CHAPTER

6Pitching and Selling the Project

If a story is in you, it has got to come out.

William Faulkner

THIS CHAPTER'S TALKING POINTS

I.	Pitching and Selling: The Big Picture
II.	Research the Pitch
III.	Create the Pitch
IV.	Pitch the Pitch
V.	Keep Pitching

I. PITCHING AND SELLING: THE BIG PICTURE

Your idea for a project is great. You're confident that it's a perfect fit for NBC, or HBO, or maybe it could be a breakthrough online series. But you have to sell it first, and selling your project is a real challenge. Because getting the green light might depend entirely on your pitch, this pitch process can be stressful for even a seasoned producer.

In reality, a pitch is just a sales job: you're appealing to someone in a position of power who can approve your project, possibly fund it, and who stands to benefit from its success. In most cases, a pitch has two parts:

  A written pitch. Also called a proposal, prospectus, or pitch on paper (POP). In some cases, it includes a detailed business plan, put together by a professional.

  A verbal pitch. A face-to-face, in-person meeting where you get a chance to share your idea, project your confidence, and confirm your ability to produce it.

Before you translate your idea to paper and rehearse your pitch, take a moment to explore the bigger picture of both television and new media.

It's All about Business

TV and new media can both offer a wealth of creative rewards and opportunities for the producer. But commerce is always involved—profits must be the bottom line whether it comes from advertisers, a subscription base, or from an expanding range of other revenue streams. You want your project to be a business opportunity for other people as well as for you. Can it generate high ratings, online hits, advertising or subscription revenue, critical acclaim, ancillary markets, and an international reach?

Know the Market

When pitching your project, you want to be sure you're pitching it to the right place. Is the network, cable channel, production company, online site, or other end user the right venue for your project? Research everything you can about the person or organization to whom you're pitching—their current programming, the company history, what they've paid for similar content, and other details that tell you if this is the right fit for your project.

You benefit by keeping in touch with current projects that producers have sold, and to whom. Read publications and research online sites that target the television and new media industries such as Variety, TV Weekly, The Hollywood Reporter, and others. When you first start out, it can be overwhelming—the sheer number of names, companies, broadcasters, production companies, and online sites and delivery systems, but you'll soon recognize names and companies that appear across many of these publications. You can find resources on the Internet that focus on new online sites and ideas, the TV business, chat rooms, and blogs.

Don't ignore the rest of the world. The majority of international markets depend primarily on American and British programming. Some shows that might do only moderate business in their originating country can generate significant profit from international markets. Although the trend is moving toward more programming being locally produced in these markets, they still depend on outside providers. Watch programs produced in other countries, and research the global marketplace: it's a potential goldmine for your project.

II. RESEARCH YOUR PITCH

I will study and get ready, and perhaps my chance will come.

Abraham Lincoln

Writer Dashiell Hammett once advised another writer, Raymond Chandler, to “make it sound fresh.” As a producer, you want your project to be unique and have a hook, an originality, that appeals to a viewer. Even if it bears some similarities to an existing show, you want your idea to have its own voice and to offer a solid business opportunity. There are few original ideas anymore, merely their unique reinterpretations. But these interpretations can take on a life of their own with an inspired and capable producer behind them.

When you give your pitch, the development executives or clients are paying attention to your idea but they're also looking just as closely at you as its producer. They want to see your professionalism, your passion, and your potential to follow through on the project. Do they want to spend months, even years with you as you all develop the project together? Do you convey confidence and enthusiasm for your project, or could you be seen as a loose cannon who's not capable of collaboration or taking criticism? You want your image to be that of a professional, flexible producer who can be both passionate and realistic.

Pitch to the Right Place

You want your project to be a comfortable fit with the end user's branding, programming schedule, public image, overall vision, and financial capabilities. You wouldn't, for example, pitch a children's cartoon show to a documentary channel, or a sports show to a classic-movie channel. You also don't want to pitch a big-budget high-concept idea to a low-budget online startup or public access channel.

Do your research before you go into a pitch meeting. You want to know their brand, their logo, their mission statement, the demographics of their audience, their primary advertisers or subscribers, and their budget range.

I think the most important thing for young television producers is to understand that you can take the same pitch to about nine different places, but you need to alter that pitch for each place. When people come up with ideas, it's really helpful to know to whom you're pitching. Know which networks serve what audience. Is there a way to change certain aspects of your pitch so it appeals to different networks?

