Pitching vs Querying— Differences and Similarities You Can Go For Both! Good Luck!
- Teresita "Angela" Terga
- May 30
- 8 min read
Updated: 6 days ago
Are you a storyteller?
A conscious one?
One who is willing to look at truth without prejudice or finger-pointing?
Do you believe every side has a truth and that there is no justice without forgiveness ,
nor forgiveness without
understanding, and that understanding is feeling what others feel, or compassion?
Stay tuned for the development of the book and the screenplay!
Do you OWN at least one compelling story that just won't let you sleep at night without getting in your thoughts and when you close your eyes and open your mind?
When you "own" a story, the story owns you, and if you want to know about copyright law, check out the book: Copyright Law For Writers: What writers need to know... (Book 1) and find links, advice, warnings, and hope.
Whether a book or a screenplay, STORy is KING, and here are the differences and similarities between pitching and querying
How many stories become movies and books every year just in America's market?
They both follow storytelling conventions such as story arcs, character arcs, theme, and even Acts. After all, they are Story, and Story is King. A beginning, middle, and end, a climax, a turning point, these are elements that cross genres across literary structures. Here are some differences and similarities that help you cross from one storytelling edification to another.
Books and screenplays are both forms of storytelling, but they are built very differently because they serve different artistic purposes.
A book is meant to be READ.
A screenplay is meant to be FILMED.
That changes almost everything about structure, language, pacing, and storytelling technique.
THE MAIN DIFFERENCE
BOOKS
Books exist entirely in the reader’s imagination.
The author can:
explain thoughts
describe emotions
narrate history
move through time freely
explore philosophy
use internal monologue
Books are language-driven.
SCREENPLAYS
Screenplays are blueprints for visual storytelling.
The audience cannot read thoughts directly.
Everything must be:
seen
heard
performed
filmed
Everything is happening now, even though it may be a flashback
Screenplays are image-driven.
SIMILARITIES BETWEEN BOOKS & SCREENPLAYS
Both require:
1. Strong Characters
Characters drive emotional investment.
Both need:
goals drive characters
flaws prevent them from achieving their goals
transformation or arc beginning to end
conflict drives the story
2. Story Structure
Both use:
beginning - resting place, backstory.
middle - this is where it can get muddy
end - some are happy, some are clifhangers and others leave us with a sense of dread.
rising tension - yes, up and up, and sometimes it explodes - or else you'd say it fell flat.
climax - every act can have its climax or turning point that leads to the next level of conflict.
resolution - not all stories have a solution to the story but they all have a resolute end
3. Conflict
Without conflict, neither works.
Conflict may be:
emotional - the more the better
physical -action can be entertaining as long as it is not empty
psychological - it can add suspense and depth
social - within a social structure we all live, but sometimes it can be the cause of the conflict
spiritual - most books only hint at this unless they are in the genre of spirituality - however, books do a better job of helping us connect spiritually
4. Theme
Both communicate deeper ideas.
Examples:
identity - an important part of the character's wholeness
survival - what everyone wants
peace - some more than others establish a peaceful design
consciousness - missing in a lot of films - more awareness in books
love - can never fail to get attention
corruption - it helps to make the bad guy worse
colonialism - injustice and revolution
technology vs humanity - we are going to be seeing more of this
5. Worldbuilding
Especially important in:
sci-fi - a favorite - fiction based on plausibility
fantasy - pigs with wings flying by
historical fiction - what if things happened for this or that reason?
Dystopian stories - make us think about our present and future
Both media need believable worlds.
MAJOR DIFFERENCES
1. INTERNAL THOUGHTS
BOOKS
Books can directly enter the mind.
Example: “She feared the darkness because it reminded her of childhood loneliness.”
SCREENPLAYS
You cannot easily explain thoughts.
Instead:
behavior - never thoughts
visuals - give us hints
dialogue - short and to the point
silence - can speak tension
acting - natural vs forced
must reveal emotion.
Example: She hesitates before entering the dark room.
The audience infers fear visually.
2. DESCRIPTION STYLE
BOOKS
Can contain long descriptive passages.
Example: “The cave glittered with violet crystals that reflected like galaxies beneath the earth.”
SCREENPLAYS
Descriptions must be brief and visual.
Example: A cavern of glowing violet crystals stretches into darkness.
Shorter.Filmable.Visual.
3. LENGTH
NOVELS
Typically:70,000–120,000+ words
SCREENPLAYS
Typically:90–120 pages
Roughly:1 screenplay page = 1 minute of screen time.
4. DIALOGUE
BOOKS
Dialogue can be flexible and heavily contextualized.
Narration supports meaning.
SCREENPLAYS
Dialogue must work efficiently because:
actors perform it
pacing matters
Visuals carry much of the story
Film dialogue is usually shorter and sharper.
