The Manager Series: It's All About The Pitch

Online Classes
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$59.00
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Sold Out - Waitlist Available!

Roadmap Writers has helped over 250 writers get signed. Having a talented, connected rep can really help catapult a career. There are many factors in signing with a rep. You obviously need a solid portfolio, but you also need to know how how to pitch, brand yourself, know your personal logline, understand your goals, etc. 

This 3-week program will be filled with panels, Q&A and pitch presentations. 

We're excited to welcome:

  • AE Jones - Stagecoach Entertainment
  • Dan Seco - Empirical Evidence
  • Chris Deckard - Fictional Entity 
  • John Miranda - John Miranda Entertainment 
  • Audrey Knox - Cartel Entertainment
  • Mark Saffian - Content House

And you can submit a 1-2 page written pitch and 3 managers will select 10 writers each to meet with them live in week 2 to hear their verbal pitch for feedback in front of all the writers (whether selected or not). This is a great way for writers to know why a pitch can pique interest from a rep. 

This 3-Week Course Will Cover:

  • The dos and don'ts of pitching 
  • Researching the execs ahead of time 
  • Discovering your personal logline
  • Branding
  • Follow up etiquette 
  • Cultivating the best relationship with your rep
  • Live feedback on pitches
  • Live Q&A

 

Week One - Panel: The Dos and Don'ts of Pitching

Date / Time
-
Summary

This week, we will learn what makes a good (or bad) pitch from 3 different managers! Come in ready to ask questions! 


Panelists 

AE Jones is a television literary manager at Stagecoach Entertainment, where they keep the shifting television market in constant perspective for clients and oversee all tracking of development and staffing opportunities for writers across broadcast, cable, and streaming.

In addition to their experience across representation, production, and business and creative development with companies like Paradigm, NBCUniversal, Red Bull Media House, and Manatt, Phelps, and Phillips, LLC, Jones served as Associate Producer of Enough Room, a social impact comedy short that tackles the issues of passive racism and societal expectations while inviting an authentic connection in the face of adversity - all on a first date! Pursuing and developing this story in early 2018 sparked their passion for centering voices that have yet to be heard and need to be seen on television.

Jones is drawn to stories about outsiders seeking connection, characters breaking and creating their own norms, and nuanced conversations about queer and First/Second Generation experiences. If you can make them laugh at the same time, even better.

Dan Seco is a graduate of the University of Maryland and the University of Florida with a master’s degree in journalism. He is currently a literary manager and partner at Empirical Evidence where he represents both writers and directors for film and television. Previously, Dan served as a literary manager at Schemers Entertainment (STRANGER THINGS; THE GREATEST SHOWMAN) and was a motion picture literary coordinator at Writ Large (SHIMMER LAKE) and an assistant for a motion picture literary agent at CAA. Prior to moving to Los Angeles, Seco worked as a sports journalist covering MLB, US Soccer, and the NBA, as well as a special education teacher in New Orleans.

 

Week Two - Live Pitches with John Miranda (Drama)

Date / Time
Summary

This week, the top 10 pitches in each genre will pitch to a manager for feedback. Feel free to go from room to room to listen to (and cheer on) your peers! 

Each writer pitching will get 10 minutes total for the pitch as well as Q&A with the exec, so aim to keep your pitch to 5-6 minutes. 

Host:
John Miranda - Producer / Manager, John Miranda Entertainment

John Miranda is an award-winning producer and literary manager whose work includes collaborations with some of the entertainment industry’s most acclaimed storytellers.

Miranda began his film career in 1990 at Amblin Entertainment as Steven Spielberg’s personal assistant, where his initiation into the world of film included working alongside Spielberg during the development and pre-production on SCHINDLER'S LIST, JURASSIC PARK, and HOOK. Within his first year, Miranda’s instincts for storytelling caught the attention of Amblin’s creative team, and he was promoted to the company’s story department and began forging relationships with some of the industry’s most exciting writers.

Miranda’s early success led to a Story Editor position with one of his cinematic heroes, renowned director, Norman Jewison. Miranda was instrumental in the acquisition and development of Jewison’s highest profile projects from the 90s, including THE HURRICANE starring Denzel Washington, and ONLY YOU, starring Marisa Tomei and Robert Downey, Jr. Miranda further distinguished himself by developing and selling Ryan Muphy’s first feature screenplay, WHY CAN'T I BE AUDREY HEPBURN?, and he was pivotal in the development of Greg Berlanti’s first feature, THE BROKEN HEARTS CLUB.

