[spb_column width="1/1" el_position="first last"] [spb_text_block pb_margin_bottom="no" pb_border_bottom="no" width="1/1" el_position="first last"]   By, Jacob Krueger [/spb_text_block] [/spb_column] [divider type="standard" text="Go to top" full_width="no" width="1/1" el_position="first last"] [fullwidth_text alt_background="none" width="1/1" el_position="first last"] FIX YOUR PITCH! This is perhaps the most dangerous screenwriting lecture you will ever hear.   That’s because today I’m going to be talking about one of the most dangerous concepts for screenwriters: the concept of pitch.   The reason that pitch is so dangerous for screenwriters is that when all we’re thinking about is “can I sell it, can I sell it, can I sell it?”  it takes us away from the kind of writing that we can actually sell.   Similarly, when all we’re thinking about is “what do they want, what do they want, what do they want,” it cuts us off from our own voice.   If you’ve listened to this podcast you know that without your voice you don’t have a shot. That in fact, your voice is the only thing that a producer can buy.   The truth is if a producer wants to buy a well executed, well-crafted script with a good hook, there are thousands of working screenwriters from whom they can buy those scripts.   In order to take a chance on you, in order to take a chance on a new screenwriter, you need to be giving them something they can’t get from somebody else. That thing that you can give that they can’t get from somebody else is your voice.   The biggest danger of pitch is it’s potential to distract you from the questions that actually lead to great writing. What do you want the script to be? Who is the character that’s fascinating to you? What is the question that you don’t know the answer to, that you wish you did? What’s the event that moved you and changed your life? What’s the dream you had last night that kept you up? What’s the terror that haunts you? Or the dream that keeps tickling you?   Instead of starting there with the personal, we start outside of ourselves. We put our focus on what they want. And all kinds of problems emerge.   The first is that you don’t know who they are. And because you don’t know who they are, instead of dealing with the real they, usually they just become a projection of the most insecure part of yourself.   So, the first problem is that when we start to think about they, the they that we think about is not like some cool producer who’s going to dig our work.   The they that we think about is the part of us that thinks we’re not good enough.   It’s the part of us that thinks that our idea is never going to sell. The part of us that feels like we have nothing to offer. The part of us that feels like our craft isn’t good enough, or our voice isn’t good enough, or our art isn’t good enough. The part of us that wonders if we have enough talent.   As writers, we are all desperately insecure. We’re desperately insecure because, as writers, we’re introspective people. Our job is to look inside of ourselves, look at those little niches that most people don’t look at, those little doubts, those little questions.   And so, because of this, if you allow yourself to get into thinking of the they that is going to judge you, it’s going to cut you off from your real instincts. It’s going to cut you off from your freedom to improvise as an artist. It’s going to cut you off from your voice.   You may end up with a really clear, clean idea, but it’s likely that the execution is going to be lacking something. It’s going to be paper thin. It’s going to feel like there is something missing, like there is a glass ceiling that you can’t quite get through in your writing.   The second problem occurs when we start our process by thinking about Can I sell it? Can I sell it? Can I sell it? is that you probably don’t have a clue if you can sell it or no...