The pitch room.

/pitches groups your pitches into campaign decks — one fanned stack per artist — with a strip up top for replies waiting on you. Creating a pitch takes a title, nothing else; you land straight in the room and build from there.

The room is laid out the way a publicist works one pitch:

• ·The story — the hook, press text, and quotes the journalist reads. The press release has its own full-frame newsroom studio, one click deeper.
• ·The sound — the pitch's tracks. Star one to three lead tracks and the public sheet opens with them; every starred track wears a focus badge.
• ·The people — every journalist this pitch touches, with their drafts, sends, and replies in one place.
• ·The wire — what's happened, as it happens.
• ·The rail — the next moves Cue suggests, in order.

The room ranks your contact book against this pitch, and every row says why it's there — warm beats relevant. Inline pitch them → stages the contact, researches them, drafts the note, and mints their personalized link without leaving the page. For bulk, the picker filters your pipeline by list, tag, stage, or category and attaches the whole selection in one call.

Staged targets queue up as a deck — one card per writer, each with its drafted opener. Keep retains the draft and moves on; skip discards it and unstages the writer; next leaves it for later. Edit opens the composer with the full draft.

Every writer-facing exit gets a seasoned-editor check. The findings land on an amber wall, each one typed — fix (mechanical), add (something's missing), or check (verify a claim) — and settle these → opens a slide-up sheet that walks them one at a time: the evidence with the offending span marked, the editor's reasoning, three options with the recommended one first, and a free-text "something else" if you'd rather say it your way. Campaign launches are gated on it.

When a draft misses your voice, don't rewrite it — teach it. See Teach Cue.