Having established a reputation for identifying and mentoring emerging talent, Miranda caught the attention of entrepreneur, Ken Lipper, and together they launched a New York-based film company, Ken Lipper Productions. Miranda oversaw production on the Academy Award winning documentary, THE LAST DAYS (directed by James Moll), as well as the late Alan Rickman’s directing debut, THE WINTER GUEST, starring Emma Thompson. Miranda also collaborated with Broadway hit-makers Steven Sater (SPRING AWAKENING) and Scott Ellis (TAKE ME OUT; MARVELOUS MRS. MAISEL).

After a successful chapter in New York, Miranda was approached to work with director James Mangold (FORD V. FERRARI; LOGAN) at TreeLine Film. As Vice President of Production, Miranda oversaw TreeLine’s robust slate of film and TV projects, including the critically acclaimed 3:10 TO YUMA starring Russell Crowe and Christian Bale, KNIGHT & DAY, starring Tom Cruise and Cameron Diaz, the ABC series MEN IN TREES, as well as the film adaption of Richard Ford’s award-winning novel, THE SPORTSWRITER, for HBO.

In 2014 Miranda formed John Miranda Entertainment, a production and management company, where he produces own slate of film and TV projects, and manages the careers of emerging writers and directors. Miranda produced the 2018 feature, THE KEEPING HOURS (starring Carrie Coon and Lee Pace) for Universal Pictures and Blumhouse, and he set up Michael Davidoff’s dark comedy, DEEDS, at HBO Max.

Miranda is currently packaging a number of feature and TV projects, including OLD & UGLY, a feature drama/comedy to be directed by Michael Medico; CALL ME BY MY NAMETAG, a half-hour musical-comedy by award-winning composer/lyricist, Ben Bonnema; THE HEALER, a half-hour drama by award-winning playwright, Brooke Berman; and BOY WONDER, a feature thriller to be directed by Academy Award–winning filmmaker James Moll.

Miranda is a graduate of the University of California at Davis with a Bachelor of Arts in Rhetoric & Communication and Political Science. He has guest lectured at several film schools, including NYU, USC, and UCLA, and he has served on faculty for numerous production and screenwriting seminars throughout the U.S. and Canada.

Week Two - Live Pitches with Chris Deckard (Genre)

Date / Time
Summary

This week, the top 10 pitches in each genre will pitch to a manager for feedback. Feel free to go from room to room to listen to (and cheer on) your peers! 

Each writer pitching will get 10 minutes total for the pitch as well as Q&A with the exec, so aim to keep your pitch to 5-6 minutes. 

Host:
Chris Deckard - Manager / Co-Founder, Fictional Entity

Prior to co-founding the management/production company Fictional Entity in early 2017, Chris Deckard spent over seven years working with and representing talent at the major agencies ICM Partners and WME. While at WME, Chris worked in the media rights department, selling books for series and film adaptations before moving into the talent department, where he worked closely with high level actors in film, television, and the then-emerging digital space. While at ICM Partners, he again worked with high level actors and worked closely with the packaging and sales department and the digital media group. For over a decade, Chris has worked closely with traditional and new media buyers to find and develop content for domestic and international audiences. In addition to helping cast and package numerous features and series, he has evaluated thousands of scripts for actors and directors. Chris graduated from Cornell University and earned his J.D. from Notre Dame Law School.

Chris helps his clients navigate the evolving entertainment landscape in the United States and abroad. He has negotiated deals for features, series, and podcasts in several international territories. His clients have been named to The Black List, The Hit List, The Young & Hungry List, The Blood List and been lauded by the PAGE Awards, the International Emmys, and The GLAAD Awards. Clients have also earned nominations and placements from The Heath Ledger Scholarship, The Academy Nicholl Screenwriting Awards, the AWG, ADG, SPA, and AACTA. Clients have written, directed, starred, and produced in numerous formats, including features, TV, virtual reality, and podcasts, independently and for companies like Netflix, Lucasfilm, NBCUniversal, Legendary, Marvel, Fremantle, SyFy, the CW, Warner Bros., Amazon, Blumhouse, Hulu, XYZ, The BBC, Comedy Central, the ABC Australia, Foxtel, TruTV, Super Deluxe, Hallmark, Lifetime, CBS, Facebook, E!, and MSNBC.

