[Sandra Fox-Sohner]

Sandy: Pitch Fest Pitch

What I learned: It is especially important to be concise, and to the point in a pitch so you don't bore your listener. If I go over the pitch multiple times, I can find ways to make it shorter and more powerful. It still needs work!

Hi, I‘m Sandy, and I would like to tell you about my historical biopic screenplay entitled ‘Mathematical Mermaid.’ It has won best screenplay awards in two festivals, and I have representation.

The heroine of this story, Sofia Kovalevsky, has coins, stamps, festivals, and a moon crater named for her, multiple books written about her, and three now outdated films about her life were made in Sweden and Russia, but no film has been made in English.

How does one woman launch a tidal wave of social change in a world where women have no power and no voice?

This is a true story of a young math genius, oppressed and isolated in 19th-century Russia, who escapes to Germany, determined to become the first female professor in all of Europe.

BUDGET: The budget range is about $15 million.

ACTORS: The heroine, Sofia Kovalevsky, is spirited, charming, brilliant, attractive, and sassy, a great role for someone like Saoirse Ronan, Lily-Rose Depp, Zendaya, Olivia Cooke, For the older kindly professor Weierstrass: Colin Firth, Peter Kurth, Tom Hanks, or Heino Ferch.

ACTS:

Act 1: Oppressed and isolated in a tumultuous 19th-century Russia, the self-taught math genius Sofia Kovalevsky must find a way to escape to Europe and follow her passion. She enters a fictitious marriage to gain her freedom, sadly giving up her chances for a love marriage to be free.

Act 2: Although her genius convinces a brilliant mathematician to teach her in secret, Sofia is shut out of the male-dominated academic world, denied the professorship she craves, and ultimately stumbles into self-doubt. The rector at the University of Berlin makes it his mission to protect his all-male policy from including women. Her fictitious husband pressures her to be his true wife.

ACT 3: After her fictitious husband’s financial ruin and suicide, Sofia returns to the joy she found in math. In financial desperation, she decides to take control of her own fate by making a bet with the open-minded Director of Mathematics in Stockholm: a gamble to solve an impossible problem for a professorship.

Dramatic End

Winning the Prix Bordin at the prestigious Academy of Sciences in Paris for solving the elusive Mathematical Mermaid problem, Sofia Kovalevsky becomes the first female professor in all of Europe; she honors the professor who took a big chance in teaching her secretly; and she opens doors for women to follow in her footsteps. As she leaves the hall she meets a student, Marie Curie, who thanks her for giving women hope.

My background is in science and math. A founder of a biotech consulting company, I currently organize science and math camps and conferences for girls. I have taken multiple Robert McKee seminars and several online courses from McKee, Screenwriting U, and others.

• This reply was modified 10 months, 3 weeks ago by  Sandra Fox-Sohner.
• This reply was modified 10 months, 2 weeks ago by  Sandra Fox-Sohner.

[Sandra Fox-Sohner]

Query Letter, Lesson 7: I learned that conciseness and impactful hooks can be far more challenging than I expected.

Hello:
I have a true story historical biopic, “Too Much Happiness!” that may interest you.

“How can one woman launch a tidal wave of major social change in a world where women have no voice?”

Multiple books have been written about the heroine Sofia Kovalevsky. Festivals, coins, stamps, and a moon crater are named for her. Three films have been made of her life in Swedish and Russian, but none have been made in English.

Below is a brief outline:

Act 1: Oppressed and isolated in a tumultuous 19th-century Russia, the math genius Sofia Kovalevsky must find a way to escape the demands of her family and follow her passion.

–As a child, Sofia would rather study math and suffer punishments for doing so. Passionate and rebellious, Sonia and her sister defy their parents’ edict to marry an older man. Sonia enters a fake marriage to gain her freedom. The adventure begins as both headstrong sisters vow to make a difference for equality.

