I’m half way through writing a pitch document and it’s doing my head in. The pitch is for a scheme called Metlab which is a scriptwriting training course I recently found out about via Lucy’s blog. I wasn’t going to submit anything at first because I was working on material for short films - I had my plan all set out and tackling a feature wasn’t due until next year. Then I realised how foolish that was and that here was an opportunity I should go for. The worst case scenario is that I don’t get accepted. The best case scenario is that I end up with a fully completed script which may be seen by some prodcos. But even in the worst case, I’ll still end up with a pitch document and an outline and something to work on.

I’ve spent the last 10 days working on the characters and plot outlines of the story. There have been copious emails sent by me to a friend bandying various ideas around and thrashing out various points and that’s been very helpful - everytime he makes a suggestion I think about it and if it’s a non starter, I spell out exactly why it’s a non starter and give reasons either to do with the story or the characters. I suppose it helps that variations of this script have been floating around in my head for the last 7 or 8 years. (Ouch!)

It’s also helped because I’ve now got a better idea of the, ahem, sequels and how they fit into the overall story arc. Ambitious much?

The story’s still not all there. My third act is rather sparse and my second act is a little patchy. I have one or two subplots that I dither about including or not. One in particular I know would help me out considerably by providing a more substantial antagonist and more direct conflict. My reluctance to include it, though, stems from the fact that it will necessitate the introduction of a MacGuffin - in fact the whole subplot might well be one - and I’m very loathe to do that. It feels forced already. However, I can see the advantages of including it and how it well help aspects of the story (as well as providing a link to the first sequel).

Generally though, it’s there and I’m itching to get writing it. But I have to get this pitch document out of the way first. The problem here is that, while I understand what one is and what it should contain, I’ve never actually seen one so don’t know whether I’m writing too much or too little. I don’t know what acceptable ways of outlining the protagonists obstacles are or how much to explain the resolution and third act. And then there’s the dreaded issue of “Theme” and what that is.

Fortunately the deadline is still two weeks away so I don’t need to rush just yet.