Hey, welcome to the screenwriting life. I'm Meg Lafour. And I'm Lorraine McKenna. We are professional screenwriters. We've worked together as a team and separately. We've worked on studio and indie films, live action and animation from my work on Inside Out and

Captain Marvel. To my work in Pixar Story Department on Up, Brave, and Inside Out.

We are here to share our insights on the craft of screenwriting and also the lights had a not only

survive the ups and downs but thrive. We want to help you become the best

screenwriter you can be and to reassure you that you are not alone on this journey.

All right y'all a quick reminder that this is actually a part two with A-list producer Sheila

Hanahan Taylor.

The only reason I say that is because some of what we say in this conversation is informed

by the rookie mistakes and genre

episode which dropped Sunday but this episode is entirely focused on pitching.

And super quick you may hear a couple moments when it sounds like the

recording sort of atmosphere is changing

in terms of what you're hearing from a technical standpoint that's because our

extraordinarily dedicated and conscientious producer Sheila sent me some beautiful pickups that

answer just a couple more questions we thought you might have so this is a

full-packed episode and I'd highly encourage you to grab a pen and paper

before we dive in.

So I want to make sure we get to pitching because you're so good at it.

Now there's different pitching, right? Like, and I'd love if you have time to talk about both. One is,

you're a pitch. You're going to go in, you're going to pitch a whole story, you're going to leave stuff or not leave stuff and what do you have to have in terms of accessories? There's that pitching and then there's the pitching what in the olden days I don't know if it's still called this the elevator pitch right where you just have to is it still called

the elevator. But yeah right now it's the Zoom meetup. even on a COVID, but yeah. Right?

Now it's the Zoom meet-up.

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