Act 2: Although her genius opens a few secret doors, Sofia is shut out of the male-dominated academic world, denied the professorship she craves, and stumbles into self-doubt.

–No university will allow a female student, but Sofia’s work impresses a famous, friendly mathematician in Germany who teaches her in private. She is the first woman to earn a PhD in Mathematics, but every university rebuffs her bid for a professorship. The rector in Berlin, feeling threatened by her accomplishments and vowing to protect the university’s all-male policy, thwarts her at every turn. She crumbles in despair. Her fake husband pressures her to be his real wife, and she succumbs to a man she does not love, although a beloved daughter is born.

Act 3: In desperation, Sonia takes her fate into her own hands, making a bet with the Director of Mathematics in Stockholm: a gamble for a professorship. She becomes the first female professor in all of Europe and Russia.

–After her husband’s financial ruin and suicide, Sonia returns to the joy she found in math. Desperate, she makes a bet with a Director: a paid professorship if she wins the Prix Bordin by finding an elusive formula for planetary motion. Winning, she becomes the first female professor. As she leaves the hall she meets a student, Marie Curie, who thanks her for giving women hope.

If you like the concept, I’d be happy to send you the script. As regards the title, Sofia Kovalevsky’s last words on her deathbed were “too much happiness.”

BIO: This screenplay has won two “Best Screenplay” awards. I currently have representation for this screenplay. With a background in science and math, I currently volunteer to help organize science and math camps for girls and STEM conferences for girls to champion a love of science and math.

Please feel free to contact me at:

Best Wishes,
Sandy Fox-Sohner

• This reply was modified 10 months, 3 weeks ago by  Sandra Fox-Sohner.
• This reply was modified 10 months, 3 weeks ago by  Sandra Fox-Sohner.
• This reply was modified 10 months, 3 weeks ago by  Sandra Fox-Sohner.
• This reply was modified 10 months, 3 weeks ago by  Sandra Fox-Sohner.

[Sandra Fox-Sohner]

Sandy: High Concept/Elevator Pitch

What I learned: It is extremely difficult to encapsulate the exciting parts of my screenplay into just a few words. You have to whittle it down to its very essence.

Main hook: How can one woman launch a tidal wave of major social change in a world where women have no voice?

High Concept: A young 19th-century math genius teaches herself higher math but soon discovers that her only career option is marriage.

Elevator Pitch: I'm just finishing up a true story about a savvy young 19th-century math genius who bravely uses her wits to become the first female professor in male-dominated Europe, opening the door for generations of women.

Comps:

The Theory of Everything meets Little Women

Hidden Figures meets The Man Who Knew Infinity

• This reply was modified 10 months, 3 weeks ago by  Sandra Fox-Sohner.

[Sandra Fox-Sohner]

Sandy Fox-Sohner – SYNOPSIS HOOKS
TITLE: Mathematical Mermaid: GENRE: Historical Biopic
SYNOPSIS DRAFT based on COMs and MITs
What I learned: by using COMs and MITs, the synopsis is far more interesting.

A child in 19th-century Russia, Sonia Kovalevsky, who is supposed to play and be carefree, would rather secretly teach herself math and suffer punishments for doing so. As a teen, Sonia defies her parents by marrying Vladimir in name only to escape the edict that requires her to become a wife without an education. Sonia desperately wants to be loved and be a mathematician, yet she throws away her chances for a love marriage to gain her freedom to study.

In this true story, Sonia Kovalevsky is an attractive, spirited, brilliant, and charming young woman. She is close with her equally rebellious sister, Anuita, who runs off to fight in the French Revolution while a married and free Sonia escapes to Germany to study. They both vow to make a difference.

But Sonia discovers that In Europe, women are also strictly forbidden as students at any university. A brilliant professor of mathematics in Berlin sees Sonia's genius and bravely offers to tutor her privately, leading to a lifelong friendship and groundbreaking mathematical discoveries. She starts work on the elusive Mathematical Mermaid problem to discover the formula that describes rotations in space. She is the first woman to earn a Ph.D. in mathematics.

