Feature, TV series, vertical drama: these are not the same pitch deck.

So what's the difference then? Let's dive on in...!

In the past months I've designed client pitch decks for features, TV series, and vertical dramas. One thing I’ve noticed is that while every deck shares a few core elements, the rest of the content depends entirely on the format and what you’re trying to sell.

Every pitch deck should include the basics:

• A strong logline or premise

• Main character bios+ A clear sense of the world

• Beyond that, the structure changes dramatically.

Let’s start with feature films. With features, you're selling the narrative arc, beginning to end. A cohesive story that will make an exciting cinema experience.

Pages to include:

• Logline

• Synopsis

• Main and supporting character bios

• World

• Visual approach

• Optional: Comps, director/writer vision statement, writer/director bios

  
  

For indie features seeking financing, decks often also include:

• Budget

• Financing strategy

• Production plan

• Timeline

• Distribution strategy

• Territory/language strategy (particularly for international co-productions)

TV Series. This is where the majority of my experience is, both as a writer and as a pitch deck designer. With TV series, you're not just selling one story. You're selling the characters, the world, and the engine that can sustain multiple seasons (at least hopefully, if these streamers stop cancelling after season one!).

Pages to include:

• Logline or premise

• Character bios (typically 4 to 8)

• Pilot synopsis

• Season One overview

• Future seasons

• Visual style and tone

  
  

Optionally, depending on the series:

• Episode examples or “case of the week” concepts (for procedurals)

• Character relationships

• Comps (but be careful with these)

• Creator bio

• “Why Now?” page

• Pilot teaser (I’ve written more about this in a LinkedIn post.)

Verticals/Microdramas: Verticals are one of the hottest topics in the industry right now.

Although I’ve only recently started consulting on vertical drama decks, one thing is already clear to me: these projects are selling a much different experience than traditional film & TV. The emphasis is on a killer hook, rapid escalation, and visual branding.

Pages to include:

• Hook: sell the irresistible premise!

• Logline

• Main character, Love interest (if applicable), Antagonist, Supporting characters

• “Pilot” (First 10 episodes, 60-90seconds, that lead to a major cliffhanger)

• Episode progression highlighting major twists and cliffhangers

• Genre and tone

• Why it works as a vertical

• Visual style

• Audience

• Comps

  
  

In conclusion, the target audience of the pitch deck will always determine the content. The pitch deck you're sending to a VC fund for an indie feature is going to look much different than a showrunner pitching a series to Netflix execs.

If I’m missing anything let me know in the comments. Otherwise, all of this is from my direct experience working with Hollywood showrunners, producers, and writers.

Thanks for reading :)

My name is Anna Richards and I help producers, showrunners, and writers transform their projects into visually compelling pitch materials. By combining storytelling expertise with cinematic design, I design decks that communicate not just what a project is, but why audiences and buyers will care.

Having worked in both Hollywood and across Europe, I bring a unique perspective shaped by my experience in screenwriting, visual effects, virtual production, and creative development. Before launching my pitch deck business, I worked alongside Oscar-winning production designers and VFX teams on major film productions, developing a strong understanding of visual language and world building.

Check out my pitch deck portfolio here!

Want to continue the conversation? Email me at anna.diane.richards@gmail.com or send a LinkedIn connection.