Brett Morgen, excerpt from interview in Chapter 11

Get Your Pitch in the Door

After you have researched where you want to pitch, your next step is to find the right person working there to whom you can direct your pitch. There are no set rules or protocol about who will or won't take a pitch. Some people will take a pitch based solely on someone's recommendation. Others might see your written pitch material, and ask to see your demo reel as the next step. On occasion, your emailed or faxed pitch might reach the right person who'll ask you to send follow-up material, even the script.

Following the traditional scenario, television development executives usually take a pitch meeting only if your lawyer or agent has paved the way with a note or phone call. This assures the executive that you have representation and some credibility. Generally, you'll be asked to sign a submission release (see more on this in the previous chapter and an example on this book's web site) before they will read the pitch or meet with you.

But the traditional model is changing. Now, independent production companies, large and small, are more often the development vehicles for new projects. They have the valuable connections with the networks and bigger cable channels; they also have the in-house resources to produce a project. Newer, younger cable channels and online channels are more open to taking a “cold” pitch, looking for exciting and edgy material. And in the more adventurous and informal world of new media, guidelines have yet to be established. Stay tuned!

Who Do You Know?

Make a list of the people you know or the people they might know who could connect you to an insider for a pitch meeting, or an investor who might help fund your whole project or at least its initial development. This list might include:

  Family and relatives

  Friends and colleagues

  Fellow and former students and professors

  Actors

  Writers

  Directors

  Producers

  Lawyers

  Agents

  Managers

  Investment brokers and accountants

  Professors

  Other professional and creative people

Maybe you've already given a pitch but the project wasn't picked up. Or you may live in an area far from the offices of a network or cable channel. In both cases, you do have options. For example, you can approach an independent production company that has produced projects similar to yours that might air on the channel or site you have targeted. If the company likes your idea, it may agree to act as an “engine” for your project, pulling your project behind their established working relationships. You can find the names of these production companies in the opening and/or closing credits of a program and research them online.

Potential Markets

Our current media climate involves the gamut of delivery systems—from traditional television to the revolution in digital new media—and the result is an almost unlimited marketplace. TV and its many formats, the Internet, video on demand and DVD, cellular technology, portable media players, video games—the list grows exponentially. And each one requires content.

Each market has its advantages and its drawbacks. As a producer, your job demands ongoing self-education: finding in-depth technical, creative, legal, and fiscal information; researching books and online information and articles; talking to producers, professors, and international producers and buyers; taking advantage of classroom instruction; and attending professional conferences and seminars that focus on television and new media. Producers interested in succeeding are lifelong learners—it comes with the territory.

Motion Picture Studios

In addition to producing motion pictures, the major film studios produce television programming. They're also developing a strong web presence, and exploring other delivery systems for their content. Ideas for programming might start with the studio's executives, or could come from independent producers or production companies, or from packaging agencies, or a number of other sources.

A network, in most cases, pays a license fee to the studio for producing the series for them, and gets the exclusive rights to broadcast the first run of the series along with limited reruns. The studio traditionally retains ownership of the property and can eventually sell it to cable, syndication, or to other markets. Often, a studio and a network, such as Sony and F/X, will coproduce a project with one or more independent production companies.

The guidelines for monetizing online content are far fuzzier. The advertising and business models are all over the map in this young digital era, while the studios, networks, and production companies negotiate with the major unions and discuss among themselves just how best to proceed.

Major Broadcast Networks

By selling your idea to a broadcast network, such as NBC, CBS, ABC, Fox, or the CW, you are likely to be well paid because your program reaches an audience of many millions. However, networks are under pressure by advertisers to bring in high audience ratings and to adhere to certain constraints and formulas, so each network has a Standards and Practices department with strict guidelines that dictate parameters for a program's themes and creative risk-taking.

Cable Channels

Cable channels such as Discovery, The History Channel, A&E, National Geographic, or MTV are also advertiser-supported, yet tend to have lower production budgets with more creative leeway for the producer. Ratings play an important role, but they are measured in much smaller increments than those of the networks. Advertisers tend to create their ads around specific niche interests and demographics; they can object, or withdraw ad sales if they disagree with programming content. Cable's creative latitude allows for storylines that incorporate more sex, violence, and adult content than the networks.

Premium Cable Channel

Creative control is a key benefit to most producers. You're more likely to have that control from premium cable channels, like HBO and Showtime. Although their budgets tend to be lower than the networks’, they don't have advertisers to harness them. Their subscriber base is a loyal one, and their ratings aren't as big a concern as they are for the networks. There are few boundaries on adult content or complex themes, and a series like Weeds or Dexter can attract a large audience base that stays loyal to the channel beyond the life of the series.