Sonia’s husband, Vladimir, promised to marry Sonia in name only, but soon pressures her to become his true wife. She considers him to be a friend but does not love him. In a moment of despair, when Sonia's father dies, and she cannot procure the professorship anywhere in Europe or Russia she so dearly wants, she succumbs to his pressure, and a beloved daughter is born. Vladimir, a noted paleontologist who makes little money, believes it is his duty as Sonia’s husband to provide for his family. He insists that Sonia abandon her mathematics research as his true wife. He tries to become a businessman to make more money, even though Sonia begs him to continue his scientific research instead. He fails, loses everything, and commits suicide.

With nowhere to turn and no financial stability, Sonia returns to her joy of mathematics and repairs the relationships with her mentor and sister. She takes her fate into her own hands by challenging the Math Director at the University in Stockholm with a bet: a full-time professorship with pay if she wins the Prix Bordin in Paris for solving the infamous elusive Mathematical Mermaid problem that had vexed mathematicians for 100 years. Shockingly, he accepts. Sonia works day and night; everything rides on her winning this award.

Sonia solves the problem, wins the award, and in a dramatic turnaround she becomes the first female professor in the 19th Century. She launched a tidal wave of major social change, opening academic doors for women. Many books have been written about her and her work; three outdated foreign films made; festivals, stamps, coins, scholarships, and a crater on the moon are named for her.

At a time when women’s rights are being eroded, it is uplifting to hear about a woman who had no rights but who fought anyway to open up opportunities for women. At the end of the story, Sonia meets a young Marie Curie who tells her she has given her hope.

• This reply was modified 11 months, 2 weeks ago by  Sandra Fox-Sohner. Reason: SPACING PROBLEMS

[Sandra Fox-Sohner]

Subject Line: Sandy: 10 Most Interesting Things

There are more twists and turns, betrayals and surprises than I realized.

• A. What is most unique about your villain and hero?

A unique heroine: a genius who teaches herself math from books by herself, loves it so much she defies her governess and the strict expectations of her childhood not to read books and later defies her parents by marrying in name only to escape the old traditions of the times that require she become a wife without an education.

A unique antagonist: a brilliant man, blinded by outdated traditions so much he cannot recognize a genius and a person who would be an asset to his legacy, rejecting her instead.

• B. Major hook of your opening scene?

A child, Sonia, who is supposed to play and be carefree, would rather secretly study math and suffer punishments to do so.

• C. Any turning points?

–Sonia’s sister plans to escape her family by marrying a man in name only and gain her freedom, but at the last minute, the man, Vladimir, decides to marry Sonia instead.

–In Europe and Russia, women are strictly forbidden as students at any university. Still, a wise, brilliant mathematician in Berlin sees Sonia’s genius and bravely offers to tutor her privately, leading to a lifelong friendship and groundbreaking mathematical discoveries.

–Sonia’s close relationship with her sister, Anuita, is blown asunder when Vladimir chooses Sonia to marry, and the schism is further fractured when Anuita needs Sonia to cover for her and deceive her father so Anuita can take part in the French Revolution.

-With nowhere to turn and no financial stability, Sonia insists on returning to her joy of mathematics and repairing the relationships with her mentor and sister.

• D. Emotional dilemma?

–Sonia desperately wants to be loved and be a mathematician. Yet she throws away her chances for a love marriage by marrying Vladimir in name only to gain her freedom.

• E. Major twists?

–Although Vladimir promises to marry Sonia in name only, he secretly loves her and pressures her to become his true wife. She has only considered him a friend and does not love him. In a moment of despair, when Sonia’s father dies, and she cannot procure the professorship anywhere in Europe or Russia she so dearly wants, she succumbs to his pressure, and a daughter is born.

• F. Reversals?

