[Archer Smith]

Archer Phone Pitch

Lead with a great title

Script Pitch:

Hello, I’m [name] and I have an exciting Florida-based dramedy titled Orange Juiced. It’s about a smug armchair detective who becomes the next gullible victim in the very scams she built a career ridiculing.

Producer Questions:

Budget range: $1million per episode

Main roles: Jennifer Carpenter, Chloe Fineman

Page count: Pilot script is 62 pages

Others who’ve seen it: N/A

Fits company: Florida setting and upside-down take on true crime trends

Ending (setup/payoff):

Setup: Remy’s ego ensnares her in a con man’s scam.

Payoff: She gains empathy and collaborates to expose his shocking web of deceit.

[Archer Smith]

Pitch Fest Pitch

Hello, I’m [name] and I specialize in sharp female led dramedies crime twist.

Today, I have a 1-hour dramedy called Orange Juiced. A cocky Florida criminologist ridiculing female victims becomes the next gullible mark herself, forcing her to gain empathy and discretion to expose the chilling truth.

What is the budget range? 750 to 1 million an episode

What actors do you like for the lead roles? Lizzy Caplan and Chloe Fineman.

Give me the acts of the story:

Act 1 –

Remy’s passion for true crime is mocked by her cop sister Marge, though Remy is convinced she could solve an actual case. After a demotion, she discovers her new co-worker Meatball secretly aids online detectives. But when Remy spots oddities in her mom’s retirement home sale linked to developer Chad, her rogue investigation begins.

Act 2 –

Certain she’s found a real crime to solve, Remy recklessly investigates Chad. But when her gullible friend Miranda falls for Chad’s employee, Remy finds herself the perfect mark for Chad’s schemes.

Act 3 –

Forced to gain empathy, Remy collaborates with Miranda, Meatball and an intrepid band of armchair detectives to carefully unravel Chad’s far-reaching web of deceit and corruption.

How does it end? (setup / payoff)

At the start, Remy derides female victims as foolish. In the end, she understands how easy it is to be deceived and gains compassion for those she once mocked.

Credibility questions:

I worked in production for years and remain an avid student and enthusiast of television and film. My deep knowledge comes from consuming hours of content across genres and obsessing over what makes stories succeed or fail.

[Archer Smith]

Query Letter

What I learned – clearer that this is a great thing to do sooner than later..

OPENING HOOK: After relishing in deriding “gullible” women in true crime cases, a smug Florida armchair detective makes herself the next easy victim in a femme fatale plot she built a career ridiculing.

Dear [Name],

SYNOPSIS:
This timely 1-hour dramedy follows Remy, a cocky Florida criminologist hungry to prove her superior sleuthing skills. But when Remy’s reckless investigation into a charming real estate developer ensnares her as the next duped woman in the scams she mocks, she’s forced to gain empathy and discretion to expose the chilling truth.

Combining the quirky character dynamics of Search Party with complex female relationships a la Claws, this zeitgeisty series hilariously skewers beloved Florida absurdity tropes. Remy’s arrogance blinds her to the obvious corruption surrounding a gullible friend’s questionable new beau. But this dismissed confidante may hold the key to unraveling the con man’s web Remy is so certain she can dismantle.

BIO: As a writer enthralled by the true crime genre but aware my own bravery likely falls short, I love studying what makes for compelling stories that hook audiences and keep them engaged. I’m also a media enthusiast focused on understanding the factors that determine a show’s success from start to finish.

If you enjoy this timely Florida-flavored concept subverting true crime conventions through an upside-down perspective, I’d be happy to send the full script. Thank you for your time and consideration.

Sincerely, [Name] [Contact Info]

[Archer Smith]

Tell us your High Concept and Elevator Pitch.

Here are simple 1-2 sentence answers for the true crime dramedy concept:

1. To find your main hook, tell us what the big picture explanation of your lead character’s journey is.

A smug Florida criminologist’s arrogance blinds her to corruption under her nose until she becomes the next gullible victim in the very scams she mocked.

2. How can you tell it in the most interesting way possible?

Dilemma – Salvage her reputation or expose harsh truths.

Main Conflict – Prove her skills or become the mocked victim.

What’s at stake? Her credibility.

Goal/Opposition – Take down the con man who beat her.

3. Using the 10 Components of Marketability, what is your Elevator Pitch?

I’m finishing a zeitgeisty true crime dramedy that hilariously skewers Florida absurdity tropes by forcing a smug expert to gain empathy when scams she mocked ensare her.

[Archer Smith]

High Concept/Elevator Pitch

1. To find your main hook, tell us what the big picture explanation of your lead character’s journey is.

A smug armchair detective’s overconfidence blinds her to the obvious corruption under her nose until the very scams she derides implicate her, forcing her to gain humility and discretion to reveal the chilling truth.

2. How can you tell it in the most interesting way possible?

Dilemma – Salvage her reputation by burying the truth or own her mistakes and take down the old boys’ club.

Main Conflict – Prove she’s a skilled detective versus become the gullible victim she mocked.

What’s at stake? Her credibility and the safety of dismissed women.

Goal/Unique Opposition – Take down the cunning con artist who beat her at her own game.

