Yes, there’s a caveat: sometimes a pass really does mean “not for our slate right now.” That’s a real thing. But often the scorecard makes the difference clear. If you’re consistently getting low marks across fundamentals, it’s not that the concept isn’t marketable—it’s that you haven’t yet learned how to show it. That’s not weakness. That’s craft still waiting to be forged.
After my worst pitch ever, I almost quit. Instead, it lit a fire. I didn’t just tweak my delivery. I re-envisioned the whole thing. I went through something like twenty revisions, and not the tidy kind—deep ones. I fully rewrote the script at least twice, maybe three times. Then I went back to the same exec.
Second time: best scorecard I’ve ever received, materials requested, and one of the most encouraging responses of my career.
Here’s what changed: confidence built on undeniable work.
When what you’re holding is clear and true, talking about it stops being salesmanship and starts being invitation. People lean in—even those who didn’t get it the first time. They might still pass for reasons of fit, but now they want to hear it.
And let me add this: one of the things that helped me get to that point was finding readers. Not just one or two, but as many as I could. I was lucky enough to find close to twenty, some I knew, some I didn’t. Out of all of them, most gave me small useful notes, but one in particular gave me the most excellent, on-point, honest feedback I’ve ever had. And yes, it was someone I knew. People say not to ask friends or family because they’ll go easy on you, but it depends on the kind of people you know.
There are friends who would never tell you when you’ve got broccoli in your teeth… and there are friends who’ll point it out (and laugh with you while you fix it). The second kind are the ones you want reading your script.
Honesty born of care—for you and for the story—will sharpen your work more than flattery ever will.
A “no” is not a tombstone. It’s data. It’s direction.
Go back when you’re ready. Go back when it’s undeniable.
Huge thanks to the Stage 32 team and community for the sound advice: Don’t just pitch once. If someone doesn’t respond, return when you’re truly ready. That simple wisdom kept me from quitting—and changed everything.
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Congratulations on getting the best scorecard you’ve ever received, materials requested, and one of the most encouraging responses of your career, Adam Spencer!
Great advice! I've thought about pitching to the same executive since I've gotten better at writing pitches and rewritten my scripts. Thanks for the reminder. I hope you have more and more success!
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Sound advice not just for the movie business, but for life in general.
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big congratulations , keep going
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Mac Of BIOnighT Well said — I couldn’t agree more. Honestly, that little shift in mindset (go back when you’re truly ready) feels like it applies to just about everything: relationships, career, even personal growth. Glad it landed that way for you too. Thanks for the encouragement!
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Elmare Hendricks Thank you! That means a lot. It’s definitely been a long road, but little wins like this one keep me moving. I appreciate the nudge to keep going — it helps more than you know.
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Maurice Vaughan 5 Thanks so much — and thank you as well for the work you do here keeping this community strong. I’ve found that written pitches really opened things up for me in ways video never quite did — they let me slow down, shape the story clearly, and take the tech nerves out of the equation. Definitely worth trying if you haven’t yet. I’d be curious to hear how it feels for you once you give it a go.
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This hit home. It’s so easy to assume a “no” is the end of the road—especially when you’ve poured everything into a pitch. But you’re right: a pass is often just a snapshot of that moment, not a judgment of your potential.
I had a similar experience where I circled back to someone after completely reworking my deck and script. The second conversation felt like a different world—because I was showing up with more clarity and confidence, not just crossing my fingers.
Thanks for sharing this, Adam. It’s a good reminder that real growth doesn’t just come from pushing forward… it comes from going back, too.
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You're welcome, Adam Spencer. Thanks. I appreciate it. I've done Pitch Sessions on here, and the feedback helped me get better at writing pitches. I mainly do written pitches -- one reason is they "take the tech nerves out of the equation" like you said -- but I'm getting better at live pitches.
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This if fantastic Adam Spencer - congratulations. And all your points are true. Our biggest obstacle as writers is our willingness to listen to good coverage.
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Leonardo Ramirez 2 Thank you sir! For me, it really does come down to a humble, pragmatic approach. Meaning, I have to stay open to the possibility that what I’m doing isn’t connecting for everyone—or even for the majority—and be willing to hear advice on better ways to communicate an idea, theme, or goal. That mindset often leads to more work and more rounds of revision, but the trade-off is that what you end up with is clearer, stronger, and more solid.
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Your thought process is spot on Adam Spencer. I've spoken to execs who have to be assured at the beginning of the call that their feedback will be appreciated. These are people who have probably had writers jump down their throat because they said something the writer didn't like. You're absolutely right in that we need to be open.
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Leonardo Ramirez 2 Yes! We have to be open. At the same time, I think it helps me to distinguish between what’s sacrosanct and what isn’t. For me, the story as a whole—its theme, the truth at its core—is sacred. But the individual pieces that support it, the structures, scenes, even lines, are tools. They serve the greater story. If I start treating every small element as unchangeable, I risk failing the story itself. Being willing to reshape or reframe those parts—even if it means more work—gives the theme the best chance to shine clearly.
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Could not have said it better Adam Spencer - nicely said friend!!
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Leonardo Ramirez 2 During my revisions of World Breaker, I realized the goal isn’t just to make the story speak—it is to make it sing. It has to move someone in their imagination as much as in their heart. The story itself is sacred, but the pieces that carry it have to be flexible, shaped until they’re clear, resonant, and widely communicable. The point isn’t to alienate; it’s to invite as many people as possible into that vision, so they can see and feel it as vividly as I do.
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Love that Adam Spencer!
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Leonardo Ramirez 2 Leo, I truly appreciate your input—your perspectives aren’t only in my lane, they are timely, applicable and warm—and warmly received, friend.
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That is very kind Adam Spencer - means a lot. All the best to you.
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Just catching up on this amazing thread — Adam and Leonardo, your points really resonate. That idea of holding the core of the story sacred while staying flexible with the tools that carry it… I couldn’t agree more.
In my own rewrites, I’ve found that the hardest part isn’t the technical execution — it’s being honest with myself about what’s not working yet. That’s where trusted feedback (even the tough kind) becomes gold. Not every note makes it in, but almost every note teaches me something.
Appreciate this whole conversation — it’s a reminder that great writing isn’t just about inspiration. It’s about iteration, humility, and knowing when to fight for a choice… and when to let it go.
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Very well said Michael Reeves. I'm glad you included humility in that list. We can't grow without it and since the learning never stops, we'll always have need of it.
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Leonardo Ramirez 2 & Michael Reeves: Yes indeedy. I’d even go one step further: I think mercy is the precondition for honest change. Humility opens the door to mercy—for our peers in the industry, and most of all, for the audience. For me, that means keeping the story’s core intact but making the work as accessible as possible, with craft that delivers a catharsis people actually feel.
Because let’s face it—when cinema moves us, it’s because it sings. When it doesn’t, it offends us. People are giving us their most precious resource—their time—and I don’t want to waste that. Mercy reminds me to create something worthy of that exchange.