Public Television

The traditional role of public television has been to air educational and entertaining programming via independent, noncommercial, local and national public television stations. Public television is funded by individual memberships, private corporations, and grants, as well as city, state, and/or federal funding. A station can acquire programs that have been independently produced, or it can partially or fully fund and develop a project. Budgets are generally medium to low, and each station adheres to specific standards for the programs it broadcasts. Many producers find that if their project is aired on a local public television station, it can subsequently be picked up by other local or national stations.

Production Companies

A network or broadcaster might have its own in-house production arm, though most also work closely with independent production companies that produce programming for them. These recognized producers are trusted by their clients, and act as the engines for smaller production companies and independent producers. They can usher your project into the network, and also offer their experience, staff, and facilities after you have mutually agreed on your involvement, credits, payments, and ongoing interaction with the project. Production companies might be small, local companies, or larger businesses that are listed in the opening and/or closing credits of a television show, the Internet, or in Variety or The Hollywood Reporter.

Local Television Stations

Most local and regional television stations have limited budgets, and depend primarily on preproduced programming supplied by a network, a syndicator, or producers of paid-programming infomercials. Many stations produce their own programming—children's shows, daytime talk shows geared mostly to women's interests and social issues, home shopping, local weather, how-to shows, news, traffic, and information. A producer can often raise funding from local advertisers that pays for the entire cost of production; this adds an extra appeal to any smaller station to consider your idea more positively.

Syndication

Most programs in syndication have already been broadcast on the networks and now air on local stations. Frequently sold in five-day-a-week strips by syndicators, they are usually classic favorites such as Friends and I Love Lucy. Shows can also be designed and produced for the syndicated market, airing on local stations in whatever time slot the station chooses. Occasionally, a show starts in syndication and is popular enough to get picked up by a network or cable channel. Budgets for syndicated shows vary considerably, as do the sources of funding.

DVD

Some programs are first broadcast on a network or cable station or online, are aired a second, maybe a third time, and then go into syndication or reruns. Now, entire seasons of most hit shows are repackaged and sold in DVD sets. These rights may be solely for home video, with other rights belonging to airing online or other repurposing of the material.

VOD

VOD, or video on demand, is available everywhere. Perhaps it's a recent film on your cable delivery system, like Comcast; it can be the latest episode of 24 downloaded from iTunes or Netflix and viewed where you choose; you can download thousands of choices directly into an Apple TV or Xbox. Some viewings are free, others are inexpensive to rent or buy.

Direct Mail

This is a growing market for producers who have raised enough money to produce their project through grants, private investors, or other sources but cannot find a broadcast venue. The project may be too politically inflammatory, or it has an adult theme or a specific niche market like home improvement or exercise. Look for online sites and distribution companies that specialize in selling specific projects and genres to clearly defined markets; they can help sell your project. Research the company, making sure they're legitimate and their contracts valid.

Self-Distribution

By far the most ambitious option for selling your project involves distributing it yourself. With the potential reach and marketing possibilities of the Internet, it's possible to reach a tremendous audience. Your how-to play golf DVD, for example, can be promoted, ordered, paid for, and tracked, all online. If you're willing to allow users to download your project for a fee (or free) the Internet takes care of it all. You might also find advertisers to place banner ads on your web site, or embed short commercials.

But this method can be time-consuming, and it requires not only an entrepreneurial mindset but an initial startup fund, a lot of research, and infinite belief in your project. You could see results—and even profits—if you can navigate the duplication, marketing, mailing lists, and networking, along with the packing and shipping, accounting, and phone calls. Explore successful models of self-distribution before you take the plunge.

There are many phases of a program's potential revenue stream, and each should be spelled out in the contract between the producer and the buyer. Some independent producers create projects specifically designed to be sold to a home video distributor who then markets and sells directly to home video markets like video stores and online sites.

The emerging areas of new media continue to expand, and although they vary tremendously in technical scope and accessibility, they all relay on content—an out-of-home ad in the back of a taxi; a mobisode on your cell phone; an alternate reality for a video game; a short film on your portable media player; an ongoing online series. The delivery systems vary, but the integrity of the content is the same.