5. PACING
BOOKS
Readers tolerate slower pacing because prose itself can be pleasurable.
Books can pause for:
reflection
philosophy
world history
memory
atmosphere
SCREENPLAYS
Movies move quickly.
Every scene costs money.
Scenes must:
advance plot
reveal character
build tension
6. VISUAL STORYTELLING
SCREENPLAYS
This is the biggest difference.
Film communicates through:
images
lighting
movement
silence
editing
music
acting
Screenwriters think visually.
7. COLLABORATION
BOOKS
Usually controlled mostly by the author.
SCREENPLAYS
Screenplays become collaborative:
directors
actors
cinematographers
editors
producers
composers
all influence the final product.
SCREENPLAY FORMAT VS BOOK FORMAT
BOOKS
Flexible formatting.
Paragraphs and chapters dominate.
SCREENPLAYS
Strict industry formatting:
scene headings
action lines
dialogue blocks
transitions
Example:
INT. CAVE – NIGHT
Taharai steps into the glowing chamber.
TAHARAI
We were never alone.WHICH MEDIUM IS BETTER FOR A STORY?
BOOKS EXCEL AT:
inner psychology
philosophy
complex lore
deep worldbuilding
poetic language
introspection
SCREENPLAYS EXCEL AT:
visuals
action
emotional immediacy
cinematic atmosphere
performance
spectacle
WHY DO MANY STORIES BECOME BOTH
Books and screenplays complement each other.
Books:
establish lore
deepen mythology
build audiences
secure IP ownership
Screenplays:
visualize the world
attract producers
expand audiences
create adaptation potential
This is why franchises often begin as books.
YOUR PROJECT AS AN EXAMPLE
Tales from Utopia: Spiderwoman Taharai naturally fits BOTH forms because it contains:
Novel Strengths
mythology
philosophical themes
utopian society
consciousness exploration
emotional backstory
worldbuilding
AND
Screenplay Strengths
cinematic cave systems
hybrid spiderwoman visuals
dystopian future
action/adventure
emotional spectacle
sci-fi atmosphere
That combination is powerful.
FINAL PROFESSIONAL INSIGHT
A novelist asks:
“What does this feel like inside?”
A screenwriter asks:
“What does this LOOK like on screen?”
The strongest storytellers learn to think both ways.
Here’s a concise, blog-style guide for writers and screenwriters learning how to write a query letter according to publishing professionals like Jane Friedman, Writer’s Digest, and industry agents such as Janet Reid (“Query Shark”).
HOW TO WRITE A PROFESSIONAL QUERY LETTER 📚✍️
According to publishing experts like Jane Friedman and literary agents across the industry, a query letter has ONE purpose:
👉 To make the agent or publisher want to read your manuscript.
A query letter is NOT:
❌ your life story
❌ a long synopsis
❌ a review of your own work
❌ a place for gimmicks.
A professional query letter should usually be 1 page (about 250–400 words) and include these key parts:
1️⃣ THE HOOK
Start with a compelling pitch about your story or book concept.
Who is the main character?What problem do they face?What makes your story unique?
2️⃣ THE BOOK DETAILSInclude:• Title• Genre• Word count• Comparable titles (“comps”)• Audience/category
Example:“TITLE is an 85,000-word multicultural sci-fi novel combining the mythic atmosphere of X with the social themes of Y.”
3️⃣ THE STORY PITCHWrite a short paragraph summarizing:• protagonist• conflict• stakes• emotional tension
Focus on what makes the reader NEED to know what happens next.
4️⃣ THE AUTHOR BIOKeep it short and relevant.
Include:• publishing credits• education• professional expertise• awards• platform/audience if relevant
5️⃣ PERSONALIZE THE LETTER. Research the agent first.
Mention:• why you chose them• books/authors they represent• interviews or interests related to your work
6️⃣ FOLLOW SUBMISSION GUIDELINES EXACTLY. This is one of the biggest reasons writers get rejected.
Always check:✔ formatting✔ attachment requests✔ sample pages✔ synopsis requirements
7️⃣ PROOFREAD EVERYTHINGAgents notice:• spelling mistakes• wrong names• sloppy formatting• generic mass emails
Professionalism matters.
📌 FINAL TIP FROM INDUSTRY PROFESSIONALS:Your query letter is a SALES PITCH — not an essay.
Be clear. Be concise. Be compelling.
Recommended resources:• Jane Friedman• Query Shark (Janet Reid)• Writer’s Digest• Publishers Marketplace• QueryTracker
#WritingCommunity #AmWriting #QueryLetter #Publishing #LiteraryAgent #Screenwriting #BookPublishing #IndieAuthor #Authors #WritingTip
WritersLife:::
A screenplay pitch is a persuasive presentation of your story designed to make producers, agents, managers, studios, investors, or contests interested in reading or developing your screenplay.