Several of Chris’ clients had films shoot in 2021, including one for Netflix, and another which sold to XYZ Films, both of which are slated for 2022 release. Within the past year, clients have sold series to Amazon, Netflix, eOne, and Hulu. Chris, along with his business partner, is also an Executive Producer on a scripted series project alongside two writing EPs from New Amsterdam which sold to Universal Television in 2021.

Week Two - Live Pitches with Audrey Knox (Comedy)

Date / Time
Summary

This week, the top 10 pitches in each genre will pitch to a manager for feedback. Feel free to go from room to room to listen to (and cheer on) your peers! 

Each writer pitching will get 10 minutes total for the pitch as well as Q&A with the exec, so aim to keep your pitch to 5-6 minutes. 

Host:
Audrey Knox - Manager, Cartel Entertainment
A graduate of Chapman University’s Dodge College of Film and Media Arts with a BFA in screenwriting, Audrey Knox worked her way up from receptionist to manager in two years at the Cartel and now has clients staffed on GROWN-ISH and P-VALLEY. Audrey has experience in both scripted and unscripted television, on set, in production, and in writers’ rooms. Company clients’ credits have included LUCIFER, HAPPY DEATH DAY, BOJACK HORSEMAN, BROOKLYN NINE-NINE, and HAPPY! to name a few.

Week Three - Panel: Before and After the Pitch

Date / Time
-
Summary

This week, we will learn how best to prepare for a pitch (research!) and what to do after a pitch (questions they may ask, how and when to follow up, etc). 


Panelists 

Mark Saffian is a graduate of UC Santa Barbara with a degree in Film Studies. He is the owner of literary management company Content House which represents dozens of New York Times Best Selling Authors, screenwriters, directors, and production companies, as well as top names in comic books, video games, and new media. Projects include THE CROOK FACTORY based on the best-selling novel by Dan Simmons (THE TERROR, HYPERION) and the television series ONE SECOND AFTER with Constantin Films based on the best-selling trilogy of books by William Forstchen. Recently, Content House sold or set up series on behalf of its clients to eOne, Warner Bros. Studios, Warner Animation, CW, Comedy Central, Showtime, and HBO. Mark began his career working in the mailroom at Agency for the Performing Arts (APA) before being promoted to an Assistant in the Packaging Department and eventually becoming the Literary Department Development Coordinator where he helped develop pilots and films including the television series 24. After APA, Mark worked as a Development Executive and Story Editor for Sony Pictures (GHOSTBUSTERS: AFTERLIFE; AN AMERICAN PICKLE) and Sid Ganis/Out of the Blue Entertainment where he was a story editor on BIG DADDY and DEUCE BIGELOW: MALE GIGOLO.

More about
Roadmap Writers

Roadmap Writers is a talent training and discovery platform for screenwriters ready for a guided path to success. Our programs are hosted by working industry executives and are designed to empower writers with actionable tools and insights to elevate your craft and cultivate relationships with industry professionals. Since 2016, we have helped hundreds of writers from all over the world sign to representation, staff on series, and option and produce their projects. Our writers have been staffed on BRIDGERTON, THE FLASH, CHICAGO PD, THE FIRST LADY, NIGHT COURT, THE GOOD DOCTOR, THE RESIDENT, REACHER, SUBJECT TO CHANGE, MAYANS and POKERFACE. Writers have sold, set up and been produced by Netflix, Amazon, Hulu, MGM, American High, New Republic Pictures, Maven Screen Media, Lifetime, Will Packer Studios and Roku. 

Chris Deckard
Manager / Co-Founder
Fictional Entity

Prior to co-founding the management/production company Fictional Entity in early 2017, Chris Deckard spent over seven years working with and representing talent at the major agencies ICM Partners and WME. While at WME, Chris worked in the media rights department, selling books for series and film adaptations before moving into the talent department, where he worked closely with high level actors in film, television, and the then-emerging digital space. While at ICM Partners, he again worked with high level actors and worked closely with the packaging and sales department and the digital media group. For over a decade, Chris has worked closely with traditional and new media buyers to find and develop content for domestic and international audiences. In addition to helping cast and package numerous features and series, he has evaluated thousands of scripts for actors and directors. Chris graduated from Cornell University and earned his J.D. from Notre Dame Law School.

