13 Frequently-Used Phrases That Make You Sound Like a Hollywood Rookie

Rookie Mistakes That Writers And Directors Make in Hollywood Meetings

Rookie mistakes can add up—make enough of them in a pitch meeting, and your project may not move forward.

Free Bonus: Click here to download a guide to the 20 screenwriting terms you must know to avoid sounding like a rookie.

Unfortunately, even experienced pros can sound like amateurs sometimes because it’s rare that you get feedback after a pitch meeting about the small mistakes you made.

Let’s talk about 13 phrases which make you seem like a rookie–even if you’re not.

Don’t Be Fooled By What You See on TV

If you have looked for information about how to handle yourself in a pitch meeting, you know that there isn’t that much available. Episodes of Entourage. The opening scene from The Player. Pitch meeting parody videos on YouTube such as this, this and this.

You see the pitchers acting slick and sales-y. Pumping up the people who are listening.  Using insider lingo like “This is really high concept. We’ve had lots of interest. Tom Cruise was attached….”

Having participated in thousands of pitch meetings as a studio executive at MGM Pictures, many pitch meetings are like this—and they are not successful.

The issue is that what you’re seeing on TV and film is good for storytelling, and is a version of what often happens.  However, it is not an accurate representation of what happens when a pitch is successful.

13 Phrases to Avoid

  1. “High concept.”  If your idea is high concept, it’s obvious. If it’s not, saying it is won’t help.
  2. “We’ve had a lot of interest.”  To a decision-maker, this is code for, “Lots of people have read this but none of them have liked it enough to get involved.”  This is related to how people try to amp up the decision-maker in advance of the pitch by saying positive things—the most common pitch meeting mistake.
  3. “With the right cast….”  Yes, of course.  Every project needs the right cast. If you need stars to make your script work, the decision-maker will guess the story isn’t that good.
  4. “This is a very unique project.”  This sentence sends up a red flag. If it’s “unique” it usually means that you haven’t done enough research to understand the genre, or that your project is so particular that it could be impossible to sell.  Neither is good.
  5. “Trials and tribulations,” “Thrill-a-minute.”  If you speak in clichés in the meeting, the decision-maker will assume that your writing is full of clichés.
  6. “It’s funtastic.”  Avoid puns. They rarely produced the desired effect.
  7. “A pseudo/quasi/very very secret society.”  Strong ideas don’t need qualifiers.
  8. “With a message.”  When you highlight the message, this means that you’re focused primarily on teaching the audience a lesson instead of telling a great story.
  9. “I’ve been working on this film for 11 years.”  You’re committed, okay, but possibly inept.
  10. “Attached was (some star) and (some director).”  This is the equivalent of saying, “Here is a list of the people who have already passed on this project.”  Don’t talk about who has read, or been interested, or previously was interested.
  11. “I’m not very good at pitching.”  If you apologize for yourself before pitching, you’re not making a good first impression.  Buyers want to work with professionals.
  12. “And… you can fill in the blank….”  Pitching to a decision-maker isn’t a game of Mad Libs. They don’t appreciate gimmicks to try and “intrigue” them.  Filling in the blank is your job.
  13. “You’ll have to read the script to find out what happens.”  I’ve never heard of a script being purchased when this line has been uttered in the room.  It’s your job to create a great ending to your story and be able to pitch it effectively.

If you avoid these thirteen phrases, you’ll soon discover that you’re not embellishing your pitch, or qualifying it, or obscuring it.  You’ll just be pitching your story in a clean, simple, and clear way.

And that’s how you sound like a pro.

Can you add any rookie phrases to this list? Would love to hear your thoughts.

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  1. I don’t know the right place to ask this question. We have scripts and a produced pilot that we are ready to show someone, but are looking for producers who will let us keep the cast we used in the pilot. What is the language? Are we looking for producers? Are we looking for funding (This is an educational TV show for children).? When a company like Amazon is interested are there opportunities to use your own people in the film?
    Basic questions but we are new at the business side of this.

    • Hi Carolyn. Good questions. Yes, you could be looking for producers, funding, or both. You may already have done this, but I recommend researching the educational TV shows that are most like yours and then seeing what you can find out about how they were purchased and produced. If Amazon or a company like that is interested, sometimes they will want to keep part or all of your cast (especially if they are stars with established track records). This is all open to negotiation. In general, however, the more requirements and attachments to a project (especially without established credits in the same genre), the harder it is for a deal to close.

  2. Hi Stephy! I hv an idea regarding regarding reality TV show. It’s a (concept) about social challenges that we face which we do not talk about. Do I first have to write a script. So far I have written the idea down., objectives and the moral behind it. I do not know what to do from. Kindly advise on I need to do as step forward.

