In addition to a tight, killer script, every TV project needs a strong series bible or deck to help convey sustainability and its role in the marketplace. And execs commonly ask for pitch decks for features as well! So submit your Series Bible, Pitch Deck (20 pages max each), or both, and the exec will conduct a 30-minute notes call (1-hour if submitting both documents) to help you clarify and sharpen the supplemental material to help your marketing efforts.
Questions? Email terra@roadmapwriters.com
Start with the hook. I want to understand the core concept quickly and what makes it unique.
Be clear about genre, tone, and audience, and help me understand why this project stands out in a crowded marketplace. Strong character is just as important as concept, so tell me who we're following, what they want, and why we should care.
I'm especially drawn to elevated thrillers, psychological thrillers, horror, crime dramas, darkly comedic dramas, contained suspense stories, and emotionally grounded science fiction.
I gravitate toward material with rich character work, strong thematic depth, and a distinctive voice. I'm particularly interested in stories that explore economic inequality, class, power, privilege, and social mobility in compelling and organic ways.
I enjoy working with writers who take creative risks and bring highly original concepts, fresh perspectives, and daring storytelling choices while still understanding audience and marketplace. Projects with franchise, adaptation, or world-building potential are always of interest, but I'm equally excited by smart, execution-driven concepts that can be produced at a variety of budget levels.
I'm also particularly interested in female-driven stories, international and cross-cultural storytelling, elevated microbudget projects, literary adaptations, and material that successfully balances artistic ambition with commercial appeal.
While I'm open to a wide range of genres and formats, I'm generally less drawn to very formulaic, middle-of-the-road material that doesn't bring a fresh perspective, distinctive voice, or unique point of view.
At the moment, I'm probably not the best fit for traditional Hallmark-style romantic comedies, broad action movies that are primarily driven by spectacle, or stories that intentionally stay within familiar genre conventions without taking creative risks. Even when working in commercial genres, I tend to gravitate toward projects that have an original hook, thematic depth, memorable characters, or a surprising angle.
I'm most excited by material that feels ambitious, specific, and distinctive rather than safe or predictable.
Katrina Wolfe is a Los Angeles based Emmy and Critics’ Choice nominated producer and executive who served for many years as Senior Vice President of Production & Casting for the Dimension Films division of Miramax/TWC, where she worked closely on dozens of major motion pictures including: BAD SANTA, 1408, THE OTHERS, GRINDHOUSE (Tarantino and Rodriguez), the SCARY MOVIE series, SIN CITY, and THE BROTHERS GRIMM (Terry Gilliam).
After joining BN Films as President of Production at the time of its launch, Wolfe developed and produced the critically acclaimed feature NIGHTINGALE starring David Oyelowo. After the film was completed, Brad Pitt’s Plan B Entertainment came aboard to co-executive produce the picture, which was acquired and distributed by HBO Films. The film went on to win Best Actor at the Critics’ Choice Awards and earned Wolfe a Critics’ Choice nomination for Best TV Movie as well as an Emmy nomination for Outstanding TV Movie. The picture also received an Emmy nod for Outstanding Actor as well as a Golden Globe nomination for Best Actor.
Following the success of NIGHTINGALE, Wolfe developed and produced the true crime drama CAPTIVE starring Kate Mara and Oyelowo, which was distributed worldwide by Paramount in an 800 theater guarantee and garnered several Movieguide Award nominations. Also at BN, Wolfe served as Executive Producer on titles such as the opening film of Sundance Film Festival’s Midnight Series, BOUND TO VENGEANCE released by IFC Films; THE AUTOMATIC HATE from Indie Spirit nominated filmmaker Justin Lerner; and THERE ARE NO SAINTS, written by Oscar winning screenwriter of ’Taxi Driver’, Paul Schrader.
In July 2015, Wolfe launched her own division within AG Studios that focuses on the development and production of high quality English language content. Projects produced by Wolfe under this banner included Netflix-financed and distributed feature SPIVAK with Michael Cera; prestige drama THE BIG BEND, which premiered at the Austin International Film Festival and was released theatrically in North America in 2024 by Eammon Films and is currently available on VOD and Tubi. The film currently stands at 100% “fresh” reviews from both critics and audiences on RottenTomatoes.
Wolfe also developed, wrote, and produced the acclaimed Exactly Right Media true crime podcast Infamous International: The Story of the Pink Panthers, which was named by Spotify as one of the Best True Crime Podcasts of 2023.
In 2025 Wolfe formed her own independent production company, Wolfemore. Upcoming projects include a lesbian rom com called GET IT TOGETHER starring Daniella Pineda and Lorenza Isso, a biopic of Warhol superstar CANDY DARLING starring Hari Nef and Ben Whishaw, and THE GIRL WHO CRIED WOLF, a thriller starring Isabelle Fuhrman and Jim Gaffigan that will shoot towards the end of 2026.
Wolfe began her career as a freelance script reader for Andrew Lauren Productions and Lionsgate. She graduated summa cum Laude, Phi Beta Kappa from Barnard College at Columbia University, where she was awarded the English department’s W. Cabell Greet Prize for Excellence.
After registering, you will receive instructions on how to submit your material in your order confirmation email. After submitting your material, please allow about 3-4 weeks to receive proposed times for scheduling your call with the exec. If you haven't heard from your exec by the 3-4 week mark about scheduling, please email terra@roadmapwriters.com so we know to check in with them on your behalf about their proposed dates/ETA for you.
PITCH DECKS: These are visually-driven documents (20 pages max) that use images and short paragraphs of text to demonstrate the tone, world, character insight, key plot points, stakes, and theme of the series or feature. If the Pitch Deck is for a show, it will use some of the same sections of text as your Series Bible, but will be less extensive. When creating a pitch deck, always make sure that you are using images of a consistent size and quality, and that you use the same font, color code, margins, and other design specifications throughout. Click here for a Pitch Deck example! Want more insight? Consider signing up for our Creating Professional Level Pitch Decks webinar!
SERIES BIBLES: These supplemental documents are text-only (20 pages max), and can get requested when marketing any sort of TV show. Among other things, they should demonstrate what makes your characters unique and captivating, the focus and evolution of their arcs, the rules of the world, the hook of the story engine, the intended tone and theme, as well as why YOU are the best person to write this show from this perspective. Here's example #1 and example #2. Note: The formatting and organization of Series Bibles has changed since these examples were created, but addressing these sections in your own Series Bible will be a great starting point to make sure you're answering questions before they're asked.
**Please note series bibles and pitch decks are each limited to 20 pages maximum. Please contact terra@roadmapwriters.com for pricing on a consultation for material exceeding 20 pages.
Be sure to familiarize yourself with Roadmap's Code of Conduct.
Questions? Email terra@roadmapwriters.com
Cancellation Policy: You may cancel your registration for a refund or Roadmap gift card if you have not yet submitted your material for review. However, once your material has been received by Roadmap, your registration cannot be canceled. Having revised material or a desire to retroactively apply a discount or gift card code are not grounds for cancellation, refunds, or gift card credit. Once your material has been submitted, the only acceptable grounds for cancellation and a refund or gift card credit is an unforeseen, ongoing emergency on the part of either the writer or the exec resulting in more than 6 weeks without any scheduling update from the exec via direct contact or Roadmap, or a sudden change in the exec's ongoing availability. In the instance of an irreconcilable scheduling issue, the writer may still receive a written feedback report from the exec. In this case, the writer is not entitled to a refund or gift card credit as the exec has read the submitted material and provided written feedback in lieu of the call.