I say it's not worth it at all. You can get the same experience for free by writing a great script and getting into a room. Trial by fire.

Semi-related reader question:

If someone buys your pitch of a yet unwritten script, or hires you for an OWA, does it put extreme pressure on you to deliver a good first draft? Working on spec, I expect my first draft to have all kinds of problems that I can turn to my closest confidants to help trouble shoot. Is there a real danger to getting fired and replaced if you turn in something that needs a lot of work? Do you have time to trouble shoot it like you would your own project?

@Shawn: You'll never get an argument from me about the importance of a great script and focus needing to be on the writing.

@Amos: There is always pressure on any Hollywood writer. Things are somewhat different nowadays re first drafts. It used to be a writer was pretty much guaranteed a first draft and rewrite. The studios have basically squashed that practice so that the guarantee is now only for a first draft. That makes the pressure even greater on the writer to nail that draft. As a result, writers are now routinely writing multiple treatments, even outlines to give to the buyer before they get a green light to draft. Obviously that's a major pain in the ass for the writer. However if there is any upside, it's this: You are much more likely to have worked through the story to a point where there will be minimal surprises on either end, assuming you write the story you worked up. In other words, the buyers will know most of what the story is in advance of actually seeing the first draft. So in answer to your question, there's a bit of both sides: While there is increased pressure on the writer, by virtue of this new approach - multiple treatments - you do get a chance (are forced to) break the story in prep before you type FADE IN, thereby minimizing the chance you will turn in something the buyer wasn't expecting, hasn't signed off on, etc.

Thanks!

Pitch Fests are well worthwhile to attend, at least once.

I'm an award winning Toastmaster, and even I could feel my pitching skills getting better and better as the day progressed.

A pitch isn't a speech. There are interruptions, distractions, questions -- all mid-pitch. Sometimes you'll just get cut off and they'll ask you, "It's not for me. What else do you have?"

By the end of the Great American Pitchfest I was kicking ass and taking names (great contacts that I still have to this day).

Knowing what to expect, and being armed with a knowledge of what people respond to, is a far better approach than jumping straight into a trial by fire when you get your big shot.

I went to the Great American Pitchfect in 2008 (I was a wet-eared 20 yr old) and ended up pitching to about 20 people, whether they were Producers or Managers.

Many of them will tell you "We love it!... Let's just take it to our bosses" -- or "We love it! We'll be in touch!", only to never hear from them ever again.

This is how it goes.

The irony is, when I followed up with emails to many of the Producers who listed their contact, one responded well to my Horror and requested it.

I sent it, she loved it, and I ended up Optioning it...

For the Grand total of...

ONE dollar.

Yes, that's right. It's been 2+ years and she's the biggest Hack to ever walk this town. Or one of them. It's sad how much time and effort and energy I dumped into her, hoping that one day...well, you know the drill.

Pitchfests, if for nothing else, are a great place to network and meet OTHER WRITERS. I met a lot of great people there and at the CS Expo and am still friends with them today! And one of us is bound to break in one day, right?

If you can afford it and are confident about your material, why not? Pitching might be fun.

Just make sure your script is Concept - driven. Action, Comedy, Rom-Com, Horror, & Thriller work best.

Thanks all for the feedback. Still seems like a mixed bag. Default mode: Stick to writing that great script.