Chris helps his clients navigate the evolving entertainment landscape in the United States and abroad. He has negotiated deals for features, series, and podcasts in several international territories. His clients have been named to The Black List, The Hit List, The Young & Hungry List, The Blood List and been lauded by the PAGE Awards, the International Emmys, and The GLAAD Awards. Clients have also earned nominations and placements from The Heath Ledger Scholarship, The Academy Nicholl Screenwriting Awards, the AWG, ADG, SPA, and AACTA. Clients have written, directed, starred, and produced in numerous formats, including features, TV, virtual reality, and podcasts, independently and for companies like Netflix, Lucasfilm, NBCUniversal, Legendary, Marvel, Fremantle, SyFy, the CW, Warner Bros., Amazon, Blumhouse, Hulu, XYZ, The BBC, Comedy Central, the ABC Australia, Foxtel, TruTV, Super Deluxe, Hallmark, Lifetime, CBS, Facebook, E!, and MSNBC.

Several of Chris’ clients had films shoot in 2021, including one for Netflix, and another which sold to XYZ Films, both of which are slated for 2022 release. Within the past year, clients have sold series to Amazon, Netflix, eOne, and Hulu. Chris, along with his business partner, is also an Executive Producer on a scripted series project alongside two writing EPs from New Amsterdam which sold to Universal Television in 2021.

John Miranda
Producer / Manager
John Miranda Entertainment

John Miranda is an award-winning producer and literary manager whose work includes collaborations with some of the entertainment industry’s most acclaimed storytellers.

Miranda began his film career in 1990 at Amblin Entertainment as Steven Spielberg’s personal assistant, where his initiation into the world of film included working alongside Spielberg during the development and pre-production on SCHINDLER'S LIST, JURASSIC PARK, and HOOK. Within his first year, Miranda’s instincts for storytelling caught the attention of Amblin’s creative team, and he was promoted to the company’s story department and began forging relationships with some of the industry’s most exciting writers.

Miranda’s early success led to a Story Editor position with one of his cinematic heroes, renowned director, Norman Jewison. Miranda was instrumental in the acquisition and development of Jewison’s highest profile projects from the 90s, including THE HURRICANE starring Denzel Washington, and ONLY YOU, starring Marisa Tomei and Robert Downey, Jr. Miranda further distinguished himself by developing and selling Ryan Muphy’s first feature screenplay, WHY CAN'T I BE AUDREY HEPBURN?, and he was pivotal in the development of Greg Berlanti’s first feature, THE BROKEN HEARTS CLUB.

Having established a reputation for identifying and mentoring emerging talent, Miranda caught the attention of entrepreneur, Ken Lipper, and together they launched a New York-based film company, Ken Lipper Productions. Miranda oversaw production on the Academy Award winning documentary, THE LAST DAYS (directed by James Moll), as well as the late Alan Rickman’s directing debut, THE WINTER GUEST, starring Emma Thompson. Miranda also collaborated with Broadway hit-makers Steven Sater (SPRING AWAKENING) and Scott Ellis (TAKE ME OUT; MARVELOUS MRS. MAISEL).

After a successful chapter in New York, Miranda was approached to work with director James Mangold (FORD V. FERRARI; LOGAN) at TreeLine Film. As Vice President of Production, Miranda oversaw TreeLine’s robust slate of film and TV projects, including the critically acclaimed 3:10 TO YUMA starring Russell Crowe and Christian Bale, KNIGHT & DAY, starring Tom Cruise and Cameron Diaz, the ABC series MEN IN TREES, as well as the film adaption of Richard Ford’s award-winning novel, THE SPORTSWRITER, for HBO.

In 2014 Miranda formed John Miranda Entertainment, a production and management company, where he produces own slate of film and TV projects, and manages the careers of emerging writers and directors. Miranda produced the 2018 feature, THE KEEPING HOURS (starring Carrie Coon and Lee Pace) for Universal Pictures and Blumhouse, and he set up Michael Davidoff’s dark comedy, DEEDS, at HBO Max.

