Hello everyone, I was just wondering if anyone knows roughly what the odds are for getting a script request from a pitch session? Is there any data available on it, for example is it something like 1 in every 10 pitches submitted results in a script request on average?
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Hi, Amy Moffatt. Welcome to the community. Welcome to the community. Here's a blog that'll help you navigate Stage 32 and connect with writers, other creatives, and industry professionals: www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...
I'm not sure what the odds are for getting a script request from a Pitch Session, but here's a list of Pitch Session success stories and other Stage 32 success stories: www.stage32.com/scriptservices/success-stories
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Thanks Maurice, appreciate that :-) I was only wondering if there was any data as I have submitted to 2 pitch sessions since signing up and I’ve had script requests both times and I’m just not sure whether to allow that to give me an ego boost or whether it’s actually quite a common outcome if that makes sense!
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You're welcome, Amy Moffatt. Congratulations on the script requests! I'm not sure if there's any data, but you're welcome to email support@stage32.com.
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Hi Amy Moffatt,
You've asked a great question that many writers wonder about. While we could share numerical data, it wouldn't do justice to writers as every path is truly unique - projects have different levels of craftsmanship, market viability, and executive fit.
What is genuinely impressive is your 2-for-2 success rate with script requests! This speaks volumes about both the work you've put into your script and your ability to select executives who would be a good fit for your material. Getting script requests from both pitch sessions you've participated in demonstrates that your concept, presentation, and execution are resonating with industry professionals.
Script requests indicate genuine interest rather than just courtesy - executives are busy and don't request materials unless something has captured their attention. Each request represents a professional who now has you on their radar.
If anyone is unsure about which executives might be a good fit for their pitch sessions, we're always happy to provide personalized recommendations at success@stage32.com. Our team can help match your project with executives who are actively seeking similar material.
Congratulations again on your success so far! Would you like any guidance on next steps now that you've received these requests?
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That question is unanswerable. Simply because "it depends". It depends on so many factors that it cannot be quantified.
First, how good a salesman are you? You can have the greatest script in the world but if you can't convince someone to read it, it won't sell. If you query letter sucks, is riddled with errors, or inappropriate speech, it may not get read. If you're pitching in-person, is your elevator pitch good and can you deliver it with confidence? You have to be ready.
Second, who are you pitching to? Are you sending it to companies that do not accept "unsolicited material", meaning you need an agent? Are you pitching a love story to an a production company that makes horror films? Is your one-page, summery, or treatment interesting and informative?
These two factors are somewhat in you control. There a so many more that you have no control over. Does the person reading/hearing your pitch, want to hear about your ideas? Is it something they are looking for? Is this person in a position to accept and/or act or your script? Will they try to sell your screenplay or try to sell your a pipe dream?
I've attended a few "pitchfests", where you literally go pitch your scripts. My first one, I pitched 20 times and got 7 requests, no sales. My second time, there were issues and I only got to pitch 6 times and 0 requests.
Trying to determine the odds of successfully pitching a screenplay is like trying to make predictions in a quantum physics lab of where a quark will go when struck with another, or if either or both even exists at all.
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I think the chances of getting a script request are mainly determined by your story structure. If your story structure doesn't stick to the dictates of the 3-Act structure, then you won't get a script request. The 3-Act structure which can be stretched out into 8 sequences ( Act 1 --- 2 sequences/ Act 2 ---4 sequences and Act 3 ---2 sequences) can also be stretched out into 21 hero goal sequences ( 6 hero goal sequences in Act 1, 12 hero goal sequences in Act 2 and 3 hero goal sequences in Act 3. Your ability to show these different forms of the 3-Act structure in your pitch and screenplay will heighten your script request chances
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Thanks Geoffroy Faugerolas that’s a great response that really puts some context behind the process. Appreciate that!
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Thank you for taking the time to write your response @Anthony Moore you raise some good points however from a business perspective I disagree, this kind of data would definitely be obtainable and useful as, if, for example, 20% of pitches result in script requests then 80% don’t which means there is an opportunity to put a focus on knowledge and learning for pitching. If 60% of pitches result in script requests but then only 10% of those result in meeting requests then there is an opportunity to focus on knowledge and learning to do with refining a script.
So my original question isn’t trying to determine the odds of me being successful at getting a script request after submitting a pitch, I know those odds are right now sitting at 100%
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No need to be a mathematical genius for that, however I do like your disciplined approach to such analysis.
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Amy, how many of these requests result in sales and films made? That's the real question! I have never had any requests from pitches here, but people love my writing. I've read so-called great scripts and they often seem generic and predictable. What am I not seeing? I sent one of mine to a stage 32 writer and he said "First of all, thank you from the heart. Really. Receiving your script truly made my day. It’s rare to come across something that feels so alive, so honest, and so full of intention. I can tell how much work, research, and passion you’ve poured into it—the way you combined different myths into one story is truly something special. The language, the places, the cultural references... everything feels very thoughtfully chosen."
And why does so much we see now have curses and obscene language every five seconds? Is it a new requirement? Excuse my ignorance.
Congrats on the amazing 2 for 2 request rate! I hope one of yours actually sells and then gets made.
And the option thing...I hear this often. "I'm an optioned writer'. Well, good for you. And did it get made? This is a very strange business.
One person will love something and the next will hate it. It's just subjective.
And the rigid act structure above that I read? Did that writer sell anything? No offense intended, please.
I am just very puzzled by the whole thing. Often I never hear anything from requesters. Not the ones here you pay to pitch to, but others.
I have an agent, and she loves my work. Again, she sends out letters, and has had requests. Again, no answers. One major figure that requested one of mine had a gatekeeper that never read what she submitted.
I have great respect for those on here that have sold and had produced a body of work.
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Hello, I’d like to know who wrote your scripts?
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Hi Alisa Murray , I wrote them
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Jon Shallit It is a complicated business and no two roads are alike. And while liking or disliking a project is subjective (I prefer responding or sparking to a project) there are certain things that all executives are looking for, which I will list below. Companies also have mandates. You could be pitching the greatest romcom in the world to Blumhouse, it's just not what they produce.
- Unique Perspective or Voice - A distinctive approach that makes the project stand out amidst similar content; something only this specific creator could bring to the table
- Strong Central Characters - Complex, compelling protagonists and antagonists with clear wants, needs, and distinctive traits that drive the narrative forward
- Clear Marketability - A readily identifiable audience and distribution pathway; understanding where and how the project would be consumed
- Emotional Resonance - The ability to create genuine emotional impact, whether through humor, drama, suspense, or inspiration
- Fresh Take on Familiar Elements - Innovation within recognizable frameworks; projects that feel both familiar enough to be marketable yet distinctive enough to stand out
Solid Story Structure - Well-crafted narrative architecture with appropriate pacing, stakes, and - escalating tension
- Commercial Potential - The ability to attract audiences in sufficient numbers to justify the investment, whether through star power, concept, or execution
- Production Feasibility - Realistic production parameters for the intended budget range and creative vision
- Cultural Relevance - Material that connects to current conversations without feeling forced or pandering
- Authentic Passion - A genuine creator connection to the material that translates into distinctive execution.
We'll be exploring more of these topics in the Writers' Room where our team will launch in the coming weeks a writer develop program that's the closest to having a manager without being represented.