Understand the International Marketplace

A solid project has the potential for two rounds of audience exposure and income. The first round begins with domestic broadcast or market, and the second extends to the global marketplace. Europe, Latin America, Japan, and Australia are a few of the larger markets who regularly license or buy American and British episodic drama, comedy, children's TV, family shows, and a range of documentaries and reality shows. These markets are generally managed by specialty distributors.

However, there has been a shift in this traditional approach to the international market over the last few years. With advances in technology and increased programming demands from a more sophisticated international audience, local producers and investors are being attracted to creating programming for their specific local and regional needs.

Countries that once acquired programs and series from the United States or the United Kingdom are now producing their own programming. The popular trend is to adapt American and European hit shows that are packaged and sold as formats to fit local protocol, tastes, language, and subtle change. In some cases, local broadcasters may “borrow” key elements as they produce their own version. They create a loyal audience base with shows produced in their own language that are entertaining and reflect local cultural and social issues.

American producers often choose to shoot their projects in other countries such as Canada, where tax incentives and strong currency exchange rates are offered. Several television movies and series use the excellent facilities and experienced crews in places like Prague and New Zealand. Animated shows routinely send their complicated illustration work to Korea and China. The phrase runaway production describes the cost-cutting approach taken by American productions to go outside the country for shoots and locations, production personnel, services, and facilities.

The international marketplace continues to fluctuate. The emergence of new media and the merging of large media companies; the presence of the Internet; the mercurial environments of advertising and sponsorship; domestic and international political shifts; economic downturns—these can all affect the sale of your project to the foreign market. With research and time, and by consulting experts in this field, you can evaluate, and hopefully master, the global market.

III. CREATE THE PITCH

Words are, of course, the most powerful drug used by mankind.

Rudyard Kipling

The pitch on paper reflects the tone and face of your project. Its graphic format is the first impression the reader sees, and its words and ideas become the “voice” the reader hears.

The Cover Letter

A cover letter generally introduces your pitch. Sometimes known as a query letter that accompanies your proposal, it's the recipient's first impression of you and your project, and it plays a strategic role in enticing a potential buyer to consider your proposal.

In some cases, the cover letter can be a stand-alone sales vehicle. It can convince a client, development executive, an independent producer, or an investor to read your proposal. It might excite them enough to take a pitch meeting with you, prior to seeing anything more fully developed in writing.

Anyone to whom you might send a proposal probably receives dozens of similar pitches every week, so you want your cover letter to be brief. You also want it to stand out and reveal several things about you and your project that the proposal doesn't:

  The cover letter sets a tone for the attached written proposal.

  It tells a potential buyer why he or she should be interested, financially and creatively.

  It creates enough interest for the reader to read your attached proposal.

  It gives selected highlights of the proposal, like a short promo.

  It reflects you: your personality and your voice, your passion for the project.

You want your cover letter to reflect your professionalism and confidence as a producer, and as importantly, your own personality. Like its author, each cover letter is different but most follow these simple guidelines:

  If you've been recommended or referred by someone important or known to the recipient, say that right away. Mention in your opening sentence that he or she was kind enough to recommend you.

  Make your first paragraph an attention-grabber, just like a good novel. But overly dramatic is a turnoff.

  Reduce your complex ideas into simple, brief sentences. Each word counts.

  Keep the letter to one page, maximum. Avoid distracting fonts or amateur graphics.

  Allow for margins and open white space, don't crowd your words. Make it easy to read—not everyone has young eyes. Use 12-point Times New Roman or another simple font.

  Use good paper, professional letterhead quality.

  Use a high-quality printer for your copies.

  Make sure you've spelled the person's name and company correctly. Confirm his or her title if you're using it in your letter.

Writing the Cover Letter

Some producers compose their cover letter before they actually start on the written pitch. Others do the opposite, taking the tone of the pitch and echoing it to some degree in the cover letter. Here is a sample cover letter.

The Written Pitch

Imagination is more important than knowledge.

Albert Einstein

The professionally written pitch reflects certain industry standards—its basic format is short and sweet, dramatic, and direct to the point. It is selling your idea.

Your pitch is a direct reflection of your project. Also called a proposal, prospectus, or the pitch on paper (POP), this written pitch is a powerful tool. It can make the difference between your project fading away or being successfully produced. Most importantly, a good pitch gives an investor, development executive, end user, or online entrepreneur good reason to trust you with their money.

As with the cover letter, a good pitch attracts the reader's attention and reflects your professionalism. It avoids fancy confusing fonts and complex graphics, and instead, follows the “three font rule” by using no more than three fonts throughout. Any graphics— such as photos and art work—illustrate an important character or theme, emphasize the words, or show a product. Its pages are bound by a spiral or stapled. Some producers print their proposals using the landscape format, rather than the upright portrait format. This approach makes it easy to hold and use as a great presentation tool during your verbal pitch.

