Submit your half-hour pilot script and receive a 30-minute story notes call with the executive you choose. You’ll receive specific suggestions on how to elevate your script's dialogue, structure, pacing, characterization, tone, and marketability.
MARKETING BONUS! If you receive a rating of Excellent or Virtually Flawless in at least four out of five categories (Logline and Formatting/Ease of Reading excluded) on your consultation feedback report, we'll do one round of personalized marketing to 5 execs for this screenplay for free!
Questions? Email terra@roadmapwriters.com!
I think one of the biggest traps that new writers tend to fall into is prioritizing plot at the expense of character and theme. I think when you're looking at the story you're telling, your viewer or your reader needs to connect with a character and their journey first and foremost. Really have a clear picture of who they are, what they want, and why we want to follow them.
My tastes are pretty broad, but in terms of television the thing that always gets me excited is a solid mystery hook to hang a story on. Some personal favorites of mine include: LOST, SEVERANCE, YELLOWJACKETS, BATTLESTAR GALACTICA, TWIN PEAKS, HANNIBAL, THE LEFTOVERS. I love a high-concept character-first premium hour-long dramas.
As far as features go, the things I'm currently gravitating more toward are comparatively lower concept set-ups, rich with high-stakes character drama. Recent favorites in this regard include: CHALLENGERS, ANORA, REBEL RIDGE, LADY BIRD, UNCUT GEMS, PAST LIVES, ANATOMY OF A FALL, THE HOLDOVERS, THE IRON CLAW. This is not the only kind of thing I like, but these have been the scripts that have made me the most excited in recent years.
Not particularly interested in projects aimed exclusively at children.
James Princivalle (They/Them) is a television development executive at Fremantle Media. A 2017 graduate of Temple University with a degree in Film and Media Arts, Princivalle has worked across several notable productions including the 2021 Peacock revival of PUNKY BREWSTER and Netflix's true crime documentary GIRL IN THE PICTURE (2022). They are currently developing a scripted limited series focused on notorious serial killer Robert Durst with Peacock, and a forthcoming multi-cam workplace sitcom centered around Nzinga Shaw with CBS.
After registering, you will receive instructions on how to submit your material in your order confirmation email. After submitting your material, please allow at least 3-4 weeks to receive proposed times for scheduling your call with the exec.
**Please note half-hour pilot consultation material is limited to 37 pages maximum.
Be sure to familiarize yourself with Roadmap's Code of Conduct.
Questions? Email terra@roadmapwriters.com!
MARKETING BONUS! If you receive a rating of Excellent or Virtually Flawless in at least four out of five categories (Logline and Formatting/Ease of Reading are excluded) on your consultation feedback report, we'll do one round of personalized marketing to execs (up to 5) for this screenplay for free!
Cancellation Policy: You may cancel your registration for a refund or Roadmap gift card if you have not yet submitted your material for review. However, once your material has been received by Roadmap, your registration cannot be canceled. Having revised material or a desire to retroactively apply a discount or gift card code are not grounds for cancellation, refunds, or gift card credit. Once your material has been submitted, the only acceptable grounds for cancellation and a refund or gift card credit is an unforeseen, ongoing emergency on the part of either the writer or the exec resulting in more than 6 weeks without any scheduling update from the exec via direct contact or Roadmap, or a sudden change in the exec's ongoing availability. In the instance of an irreconcilable scheduling issue, the writer may still receive a written feedback report from the exec. In this case, the writer is not entitled to a refund or gift card credit as the exec has read the submitted material and provided written feedback in lieu of the call.