One-pager
Also known as one page pitch
A single-page pitch document: logline, short overview, and why the project matters now — used to open doors before anyone reads ninety pages.
In practice
Lead with the story promise: logline first, then a short overview that proves tone and stakes without becoming a compressed novel. White space is part of the pitch — dense walls signal you do not know what is load-bearing, and busy graphics rarely compensate for a soft central conflict.
Add comps and why-now only when they sharpen the ask for this buyer. A forced comparison can mis-sell the tone; a timely hook that is not in the pages will get caught in the room. End with a clear next step: the script is ready, a treatment follows, or you want a meeting on the project.
Export a clean PDF and keep the source next to the screenplay project so the one-pager updates when the logline changes. Before a big meeting, name a save point on the script you are attaching so the packet and the pages stay synchronized under real deadline pressure.
Common questions
What belongs on a one-pager?
Logline, a short story overview, tone or comps if they help, and why the project matters now. Skip cast lists and production wish-lists unless asked.
Should I include the ending on a one-pager?
Usually hint at the central conflict and tonal landing without dumping every twist. Full endings belong in the synopsis or treatment.
Is a one-pager required for every submission?
Not always, but meetings and many contests expect one. It is the bridge between a logline and asking someone to read ninety pages.
How often should I refresh my one-pager?
Whenever the logline, tone, or core stakes change. A polished sheet that sells last draft's movie wastes the meeting.