–Vladimir, a noted paleontologist, cannot support his wife and daughter as he desires. He abandons his scientific research to become a breadwinner and businessman, submitting to the expectations of the times that the husband is the only one to provide for his family financially. He dissuades Sonia from continuing her math research. A failure in business, he commits suicide.

• G. Character betrayals?

–Sonia’s mentor and the Rector at the University of Berlin have been lifelong friends. When the mentor teaches Sonia privately and petitions the Rector to grant Sonia a Ph.D. in Mathematics based on her three dissertations, the Rector is offended that his best friend would try to ruin the university’s reputation by teaching a woman, and their friendship is broken apart.

• H. Or any big surprises?

–Instead of waiting to be chosen as a professor, Sonia takes her fate into her own hands. She challenges the Math Director at a Swedish University with a bet: a full-time professorship with pay if she wins the Prix Bordin in Paris for solving a problem that has vexed mathematicians for 100 years. Shockingly, he accepts.

2. Make a list of any other things in your script that could interest a producer.

The story’s backdrop is the tumultuous history of Russia and Europe in the 19th century. The Tsar is assassinated, there is a revolution in France, the new Tsar exiles liberal professors from Russia, the Russian military inflicts cruelty on the citizens, terrorists disrupt communities, and new technologies disrupt economies.

• This reply was modified 11 months, 2 weeks ago by  Sandra Fox-Sohner.

[Sandra Fox-Sohner]

Sandy Producer/Manager

With a producer, my approach would be based on marketability, ensuring this producer worked in my genre of historical biopics. I would state the title/genre, then emphasize the hook and true-story logline of my script. From there, I would describe the great role for a lead actor, and the audience appeal based on the success of similar films. I would keep it brief, mention the timeliness, and then open the conversation to ask for their thoughts or questions, indicating a collaborative approach. If interested, I would tell the producer why I have the background and inspiration to write this story. If interested, I would go on to tell the producer more about the major beats, turning points, and twists in the story. I would mention collaborations and how I have revised the script.

With a manager, I would emphasize the awards my script has won and its marketability by describing the hook, true story logline, and timely aspects of the story. I would also mention that I have other scripts or script ideas and ask if that would be of interest to this manager. I would mention collaborations and how I have revised the script.

Today, I learned to always know your audience and respond to their reactions and needs as the conversation progresses. What does he/she need to know and want to hear more about?

• This reply was modified 11 months, 2 weeks ago by  Sandra Fox-Sohner.

[Sandra Fox-Sohner]

Sandy’s Marketable Components

“What I learned doing this assignment is that I have more marketable components than I realized.”

1. Tell us your current logline.

In this true story, 19th-century self-taught math genius, Sofia Kovalevsky, breaks free from her noble family, determined to solve a problem that vexed mathematicians for 100 years and become Europe’s first female professor, despite a dangerous world where women have no voice and a university director who is determined to stop her.

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

• A. Unique. Story about a true change agent who opened opportunities for women in education.

• B. Great Title: Mathematical Mermaid: describes the name of the elusive mathematical problem regarding rotations in space that Sofia solved to worldwide acclaim.

• C. True. Yes, based on a true story.

• D. Timely — As women’s rights are being eroded today, such as the Dobbs’ decision, it is uplifting to hear about a woman who had no rights at all in 19th century Europe, but who fought anyway to open up opportunities for women to have the right to an education.

• E. It’s a first. This story has not been told before in an English film (films, now outdated, were made in Russia and Sweden).

• F. Ultimate. The first female professor.

• G. Wide audience appeal. Young people and older folks who love history, and an uplifting story of a successful change agent who made inroads into the rights and freedoms we have today.

• H. Adapted from a popular book. Many books have been written about her and her work, festivals, stamps, coins, scholarships, and a crater on the moon are named for her.

• I. Similarity to a box-office success. Similar to Hidden Figures

J. A great role for a bankable actor. Sofia Kovalevsky is a spirited, brilliant, charming, and caring individual who is attractive and sassy.