The Basic Elements of the Pitch

  Unlike the cover letter, don't personalize your written pitch. Avoid using the phrases “I think” or “I want to accomplish.”

  Write it in the present tense: “the project is an exciting exploration of college life,” not “the project will be an exciting exploration.”

  Look for creative ways of infusing the pitch with your ideas, vision, and passion without overworking it.

Each project is different and each producer takes a unique approach to writing a solid, strong pitch. Most producers integrate any or all of the following components into their written proposals, and infuse the document with their own individual styles of presentation. The basic elements of a pitch are as follows.

The Title Page as First Impression

This first page tells a mini-story. The title is usually in the largest font, followed by words in smaller font:

  The title

  Genre and length

  The log line

  Author(s)

  Graphics if any

  Name and contact information of agent/lawyer/representative

  WGA registration and/or copyright notice

The title. A good title can create a memorable impression. It can reflect a genre or mood of your project. Survivor and Ugly Betty and 24 – each title is short, memorable, sets a tone, and often tells a story in itself.

Genre and format. Is it a sitcom? Reality show? Episodic drama? Is it a half-hour or one-hour series, or a one-off that airs just once? The page that follows the title page repeats the title at the top, and quickly moves to genre, format, and log line.

The log line. (one-liner) Your log line is a mini-version of your story. It explains the plotline—or parts of it—in just a few words. It can be a snappy appetizer that grabs people's immediate interest. TV Guide is an excellent source of log line examples, so are movie and TV ads, promos, movie trailers, and user-generated content sites. Countless shows have been green lit from a simple but dynamic log line.

Star value. If a well-known star, director, writer, or producer has shown any interest or a real commitment to your project, highlight that fact in your proposal. If you own exclusive rights to a book, or have rare access to a real-life story, this is also valuable information to include as an extra attraction. Your project could also be right for a specific actor who may have his or her own production company. Research this information and approach the company with your proposal. Convince them: you have something no one else has.

The synopsis. A well-crafted synopsis is easily read and understood. It gives some character detail, but not too much. It gives a direction of the story arc but doesn't digress. It also moves the reader's emotions in some way—anger, sorrow, hope, humor. A synopsis, when done right, confirms that there's a good story at the core of your project.

The Synopsis as Storyteller

The synopsis provides one chance to impress its reader. A couple of narrative paragraphs must reveal the dimension of character, the arc of the story, the clarity and passion of Aristotle's “single issue.” The synopsis brings your story to life; it also gives a glimpse into your writing skills. You want the story elements to be organized, and flow smoothly from one segment to the next. As outlined in Chapter 3, you can write your synopsis in the classic three-act format, just much shorter.

The Presentation of Information

You've designed your title page and written a synopsis. Now what? You still have other information that's integral to your project and are genuine sales points. But there are no rules about what order you present them in.

Ideally, after your title page you want to present your story—pull in the reader with the power of the narrative. Then follow with the other components that bring the story to life. Here are some components of a project that you may or may not want to include in your pitch.

Connection to the project. Are you the producer, the writer, or both? Did it grow from your personal involvement in the story? Maybe you once worked for the FBI and now you want to create a series based on your own stories and experiences from that job.

Comparisons. Producers often compare their project idea to hit shows—maybe they say their project is just like James Bond meets Desperate Housewives. But what does this really mean? It says derivative, copycat, and safe. Too many preexisting images block a new impression. But if you say something like, “Five women escape the suburban slump and charter a yacht. The fun really starts when they meet the sixth passenger.” Give your idea its own identity. Occasionally, you can simply imply a resemblance; for example, “in the spirit of…” or “in the tradition of the timeless classic….” Your idea should be strong enough to speak for itself, and to have its own log line.

The cast list. Talent or hosts who are well-known can lend credibility and quality, as well as appeal to international markets in which the talent is popular. If they're unknown actors or a real-world cast, flesh out his or her character and each relationship to the others.

Style. Emphasize your project's unique stamp. Talk about production design, lighting, the elegant designer wardrobe, and exotic locations. Or stress its realistic approach and edgy noir look.

Research. Is your project reality-based, a documentary, or does it requires extensive research? Are rights clearances involved?

