The Proof is in The Proof of Concept - or is it?

For the past few years, I've been advising thousands of writers, actors, and creators (probably 5,000+) NOT to shoot proof of concepts for their projects. They rarely communicate what the final product would actually look like, and more often than not, poor production quality works against them. A proof of concept needs to WOW an executive, producer, or financier to really move the needle. But a bad proof of concept can tilt the scale of doubt the wrong way.

So I told most creatives to lean on the medium they're most comfortable with (often writing) to impress the industry professionals across the table. You'd rather have a good script that stimulates imagination than a good script plus a bad proof of concept that cost you $20K and raises questions about your project's viability.

Things have always been different for directors. Directors are judged on final results, so I'd often tell directors to go shoot something. Most film/TV/media industry professionals agree on that. You're not a director until you've shot something.

But things are shifting. With the industry becoming more risk-averse and tech making it more affordable to shoot something, create pre-viz, or even use AI to showcase your vision, I'm finding that producers, and especially financiers (the business folks who don't really enjoy reading scripts), would much rather look at a good proof of concept and get a feel for what the creator is aiming for.

But the question many are asking is becoming more and more relevant: should I shoot a proof of concept to convince the Hollywood gatekeepers, or do I entirely forgo the ecosystem and go straight to the audience?

As time goes by, the answer is getting clearer and clearer. Especially if you’re a multi-hyphenate.

This Week’s Exciting Announcements!

This week, we're thrilled to announce our 5th Annual TV Drama Screenwriting Contest Top 10 Finalists. If you’re looking to discover fresh specs and emerging voices, keep reading!

Our TV Drama Top 10 Finalists will be meeting with 16 jurors from companies like ABC, 3Pas, Authentic, and many more! Previous winners went on to staff, find representation, and sell projects.

Stage 32 Writer Spotlight!

Dennis Manning, Screenwriter

Dennis Manning blends magical realism with grounded, character-driven narratives. His work explores universal themes of love, identity, and self-acceptance, particularly through inclusive LGBTQ+ representation. With screenplays like "Undertow and deeply poignant dramas like "The Woman on the Bench", and musicals like "Hometown," "Now & Then," and "One More Yesterday," Dennis creates stories that connect with audiences on a deep emotional level while offering fresh, imaginative perspectives. His ability to seamlessly combine fantasy with human experiences makes him a unique and compelling voice in contemporary filmmaking. Dennis is also a multiple Double Recommended Writer - meaning he was recommended by many executives on the platform!

Dennis was selected for our spotlight program after receiving multiple double recommends from executives on the platform. He was also included in the lookbook sent to 2,500+ industry professionals and has been introduced to several executives who requested generals following his participation in consultations and pitch sessions.

Ready to advance your own career? You can earn double recommendations by submitting your scripts for executive consultations or coverage, but that’s just one pathway to success. This month alone, four writers have signed with representation through our pitch sessions, and now it’s your turn.

You can check out Dennis's Stage 32 Profile and connect with him by clicking HERE!

Coming Up Next!

This weekend, 12 literary managers and agents are participating in pitch sessions. If you’re seeking representation, this is your opportunity. Most sessions have sold out due to high demand, but several managers have added additional slots to accommodate interest. But hurry - the below execs have sold out and just added a few slots. Now’s your chance to pitch your project, land representation, and connect with decision-makers!

Patrick Raymond, Director of Development at Mandalay (Oscar-winning AIR), added 10 slots. Book your pitch here!

Mitchell Bendersky, Literary Manager at Expectation Management (clients on ACAPULCO, RIVERDALE…) added 10 slots. Book your pitch here!

Alex Bretow, Producer, Mammoth Pictures (IFC’s THE NIGHT) added 10 slots. Book your pitch here!

Alex Creasia, Literary Manager at Navigation Media Group, has 4 slots left. Book your pitch here!

Don’t miss your chance to connect directly with industry professionals who can change your career trajectory. Check out the schedule below and secure your spot today! See the full schedule here.

Let's hear your thoughts in the comments below!

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