3. Do a quick brainstorm session about ways to elevate those two components for this script and tell us how you might pitch the script through the two components.

• (J) GREAT ROLE: Sofia Kovalevsky is a spirited, brilliant, charming, and caring individual who is attractive and sassy. This is a great role for an actress. She is the dynamo throughout the story. Her character dispels the myth that a brilliant mathematician must be nerdy, unattractive, and awkward. She is a great role model for young women, and the men who helped her are great role models of enlightened men.

• D. TIMELY — As women’s rights are being eroded today, such as the Dobbs’ decision, it is uplifting to hear about a woman who had no rights at all in 19th century Europe, but who fought anyway to open up opportunities for women to have the right to an education. The tumultuous backdrop of dictators and revolution highlights the dangerous similarities we are facing in our politics today.

[Sandra Fox-Sohner]

Assignment 1
1. Genre, Title, and Concept : Historical biopic/Mathematical Mermaid/True story of the first female Professor in the 19th Century

2. What is most attractive about your story? How can one person launch the tidal wave of a major social change?

3. Tell us which you will target FIRST: I have targeted producers, investors, and agents with some success in each category. Each one who is interested has recommended a strategy or referred me to others. I am grateful for their advice and interest, and several have advised me to find the best director for this film at this point. A good director with a passion for this story could be associated with the needed producer.

4. What I learned today: Keep the pitch simple, direct, punchy, and attractive with as few words as possible!

• This reply was modified 11 months, 2 weeks ago by  Sandra Fox-Sohner.

[Sandra Fox-Sohner]

Sandy Fox-Sohner
I agree to the terms of this group release form.

[Sandra Fox-Sohner]

Hi:
My name is Sandy Fox-Sohner and I have written two scripts. I had hoped to join this class when it began, but travel plans interfered so I am joining the class a bit late. I hope to learn how to make a professional and dynamite pitch to filmmakers that stirs their emotions and creates excitement about my script. I do a lot of volunteer work, encouraging middle school girls and boys to enter STEM careers and follow their dreams even when it is hard. I look forward to reading the posted assignments of others in this class. Cheers!

[Sandra Fox-Sohner]

Sandra Fox-Sohner: I agree to the terms of this release form.

[Sandra Fox-Sohner]

I liked the techniques used to bring out the character traits: power struggle underdog versus the apparent topdog, then the reversal of the struggle whereby the one with the power is now the underdog as a new topdog comes into the picture. The conflict brought out the traits: first a bluffer trying to pick up a girl, then an arrogant fellow who thinks he has all the power, then the protagonist–showing his loyalty to his friend–steps in to save his friend and defeat the foe with words…..(and possibly to impress the girl at the same time). Fun powerful scene: a three way conflict…reveals the protagonist’s secret genius, the girl and the possible future for him and the girl, the nature of the friendship and their opposite capabilities, and the arrogant elite world they are in.

[Sandra Fox-Sohner]

I liked the techniques used to bring out the character traits: power struggle underdog versus the apparent topdog, then the reversal of the struggle whereby the one with the power is now the underdog as a new topdog comes into the picture. The conflict brought out the traits: first a bluffer trying to pick up a girl, then an arrogant fellow who thinks he has all the power, then the protagonist–showing his loyalty to his friend–steps in to save his friend and defeat the foe with words…..(and possibly to impress the girl at the same time). Fun powerful scene: a three way conflict…reveals the protagonist’s secret genius, the girl and the possible future for him and the girl, the nature of the friendship and their opposite capabilities, and the arrogant elite world they are in.

[Sandra Fox-Sohner]

1. Sandy

2. Two feature screenplays.

3. I hope to learn about adding depth to my characters.

4. I love true story, historical, feature films.

Looking forward to the class.

[Sandra Fox-Sohner]

1. Sandy Fox-Sohner

2. I agree to the terms of this release form.

GROUP RELEASE FORM

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.