History of the project. Your project may have its genesis in a book, a stage play, a friend's real-life adventure, or your own creative epiphany. Sometimes, how it started isn't important enough to include in the proposal.

Production schedule. Provide a short breakdown of your production schedule, including the proposed number of days or weeks needed for preproduction, production, and postproduction; how and where you'll shoot; locations and/or constructed sets; and a general project overview.

Creative team. Devote a brief sentence or paragraph to each key person involved in making your project come to life. As the producer, your own bio should reflect your experience, jobs, awards, professional affiliations, education, and people who can be contacted as references. If you are a student, mention any experience you may have had in television, film, or new media, as well as your course of study, pertinent classes, internships, study abroad programs, and independent studies that have added to your skills as a producer. Mention areas that make you more unique, such as fluency in other languages, computer skills, athletic abilities, and travel experience. All this being said, keep it short!

Demographics and market description. Create a need for your show. Look for projects like yours that are already on the air and making money, or conversely, provide evidence that there isn't anything like your project out there, with convincing arguments for why there should be. Use industry publications, newspapers, and the Internet for credible resources.

Global markets. International sales can be impressive, and vital to a project's potential sales. Does your project appeal to other cultures’ customs, views, and traditions? Can it be dubbed and/or subtitled in other languages? Audiences in every country have their own tastes, so research the markets that routinely buy American or British products as well as the show genre you are pitching.

Budget top sheet. The top sheet, or budget summary, represents a brief overview of your more detailed, estimated budget. It's a general idea of what your project could cost. Neither the top sheet nor the budget should be included in the proposal unless it specifically has been requested. If you do make a deal, most end users rework your initial budget to suit their company's financial parameters.

The financial benefits. Though the financials are seldom included in a pitch, they can be vital when seeking investors. Financials might include a distribution plan, an in-depth financial statement, any tax breaks, projected profits, and the means of transferring funds from an investor to the production account. This area is best handled by an attorney and/or an experienced accountant.

The Video Pitch

Some producers choose to make a mini-version of their project to use as a sales pitch. They'll shoot one pivotal scene from their script, or produce a five-minute “trailer” that paints a portrait of the project. But there's a caveat to taking this approach: It must be good enough to showcase your creative vision and technical abilities. Don't expect people to depend too much on their imagination and look for something that just isn't there in quality of acting, lighting, production values, and especially, in the story.

Each pitch is unique. Each takes its own approach. You can weave any of these elements into your pitch, either by using a bullet-point laundry list approach, or in short paragraphs accompanied by graphics. There is no single template that is used by everyone, so without going too far outside the professional box, make your pitch reflect the voice and tone of your project.

Now for the pitch itself. We're big fans of not sending materials ahead of time and instead showing up with a simple, but well art-directed pitch book that takes the reader through the concept. We'll usually talk through the pitch and refer to the book as we go. Occasionally we'll use a piece of video or still photos to capture the essence of what we're presenting. The power of a pitch book shouldn't be underestimated. Basically, until your show is produced, the pitch book is the show. Everything from the overall look and feel, to the writing, to the design should be reflected in the book. It becomes a great presentational tool and a great way to solidify what your own vision of the project is.

Justin Wilkes, excerpt from interview in Chapter 11

Next Steps with Your Pitch

When you've finally finished your pitch, and before you show it around, legally protect it. Although a document technically is protected by copyright the moment it is written, you can also register your copyright by filing the proper forms with the copyright organization in your country, or register your treatment or script at WGA, either online or by mail. You can review how to best protect your work in Chapter 5.

You may have legally protected the ownership of your project, but most development executives or other end users will insist that you sign a submission release form (see Chapter 5) before they'll agree to read your proposal, especially if you aren't represented by an agent or a lawyer. This document protects them from any plagiarism charges you may bring against them later.

Other executives will accept a pitch only from your agent or entertainment attorney, though a few may take unsolicited material that is mailed or hand-delivered and will give it to their readers first. Having an “inside contact” is also an effective way to by pass the usual requirements.

IV. PITCH THE PITCH

Whatever you can do or dream you can, begin it.
Boldness has genius, power, and magic in it.

Goethe

Without the ideas and motivation of producers, there would be nothing on television, little to watch online, and most Internet and television executives would have no product to sell. So, these buyers stand to profit as much as you do—probably much more—when they can buy, develop, and transmit your project. Your goal is to prove that your project is viable, and that, as its producer, you are focused, passionate, and competent to produce it. Your goal as producer is to inspire confidence, all around.

