Whether we are meeting a new writer at a pitchfest or in a meeting or technologically like through VPF, the biggest fears that every development executive have are these: is this person going to play nice? Is this person speaking to me going to be someone that I am want to deal with for the next 1-5 years of my life? If I give this person my card, is he or she going to abuse it?

Now I have listened to thousands of pitches and met with hundreds of writers, and for the most part, they were all great. But I’d say that out of 2500 pitches, I’ve had about 25 writers that just didn’t know how to play nice. Yes, that’s only about 1%, which doesn’t sound like a lot. But I’d like to get that number down to zero. So I wanted to go through what it means to play nice:

1.      You’re going to respect the pass. If you have pitched me (whether in person, or over the net) and I politely pass and do not ask for the script, you need to take that as the answer. While I always admire persistence, there’s a thin line between it and being pushy or annoying. There’s probably a reason I passed – whether it’s the writing or it’s something we are developing already or it’s just not the genre we are looking for, etc. - you asking 3 more times or begging is not going to change my mind. It’s only going to reinforce the pass.
2.     If you have my card, you’re not going to call every day or every week or even every month to pitch a new idea or re-pitch an old one because you’ve made changes.  Do not pitch the same project to me more than once unless you have done a complete page one rewrite. And never pitch it more than twice.
3.      If you don’t like the response you get, you’re not going to send off an angry email telling me how development executives are evil and stupid. I’ve received hate mail from my blogs and my responses to a pitch, but does anyone think the best way to get a second chance is by insulting me? Come on. If you can’t play like adults, go back to sitting at the kids table.
4.     You’re not going to give out my information to your whole writing group or class or every writer you know. You worked to get that card - they didn’t.
5.     No MyStalking or FaceStalking. Just because we had a lovely 5 minute conversation and I asked to read your script, that doesn’t mean I want to be BFFs. It doesn’t mean I want to add you to my friends list on Facebook or Myspace or any other site. Yes, those sites are for networking. But, I don’t accept random writers I don’t know personally (or who aren’t professional famous writers of course) on my Facebook because I don’t want to be pitched through those sites. And neither does any other exec, and there have been a rash of Facebook queries in the last few months. This is not the right way.

So – why DON’T I just take 5 minutes and read the first 10 pages? It’s not that big a deal right? Well, it’s simple math actually. Let’s say I get pitched 100 scripts in any given day at a pitchfest. Maybe – MAYBE – I’ll ask for 10 scripts. That means I’m passing on 90. If for all those passes – scripts I wasn’t interested in – I had to read 10 page, that would take roughly 450 minutes. That’s almost 8 hours and that’s not including the time it would take to email all those writers back (another 2 hours). Why and how could I spend 10 hours reading 10 pages of scripts that didn’t interest me to begin with? 

Execs all realize how hard you’ve worked on your scripts. And every writer thinks that if they can just get someone to read 10 pages, they will love it. And while our opinions are completely subjective and occasionally wrong, they do come with at least a few years of experience and a different perspective from yours. And we can often tell within a 5 minute pitch – even without reading the script – how that script is going to read. Writers hate when I say that because they think it somehow devalues their talent or their hard work. Perhaps it does, even though it’s not meant to. But I am right 85% of the time and I like those odds.
You all remember the golden rule of the sandbox. Well - here’s the golden rule of screenwriters – pitch unto others as you’d like others to pitch unto you.