Some helpful Do‘s and Don’t‘s of what ought to be in your TV pitch proposal: http://www.scriptmag.com/features/dos-and-donts-of-reality-show-pitch-proposals
I love to travel to teach at film festivals and writers workshops all over the globe! But screenwriters and filmmakers often ask me if I ever teach online. Well, I’ve started doing just that as well as teaching live webinars and recording tutorials. Here’s some info on what I’ve been working on recently – and what’s coming up soon!
Upcoming Online Classes:
- * Generating Ideas for Screenplays (7/25 – 8/22)
- * Writing a Spec Script for a Television Comedy or Drama Series (8/15 – 11/7)
“I wasn’t sure if I should take Heather Hale’s class because I considered myself a seasoned vet of multiple genres over ten years on the way to success but after taking her class, for the first time, I am sure that as a writer, I am going to finish exactly where I want to. Well worth the time and money. Thanks, Heather!”
“After going through this class, I am feeling in my bones how a script is structured. Like most writers, I love ideas and characters and plot. I took this class because I knew I was throwing all those things together in a way that wasn’t making sense as a script. The process was a revelation and I’m confident that I can create marketable spec scripts. Heather is a very positive instructor, catches where the story is headed off base, and is always ready to help. I think I will repeat the class just to go through the process on a different length, different genre script.”
Also, check out my Producer’s POV column in Script Magazine. And feel free to shoot column questions, topics or ideas!
The world needs to hear your stories!
If you’re an aspiring television writer, trying to get staffed this season or perhaps (like me), you’ve got an original pilot (or two) you’re shopping, understanding the business cycles can be helpful in planning and executing your strategies.
2013 Staffing and Development Calendar
Feb. – May: Executives read scripts and take “staffing meetings” with agents and managers for network shows.
Late May: Upfronts (when networks and cablers show off their new shows to entice advertisers to commit to buy commercial airtime “up front” – months before the shows’ premieres), pilots are picked up to series, staff is put in place.
June: Most writer rooms begin.
July: Shows start shooting.
Development Time Line
June – Oct. Networks hear pitches (Cable hears pitches year around)
Aug. – Sept. Scripts are ordered
Nov. Outlines are delivered
Dec. Scripts are delivered
Jan. – Feb. Pilots are ordered
Feb. – March Pilots are shot
May - Pilots are picked up to series
I recently did a half-hour interview with Joshua Brown for Producer’s Pal Podcast.
Their mission: Unmasking Filmmaking Business Secrets, Inspiration for Independent Film Producers. Taking Hollywood Head-on.
I get asked this question all the time: How (and where) should I pitch my TV show?
As the Pitch Prep Coach for the National Association of Television Program Executives (NATPE)’s PitchCon and repeatedly getting up to bat myself as one of the qualified producers in the NBC/Universal partnership with the Independent Film and Television Alliance (IFTA), I’d say it’s the same answer as for almost everything else in Hollywood:
William Goldman was right: “Nobody knows anything.”
Still, you’ve got to start somewhere.
Like any other sales activity, you have to consider:
- * What it is you’re trying to sell?
- * What is your actual product?
- * How can you best show it off?
- * Who are you selling it to?
- * Do they even want what you’re trying to sell them?
- * Are you selling it at the right time?
- * Are you at the right price point?