The media world is a small one; everyone knows someone who knows someone else. Seasoned producers know that today's secretary can be tomorrow's big shot who doesn't forget how you treated her back in the day. The guy who answers the phone might also make decisions for the boss, field calls, give feedback, and often write script coverage to see what makes the next round and what gets tossed. How you treat all these people now can get you work later when they've got their boss's job. If you don't give them respect, they can make sure you never get another chance with that company again.

Your intuition and sense of timing is also important. Certain times of the year are death for getting a pitch meeting, or an answer to your query letter. Winter holidays, the summer months, and religious holidays can be dead zones for an aspiring producer to try scheduling a pitch. Instead, ask the assistants or secretaries what times and dates they can suggest. They know their boss's schedule and moods better than anyone.

The Verbal Pitch

Having your written pitch is the first half of the producer's sales job. The second half is your verbal pitch, and it's just as important. The verbal pitch can effectively convey your passion, your professional skills, and your ability to handle the project.

After you've finished your synopsis, begin thinking of it as a script for your verbal pitch. Shorten it into a few punchy sentences: describe your main plotline, the hero and anti-hero and their journey, the conflict, the resolution. What are your important back stories, and what can you leave out of the pitch? Knowing these basic elements makes it easy for you to succinctly tell a story—an excellent skill for a producer.

The average pitch meeting is short and sweet, with only a few minutes for you to make your sale. The most effective pitches immediately grab the attention of the person or group you're pitching. If they like it, you may be asked to give a longer version that expands on the short pitch or to answer specific questions.

However, not every producer is comfortable giving a verbal pitch; this skill is a unique gift, one that can be a natural gift, or one that's developed. Following are a few approaches to the fine art of pitching.

Prepare Your Elevator Pitch

The elevator pitch is a metaphor for your ability to “own” your project so thoroughly that you can pitch it easily and convincingly, any time and any place—even in an elevator.

Energize the Pitch

Anyone who's in a position to green light your project has heard hundreds of pitches, so you want your pitch to shine and to stand out. You want to capture their attention with your idea and with your presentation. As you work on developing your verbal pitch, concentrate on your communications skills, starting with eye contact. Find a balance of enthusiasm and calm in your voice. Keep your body language loose and relaxed even if that's not how you really feel. Focus on your breathing, and keep it deep and regular.

Memorize the pitch so you can give it without notes, but speak naturally and clearly. Use a timer as you practice to keep the time in mind. You want to keep it down to two to three minutes, even less if possible. Your genuine enthusiasm and confidence can control the meeting when people are as comfortable with you as they are with your project. Forget about yourself, and think about the people who are listening to you as fellow human beings.

There are several approaches you can use in the actual pitch meeting. You can simply talk it through, be direct, and be yourself, occasionally referring to graphics or ideas from your written pitch book. Maybe you act out a short scene, or use a storyboard presentation, or screen a short demo piece, or even use a few well-chosen props. However you choose to deliver your pitch, do what fits the project and your personality. But remember that this is all about selling your idea—so sell it. Don't give it away.

Sometimes, your idea really IS good, and the pitch was equally as successful. But the executive isn't interested because the company has tried a similar idea and it tanked. Or they don't have the budget, or the right scheduling slot for the type of show you've pitched. You can always ask them if they're looking for other ideas, and have some ready to pitch, just in case. You don't want to be known as a one-idea producer, but as one who's a source for many project ideas.

Work with a Partner

If you're pitching with a partner, practice who will be doing and saying what, and in what order. But keep it natural. It doesn't have to be like a Las Vegas routine unless taking that approach is genuinely relevant to your project. Rehearse your roles before the meeting, and come in relaxed, respectful, and enthusiastic. You can have fun with this without draining the energy in the room.

Remember: You may have come to pitch only one idea, but sometimes the people you're pitching may not like your original idea, or they're already in development on something similar. Have one or two ideas ready to pitch, just in case. And you can always entertain the possibility that they might also be interested in you as a producer (and/or writer) for other projects.

The Follow-Up

If you do get a pitch meeting, or even a courtesy phone call from someone in power, email them or send a brief thank-you note for their time. Ask them for any useful feedback they may have from the meeting. If you're not sure if they're interested in working with you, follow up with a phone call or email. You can be respectfully assertive, but not aggressive. Don't come off as a stalker by calling every other day. Know when to move on to the next possible buyer.

V. KEEP PITCHING

Nothing in this world can take the place of persistence. Talent will not; nothing is more common than unsuccessful people with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent. The slogan “press on” has solved and always will solve the problems of the human race.