    • There are lots of part-time jobs available for writers on Craigslist, Upwork, and other job sites. Unfortunately, there aren’t part-time TV or film writer jobs (that pay), but most writers start working on spec and then build their reputation by working for free initially.

  3. I am presently working on my first play, having in mind is what u said I shouldn’t… I would have fall into this clunker if not for ur useful information. A very big thanks to you as I will also share your relevant info to my goal archiving partners.

  4. I just wrote my Lil book like 5he way I am it’s just me thank you for all the tips but I’m leaving mine raw…it’s true …it’s me…it could be you about my abuse and how meeting stars changed my life…it has feeling lots of feeling something I needed to put on paper…now to find away to type it hee…since I hand wrote it Thank You Cindy Summers

  5. thanks Stephanie for all these tips.
    but something i don’t yet understand is how can i do so that i get in contacts with agents from hollywood since i’m not in the USA.what can possibly be the best way??i would like to share my story since i think it is a big science-fiction story.

    • Agents almost always find new clients based on referral. This can be challenging outside the US, but if you have had teachers or filmmakers in your country whom you know, that can be a connection point for finding representation.

  6. All your articles are so incredibly helpful. Thank you so much. Lots of good info throughout your site.

  7. If pitching, would you say its a bad idea to say that your open to suggestions from them, i.e. if they wish to make any changes in the story for improvement?

  8. I have yet to pitch either of my screenplays to professional producers, literary managers, agents, film-star actors, etc. in the flesh in Los Angeles but I know already I would never say any of the above. I think I have such good and captivating stories for my films then even as I talk about them I excite myself with the plots and characterisations. If anyone after that turned me down, I would think – what a fool!

  9. Do you know of anyone who has sold a script from a distance, without a personal meeting to pitch it? I live in New Zealand. Travel is a pretty expensive undertaking…( A friend tried to comfort me recently by saying, ‘Yes, you have some interesting ideas. Don’t worry. They will one day see the light if they are buried with you. You can’t keep buried a story whose time has come.” I had to laugh, “Gee, thanks.”)

    • Unfortunately, I do not. This doesn’t mean that it hasn’t happened, but the vast majority of projects are purchased after in-person meetings. Things can get started over Skype or even email, but if someone is interested, they will almost always want to meet in person before committing any money. But keep in mind that a Hollywood studio isn’t the only avenue to get stories seen– books, webisodes, independent films, blogs… can all be avenues to get your work seen by a large audience and these opportunities don’t require lots of expensive, international travel.

  10. Hi Stephanie,

    Thank you for all of your articles and free advice. I have learned a lot from what you have posted.

    I have a question:

    I live in Kansas City and was wondering if it is possible to sell a script if you don’t live in Los Angeles?

  11. I would probably pitch my movie with sound effects included… This most likely would be looked down upon and be a sign you are a rookie.

  12. I know at some time I’ll have to pitch, but still it feels intimidating. Thanks Stephanie for your help, I’ve learnt heaps. I was just wondering, in general do many writers pitch their own ideas?

    • Yes, almost all writers do— it is an essential part of the process and it gives the potential buyers a chance to get to know you and decide if they can work with you. Films and TV shows are made collaboratively and pitching ideas back and forth is something that happens throughout almost every project.

  13. Stephanie….strange our paths have not crossed…creatures of hollywood, mgm, etc.
    anyway…just wanted to tell you how usefull your gems of wisdom are when it come to pitching and just acting like a real screenwriter. I make wonderful use of lots of your material in teaching at National Film & TV School, uk, London Film School, EICTV, Cuba, etc…thanks and good wishes

  14. Thanks, Stephanie. Yes, I would’ve made several of those mistakes about the scripts being “unique”. All I did today was breathe deeply, and expect to remember your pro insights.

  15. This article is very insightful, as I continue to learn, grow, and adapt with industry counterparts this information helps me to categorize and understand the pecking order of those I am interacting with. I genuinely hope serious entertainment professionals do their due diligence to learn and apply principles in this article and ones like it.

  16. Wow, Stephanie,

    It’s amazing how consistently rich your information is. I’m always anxious to see what you’re sending and you never disappoint. Thank you!


  17. FIRST: The most important item I wish to address is the plethora of information you extend to each of us…so a big thank you to you! It’s amazing, the amount of work you’ve done. SECOND: I love how each person can add to, or voice an opinion, or whatever, on your site. There are a lot of good thoughts and writers out there with an opinion or some type of contribution that matters. Thank you to them. Thank you for your talent, words of wisdom and the opportunity to learn something new each day. Best to all.