Miranda is currently packaging a number of feature and TV projects, including OLD & UGLY, a feature drama/comedy to be directed by Michael Medico; CALL ME BY MY NAMETAG, a half-hour musical-comedy by award-winning composer/lyricist, Ben Bonnema; THE HEALER, a half-hour drama by award-winning playwright, Brooke Berman; and BOY WONDER, a feature thriller to be directed by Academy Award–winning filmmaker James Moll.

Miranda is a graduate of the University of California at Davis with a Bachelor of Arts in Rhetoric & Communication and Political Science. He has guest lectured at several film schools, including NYU, USC, and UCLA, and he has served on faculty for numerous production and screenwriting seminars throughout the U.S. and Canada.

AE Jones
Literary Manager
Stagecoach Entertainment

AE Jones is a television literary manager at Stagecoach Entertainment, where they keep the shifting television market in constant perspective for clients and oversee all tracking of development and staffing opportunities for writers across broadcast, cable, and streaming.

In addition to their experience across representation, production, and business and creative development with companies like Paradigm, NBCUniversal, Red Bull Media House, and Manatt, Phelps, and Phillips, LLC, Jones served as Associate Producer of Enough Room, a social impact comedy short that tackles the issues of passive racism and societal expectations while inviting an authentic connection in the face of adversity - all on a first date! Pursuing and developing this story in early 2018 sparked their passion for centering voices that have yet to be heard and need to be seen on television.

Jones is drawn to stories about outsiders seeking connection, characters breaking and creating their own norms, and nuanced conversations about queer and First/Second Generation experiences. If you can make them laugh at the same time, even better.

Daniel Seco
Literary Manager
Empirical Evidence

A graduate of the University of Maryland and the University of Florida with a master’s degree in journalism, Dan Seco is currently a literary manager and partner at Empirical Evidence where he represents both writers and directors for film and television. Previously, Dan served as a literary manager at Schemers Entertainment (STRANGER THINGS; THE GREATEST SHOWMAN) and was a motion picture literary coordinator at Writ Large (SHIMMER LAKE) and an assistant for a motion picture literary agent at CAA. Prior to moving to Los Angeles, Seco worked as a sports journalist covering MLB, US Soccer, and the NBA, as well as a special education teacher in New Orleans.

Mark Saffian
Manager / Co-Founder
Content House

A graduate of UC Santa Barbara with a degree in Film Studies, Mark Saffian is the owner of literary management company Content House which represents dozens of New York Times Best Selling Authors, screenwriters, directors, and production companies, as well as top names in comic books, video games, and new media. Projects include THE CROOK FACTORY based on the best-selling novel by Dan Simmons (THE TERROR, HYPERION) and the television series ONE SECOND AFTER with Constantin Films based on the best-selling trilogy of books by William Forstchen. Recently, Content House sold or set up series on behalf of its clients to eOne, Warner Bros. Studios, Warner Animation, CW, Comedy Central, Showtime, and HBO. Mark began his career working in the mailroom at Agency for the Performing Arts (APA) before being promoted to an Assistant in the Packaging Department and eventually becoming the Literary Department Development Coordinator where he helped develop pilots and films including the television series 24. After APA, Mark worked as a Development Executive and Story Editor for Sony Pictures (GHOSTBUSTERS: AFTERLIFE; AN AMERICAN PICKLE) and Sid Ganis/Out of the Blue Entertainment where he was a story editor on BIG DADDY and DEUCE BIGELOW: MALE GIGOLO.

Audrey Knox
Manager
Cartel Entertainment
A graduate of Chapman University’s Dodge College of Film and Media Arts with a BFA in screenwriting, Audrey Knox worked her way up from receptionist to manager in two years at the Cartel and now has clients staffed on GROWN-ISH and P-VALLEY. Audrey has experience in both scripted and unscripted television, on set, in production, and in writers’ rooms. Company clients’ credits have included LUCIFER, HAPPY DEATH DAY, BOJACK HORSEMAN, BROOKLYN NINE-NINE, and HAPPY! to name a few.
Testimonials

Mark not only identifies key script issues but generates multiple options to resolve them. He's great at finding ways to move forward.