President Calvin Coolidge

The people you pitched usually know what they're looking for, and their suggestions are valuable; they could improve your idea or propel it toward a possible development deal. They can also help you sharpen your pitching skills, or give you valuable references to other buyers.

If the people you've pitched to continue to say no, they usually mean it. Even if they initially seem to be receptive, don't get too excited—this could easily change and often does. If you haven't heard from someone who expressed interest, let a few days pass before you call to check in. Some producers let a week or two go by. It isn't personal. These are busy people who are swamped with work and are considering other producers’ pitches and ideas. But if your weekly calls go unreturned for several weeks, take the hint.

Every project you see on TV, online, and on other new media formats represents a deal that was agreed on by a buyer and a seller. The producer may have taken the first deal that was offered, or pitched the project to several other places before finding the right one. The negotiations may have been straightforward or highly complex.

The producer is often tempted to hold out for a better offer, believing that you should never accept the first offer or that a sweeter deal could be waiting in the wings. How do you know that the first offer isn't the best? Ask other producers, your attorney, or an accountant. But act on the offer, one way or another, while it is still active and fresh in a buyer's mind.

The Demo Reel

Most producers leave their demo reel at the end of a pitch, or send it out to multiple sources when they're looking for work. They edit, and regularly update, their demo reel, which is a composite of their best work, with short clips and excerpts skillfully edited together into a demo reel. It can be on DVD as well as posted on the Internet, and helps form an overall impression of a producer's ability, experience, and creative approach. Most demo reels don't exceed five minutes, 10 at the very most. The first couple of minutes should be good enough to keep the viewer from fast-forwarding or hitting the stop button.

Networking and Connections

In most situations, real success depends first on who you know. What you know comes next. Most producers’ jobs or project financing comes through connections, colleagues, friends, or friends of friends—ultimately, your reputation backs up their recommendations. You may be smart, creative, and motivated, but you're somewhat hindered if you don't have contacts.

Get to know people who are in the position to help you in as many ways as you can. As you'll see in Chapter 10, you can expand your sphere of connections, and experience, when you:

  Offer to work on student films or independent projects

  Find internships or apprenticeships

  Search the Internet for the newest sites and online channels

  Join media-oriented social networking communities

  Start your own blog and talk to other people on theirs

  Volunteer for and/or attend television and film festivals

  Go to media-centered panel discussions and social mixers

  Join TV-related organizations

  Subscribe to industry journals and publications

  Attend continued education programs that focus on TV, new media, and media studies

I really have to be in love with each and every show, and I think that one of the reasons that I've been successful is because that's what I look for. I look for something that I'm going to love and something I'm going to laugh at after 18 months of the same jokes that I laughed at to begin with. It's a really hard business because you burn out. You're expected to work one day for eight hours and the next day is 14, and to keep your energy and enthusiasm up day after day, year after year.

Valerie Walsh, excerpt from interview in Chapter 11

ON A HUMAN LEVEL …

Selling your project can feel a lot like selling a part of yourself, and it can be easy to confuse the two. Expect to encounter rejection along the way but don't take it as a personal affront. Each time that you hear “we've decided to pass on your idea” should motivate you to try even harder the next time. And when someone does give the green light to your project, stay objective and centered. A swollen ego just gets in the way when you have work to do.

SUMMARY

Pitching your project is a vital part of the producing process. There are countless stories of producers whose pitch won enthusiastic kudos from development executives, and got made—or were never heard from again. Yet every time you turn on your TV or computer or game box, it's clear that hundreds of shows did get made. Each went through the preproduction stage, as you'll see in the next chapter.

REVIEW QUESTIONS

1.  Define “the pitch.” What are its important components?

2.  Why is it necessary to research the network, cable channel, online channel, or production company to whom you are pitching your idea?

3.  List five potential venues to which you could pitch one specific idea. How are they similar? Different?

4.  Discuss the benefits of the global marketplace.

5.  What is a query letter? Why do you need to write one?

6.  Describe the synopsis element of a written pitch. Write a brief example, using an existing script or your own project idea.

7.  What is a demo reel? What are some of the ways it can benefit a producer? How might it be detrimental?

8.  Define an elevator pitch. Why is it advantageous to have one ready?

9.  List five possible venues that can help you increase your breadth of networking connections in entertainment and media industries.

10.  Look at your own positive personality traits, and identify those that you can maximize when you give your verbal pitch.