The purpose of a pitch is not to explain every detail of the story. The purpose is to create excitement, emotional investment, and curiosity.
A strong pitch answers three questions:
What is the story?
Why will audiences care?
Why is it commercially or emotionally compelling?
Here is the professional structure most screenwriters use when pitching films or television series.
1. THE TITLE
Start with the title.
A good title should:
be memorable
Suggest genre or tone
create curiosity
feel cinematic
Example: “Tales from Utopia: Spiderwoman Taharai”
2. THE LOGLINE (MOST IMPORTANT PART)
The logline is a 1–2 sentence summary of the entire story.
It should include:
protagonist
goal
conflict
stakes
uniqueness
Formula:
“When [inciting incident happens], a [character description] must [goal] before [stakes/consequences].”
Example: “After humanity survives a nuclear apocalypse beneath the earth, a genetically altered young woman hidden inside the caves of Auyán Tepui becomes the key to a future war between ancient consciousness and technological domination.”
A producer often decides within seconds whether the concept is compelling based on the logline alone.
3. GENRE + TONE
State:
genre
tone
audience
Examples:
Sci-fi fantasy adventure
Psychological thriller
Historical romantasy
Family animation
Elevated horror
Then compare it to existing films or series (“comps”).
Example: “Imagine Avatar meets Dune with the mythological atmosphere of Apocalypto.”
This helps people visualize the market.
4. THE WORLD
Explain what makes your world unique.
Especially important for:
sci-fi
fantasy
dystopian stories
historical worlds
Focus on:
visual uniqueness
rules of the world
atmosphere
mythology
social structure
Keep this concise and cinematic.
Example: “The survivors live inside crystal-lined cave systems beneath the tepuis of South America, where bioluminescent ecosystems and telepathic hybrids evolved after humanity fled nuclear devastation.”
5. THE MAIN CHARACTER
Describe:
who they are
what they want
emotional flaw
transformation arc
People invest in characters more than plots.
Example:“Taharai is both feared and worshipped — a hybrid descendant of ancient mutations who longs to understand humanity while hiding from the very world that wants to control her.”
6. THE CONFLICT
Explain:
antagonist
obstacles
emotional stakes
external stakes
Conflict drives cinema.
Without stakes, there is no tension.
Ask:“What terrible thing happens if the protagonist fails?”
7. THE THEMES
Professional pitches often include deeper meaning.
Themes can include:
peace vs war
identity
consciousness
survival
love
colonialism
spirituality
technology vs humanity
Studios increasingly look for emotionally and socially meaningful stories.
8. WHY THIS STORY NOW?
This is extremely important in modern pitching.
Explain:
cultural relevance
audience appeal
emotional resonance
market trends
Example:“In an age of AI anxiety, environmental instability, and social fragmentation, this story explores whether humanity evolves through domination — or consciousness.”
9. SERIES POTENTIAL (IF TV)
If pitching a series:
explain future seasons
character arcs
expansion potential
episodic structure
Producers want scalability.
Example:“Season One focuses on survival and discovery. Season Two introduces hybrid civilizations. Season Three reveals humanity’s return to the surface world.”
10. THE VISUAL EXPERIENCE
Film is visual storytelling.
Describe:
visuals
atmosphere
emotional feeling
cinematic moments
You are selling an EXPERIENCE.
Example:“Massive waterfalls conceal ancient entrances into glowing subterranean cities beneath the tepuis.”
11. WHY YOU?
Especially important for independent creators.
Explain:
personal connection
expertise
background
passion
research
People invest in creators they believe in.
12. END WITH A STRONG FINAL STATEMENT
Your closing should feel memorable and emotional.
Example:“Tales from Utopia is ultimately a story about whether humanity can evolve beyond violence before destroying itself.”
TYPES OF SCREENPLAY PITCHES
Elevator Pitch
30–60 seconds
Very short.Used for networking.
Verbal Pitch
5–15 minutes
Most common.
Pitch Deck
Visual presentation with:
images
characters
tone
world
audience
comparisons
Written Pitch Package
Includes:
logline
synopsis
treatment
creator statement
visuals
WHAT PROFESSIONALS LOOK FOR
Producers usually ask:
✔ Is the concept marketable?✔ Is it emotionally engaging?✔ Is it visually cinematic?✔ Does it feel original?✔ Is there an audience for it?✔ Can this become a franchise or series?✔ Is the creator passionate and prepared?
COMMON MISTAKES
❌ Explaining too much plot❌ Talking too long❌ No emotional hook❌ Unclear protagonist❌ No stakes❌ Weak logline❌ Too much backstory❌ Sounding uncertain❌ Not knowing comparable films/shows
FINAL PROFESSIONAL ADVICE
A pitch is not merely information.
A pitch is performance, emotion, atmosphere, confidence, and vision.
The best pitches make listeners SEE the movie in their minds.
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