~ Anonymous Screenwriter

Mark cares about your project and it comes across in his ease and likability. His notes are thoughtful and considerate. He never once made me feel pressured or anything less than a creative. You truly feel he's in your corner and he breaks down your work in ways that are easily understood. I have much appreciation for him in this mentorship.

~ Anonymous Screenwriter

Grateful for our Skype time. I felt I communicated the heart of the script, and more so, Daniel was attentive and receptive, so there was a flow space between us. Even if nothing comes of it, it was an empowering experience in its own right.

~ Richard Winzeler, Screenwriter

Mark's notes have triggered breakthroughs on some really tough script issues that I have struggled with for quite a while. He seems to get what I'm trying to do with a script, and his suggestions have always been consistent with the core vision I started out with. Sometimes notes reflect a lot about the person giving them and would push a script in a direction that reflects their tastes more than mine - but Mark has a knack of making suggestions that improve the script without intruding on my role as the writer or leading me in directions that I later have to backtrack on.

~ Greg Price, Screenwriter

Dan is awesome. I like to go to Dan after I have made a few rewrites and get an honest opinion. I think Dan has really good insight into whether the story's world is as "big" as it should be, if the potential is there to make it bigger and honestly whether or not it is viable as entertainment. He asks great questions and points out areas that are not fulfilled in the story. Definite recommend from me.

~ John Darbonne, Screenwriter

I cannot recommend Audrey enough - from moment one, she brought in a down to earth real-person demeanor, and then when we got into the work, her feedback was actionable, no-bullsh*t, and the real deal. She has a steady finger on the pulse of this industry & knows what works and what doesn't. I'm so grateful for the few sessions I've done with Audrey, all of which eventually led to a working relationship where she's now taking out some of my scripts for staffing & development opportunities!

~ Tristan J Shuler, TV Writer

Audrey is very straight-forward, blunt even. Not for everyone, but for my stubborn writer brain, it worked perfectly! She makes sure to start and end each session with positive aspects & compliments, and she's very helpful if you're actually open to hearing what she's saying. She's great at structure and even gives specific solutions to page problems to make the story an easier read. I would recommend Audrey to any writer who is serious about starting their career and is not easily defensive when getting notes about structure.

~ Anonymous Screenwriter

Audrey was really helpful. I've heard similar notes about my structure before, but I never heard it explained as clearly and concretely as Audrey did. I'm so glad I signed up for this session and was able to connect with Audrey!

~ Darci Faye, Screenwriter

Chris is one of my FAVE execs! He was professional, kind, truthful, helpful, and encouraging. He offered suggestions for elements that did not work so well and kudos for those that did. He provided detailed feedback that helped me have options going forward and encouraged me to submit an improved script for a longer feedback session. He was interested in my project from a perspective of helping me be a better writer vs. just trying to get through the meeting and move on. I appreciated his manner and excellent tips and I will definitely be seeking his feedback in the future. I HIGHLY recommend him!

~ Anonymous Screenwriter

Chris is truly terrific: organized, concise, knowledgeable, and full of good advice always. His guidance really helped me get my portfolio ready for prime time!

~ Michael Conniff, Screenwriter

Dan is so generous and overwhelmingly supportive, while still being very honest and constructive with his feedback. It's a rare combination. I highly recommend!

~ Karen Mueller Bryson, Screenwriter

I've never met someone who knows story as well as Chris. His insights into the state of my writing and useful suggestions are backed up by his expansive knowledge of film. I couldn't have asked for a better mentor.

~ David Karner, Screenwriter

Daniel was prompt, considerate, and gave genuine, thoughtful feedback very quickly after our session. I could not have had a better experience! Thanks for this and everything you guys do at Roadmap!

~ Andrew Adair, Screenwriter

How it Works

Cancellation Policy: You may cancel for a full refund up to 5 days prior to the start of the class. Cancellations requested after this period will be ineligible for refunds.

Please ensure you are familiar with our Code of Conduct.

The Roadmap Promise

Roadmap Writers prides itself on the quality of executives we bring to our programs and we work hard to get you the best feedback possible.

Our vetted executives are chosen by the legitimacy of the companies they work for and their ability to evaluate pitches and pages.

Only the executives you sign up for will be provided with your materials.