The reading room.
Practical reading on film, television, advertising and business pitches.
1,000 articles · Four ways into the work.
1,000 articles · Page 36 of 42
The Overall Rate Improves While Every Customer Segment Gets Worse. What Should the Deck Show?
Show Customer Value Without Dressing Assumptions as ROI
Pitch a Distribution Partnership Without Calling Channel Access Customer Demand
Pitch a Partnership When the Value Arrives Unevenly
Keep a Complex Chart’s Argument When You Add an Accessible Reading Route
One Deck for the Room and the Inbox—or Two Versions?
Two Projects Claim the Same Savings. What Belongs in the Decision Deck?
The Requested Metric Fits a Different Business Model. Adapt It or Decline?
Sales, Product, and Finance Use the Same Metric Name for Different Things
Agree on a Customer Benchmark Before Showing the Winning Result
Pitch a Literary Adaptation When the Source’s Voice Is the Main Attraction
When One Film Pitch Needs Different Versions for Different Readers
Write a Shared Director’s Statement Without Pretending Two Makers Think Alike
Two Script Versions Support Different Film Pitches. Which One Are You Writing?
The Adaptation Omits the Source’s Famous Scene. What Should the Pitch Promise?
Pitch a Multi-Screen Film Without Pretending One Video Shows the Work
One Film, Two Exhibition Forms: Separate Versions or a Flexible Work?
Your Film Pitch Has a Hook but No Middle. Is the Problem the Deck or the Story?
Pitch an Immersive Film When You Cannot Choose Exactly Where the Viewer Looks
The Project Works as a Short or a Feature. Which Film Are You Pitching?
The Documentary’s Question Is Answered Before Filming Ends. What Is the Film Now?
Rewrite a Documentary Pitch When Essential Access Falls Through
Show Agency in a Film Pitch When a Character Has Almost No Good Choices
The Plot Reaches Its Ending, but the Character’s Turn Has Not Been Earned