  18. Ideas? I can’t even get pass the name game. In a town where credit is king, the Industry seems more apt to buy names than ideas. I have a prime-time animation, which is a BIG ASK from a network. Frankly, I’m not “big enough” to ask it…. even if I do get into a pitch room. It’s one thing for an executive to say, “Hey fellas, it was Seth McFarlane, we all thought it would go,” and nobody gets fired. But plug in a no-name with no street creds into that equation, and the executive at the network who took the risk with someone they thought had a great idea but no track record gets a big black mark.

  19. I greatly enjoy these insights on here. It seems the great qualities to aspire to are professionalism, skill, confidence and, hopefully, originality. And yet what mostly comes out of the studio system is formulaic, bland and derivative. It’s as though the long process and many people involved in greenlighting a film somehow bleeds the life out of it. Is that fair? Or no?

      • Good analysis. Probably the best I’ve read. I’m pretty sure you’re right, studio execs don’t pull a “How to Make a Crap Movie” manual out when they decide to spend $50 million. Crap movies are accidents, caused by unfortunate choices somewhere along the way.

        I’ve watched otherwise good movies ruined by terrible scores (Yes, for me music can ruin a movie.) or by poor casting . I’ve read hilarious screenplays made into apparently unwatchable movies (“The Voices”). Why did “Casablanca” and “Chinatown” and “The Godfather” work? Nothing distracted or detracted. All the elements worked at once. The best we can hope for is to work hard enough to become good writers and try to ride on the coat tails of great teams.

  20. Well that’s a positive. I’ve never done any of those and I never would.
    (Chance would be a fine thing.)
    In the music business there are well connected people called ‘songpluggers’ who are employed by songwriters to take their songs around A&R; Managers; Artists, Labels etc and try and get them used.
    Are their similar people in the Film business ?
    Or are they just called agents ?

  21. You forgot, “have your people call my people, and we’ll take a meeting and do lunch.”

    I’m not triskaidekaphobic, however, there are probably more than simply 13 phrases that can get you unceremoniously thrown out on your ear from a pitch meeting.

    Not having something else to pitch comes to mind. The producer may say something like, “That’s great, what else you got?” And you’ve got about 3 seconds to start into your second pitch.

  22. This is a nice list, albeit obvious. I read a lot of ‘What not to do,’ lists. It would be nice, for a change, if someone could write an article on what TO do in a pitch meeting. No one seems to do that, from what I see.

  23. Hi Stephanie

    I am running with a script and making a short out of it.
    Am I burning my bridges in being able to sell it after the short is made?

    the movie I’m writing is very Guy Ritchie style how much do I ask for $$$$?

  24. Phrases that make me cringe:

    Tied into number 9: “I based this on my novel I published/play I wrote…” Which always leads me to ask how those did. Too often the answer is it didn’t sell well or at all, or the play was never produced. What’s the point of bringing those up if you can’t leverage that to demonstrate the viability, marketability or proof of your concept?

    A variation of no. 10: “I sent it to X…”

    “I haven’t figured that part out yet…” or “I’m not married to that and I can change it if you need me to…” Commit to your choices.

    “I originally wrote this for Y…” This always sounds arrogant unless you actually know the actor. Plus, in my experience, it’s amazing how often a writer will demonstrate an obliviousness to the roles an actor has played or the very public comments they’ve made about particular roles. Doesn’t seem you’re actually as into Y or a student of their career as you think.

    “It’s exactly like [insert successful film]” or “It’s like [insert obscure film] so I know it can…” The more successful the film, the more obscure the film, the more intense the internal sigh. Nothing wrong with being inspired by great films, just don’t imply from jump you’ve replicated what came before. And regardless of the stereotypes, most folks are not trying to copy what other folks are doing.

    “First I have to give you a little setup or backstory…” So information that won’t be in the film that will help me understand the story? Awesome, the audience will enjoy this film even more without the benefit of footnotes or commentary. What’s worse is when a writer never needed to tell you that setup to begin with. It’s a sign you lack confidence in either your writing or that particular story.

    And my favorite: “Except here’s the twist…” “Or what they don’t know…” So one, you’ve strung me along on a story I might have liked up to that point to basically tell me you’re going to rely on a gimmick instead of actual storytelling? Two, why didn’t you set that up and have that event happening parallel? Instead of having my excitement level raised as you tell the story because I’m invested to see how these two events or characters are going clash and affect the story, I get to basically reboot and hope the pay off is worth it.

    • My favorite thing you wrote (and there are so many gems in here) is “The more successful the film, the more obscure the film, the more intense the internal sigh.” So true, Charles! Thanks for these fantastic additions to the list.

  25. Whether people decide to feed into an idea is an open ended question in itself. There is no telling what gets the attention of the average everyday audience since so people are into different things. Some might like fashion, some like talk t.v., others like recipies and exchanging ideas. There is no science to like or dislike, except to click the channel.

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