3. Using the 10 Components of Marketability, what is your Elevator Pitch?

I’m finishing up a timely true crime dramedy that hilariously subverts beloved Florida absurdity tropes by forcing a conceited criminology buff to gain compassion when the very scams she arrogantly mocks ensnare her. It combines the quirky character dynamics of Search Party with the complex female relationships in Bad Sisters and themes of courage in the face of adversity like Claws. The protagonist’s journey taps into the popularity of true crime entertainment while giving it a fresh upside-down perspective. With its zeitgeisty premise exploring hubris and redemption, it’s primed to resonate

4. After relishing in deriding “gullible” women in true crime cases, a smug Florida armchair detective desperate to prove her unmatched skills makes herself the next easy victim in a femme fatale plot – forcing her to gain discretion and empathy to unravel the chilling truth and take down the old boys’ club.

[Archer Smith]

10 Interesting things

Major Opening Scene Hooks:

Remy arrogantly mocks exploited women on true crime podcasts, oblivious to her own blind spots as an investigator.

Turning Points:

Disgraced from her true crime group, Remy pursues justice against Chad on her own.

Major Twists:

Remy cuts off friend Miranda for dating shady Dave, unaware Miranda has inside info on Chad.

Remy’s own friend Louisa, not Remy, is the one who first uncovers the link between Miranda’s boyfriend Dave and villain Chad.

Emotional Dilemmas:

Remy debates exposing Chad publicly vs privately when she learns it could jeopardize her sister the cop’s career, as her sister already mocks Remy’s true crime interests.

Character Betrayals:

Dave betrays Remy’s investigation to protect his threatened family but later becomes a secret informant.

Though well-meaning Miranda wishes to free Dave from Chad’s threats, spineless Dave continues deceiving her in his fear, stoking Remy’s fury that forgiving Miranda doesn’t kick duplicitous Dave to the curb.

Remy’s sister the cop buried past complaints against Chad’s dealings.

Reversals:

Prideful Remy must collaborate with dorky coworker Meatball for tech assistance.

Big Surprises:

Local celebrity true crime guru Jeanne St. John advises Remy that justice sometimes happens quietly, keeping her arrogance in check.

[Archer Smith]

Archer Producer/Manager

Producer meeting:

Emphasize commercial appeal – genre-bending concept, wide audience draw

Highlight IP’s profit potential – sustained buzz, franchise potential

Outline vision for A-list cast – roles well-suited for bankable stars

Discuss proven marketing angles – tie-ins to true crime popularity

Offer to help secure attachments early – leverage personal connections

Request help connecting with major studios/streamers to fast-track

Manager meeting:

Focus on writer’s unique voice and vision behind concept

Discuss character depth and representing underseen demos

Share passion for craft – careful attention to arcs, themes, dialogue

Request support establishing credentials – introductions, referrals

Seek guidance advancing career – goals, negotiating, navigating Hollywd

Ask how manager would position my talent – and represent me/project

Inquire how we can collaborate long-term developing my body of work

3. Answer the question “What I learned today is…?”- leaning toward Producers

[Archer Smith]

Archer’s Marketable Concept

1. Tell us your current logline.

When a self-proclaimed true crime expert becomes entangled in a cunning criminal’s web of deception that her confidence in her own instincts blinds her to, she must look past her disbelief in her naive friend’s ill-advised new romance to unravel the dirty truths staring her in the face all along.

2. Look through the 10 Components of Marketability and pick one or two that have the most potential for selling this script.

Timely — true crime craze that’s getting tired

Wide appeal- still getting viewers, true crime podcasts are still hands down the most listened to

Bankable role- what actor wouldn’t like to go crazy for justice!!

Timely:
Capitalizing on the cultural saturation of true crime, this series playfully subverts expectations within the genre. As an amateur sleuth is drawn into a case, it taps into audience fatigue with tropes through sharp social commentary.

Wide Appeal:
Blending humor, intrigue and heart, the series delivers something for everyone. Fans of unconventional female friendships and sharp dialogue will be just as hooked as mystery and character-driven story lovers.

Great Role:
Spanning plucky bravado to vulnerability, the leading lady role showcases comedic and dramatic skills primed to launch an iconic character. Executed by the right star, it becomes the driving force behind a highly watchable, buzzworthy new series.

4. Answer the question “What I learned doing this assignment is…?- Still lots to think about but it made me remember that this is a fun project (despite been in hopper for years!!)

[Archer Smith]

Archer Project and Market- Catching Up!!

Dramedy/Crime- Still Deciding Title- – True crime: Harder than it looks on TV-The humbling journey of a self proclaimed expert

This humorous take on true crime tropes subverts expectations by pairing an overzealous armchair detective hungry to prove her skills with her naive friend, their comedic dynamic representing an atypical representation of female relationships in crime stories as together they must look past surface assumptions, biases, and each other’s blindspots to unravel a deception hidden in plain sight.

Will target FIRST — Not sure yet, but likely producer’s and production companies

“What I learned today is…?” I need to think more about who to target, of course probably do a mix but this opens up some further contemplation about what I want my career to look like

[Archer Smith]

Hi, I’m Archer

Written about 4 scripts-TV Pilots and one feature. Perpetually rewriting them so I decided to take this class to see what’s possible when I finish… 😋 The AI tools have been so helpful to take my big ball of notes and start to organize so a final rewrite is actually in the works!

I write dramedy/crime—

Look forward to the process.

[Archer Smith]

As a member of the group, I Archer Smith, agree to the following

As a member of this group, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.

[Archer Smith]

As a member of this group, I, Archer Smith, agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.