TV & Digital Distributors, Buyers and Content Creators from 100 countries include: [Read more…]
Please join me on 2/24 for my newest LIVE webinar…
It’s a challenge to get the right people in power to read your screenplays. The chasm between a query – or even a successful pitch – to a sale can feel insurmountable. Encapsulating everything that’s great about your project into a logline or even a one sheet can feel daunting.
Enter: pitch packages.
A pitch package is the very best of your verbal pitch captured on the page, often with conceptual visuals. Flawlessly executed, it can either secure you that elusive pitch meeting or serve as a brilliant follow-up tool that will carry your passion all the way up the ladder to close the deal. As meticulous, creative and tonally specific as loglines but encompassing the structure and themes of the entire project, pitch packages condense your conceptual material into marketing ad copy. [Read more…]
How to Work the Film & TV Markets takes independent filmmakers, television and digital content creators on a virtual tour of the entertainment industry’s trade shows – essentially the circulatory system of the entire global media landscape.
This book highlights the most significant annual events around the world, details a dossier of all the players they will meet there and examines all the elements that drive the market value and profitability of entertainment properties. State-of-the-art, in-the-trenches insights are contextualized into immediately implementable practical advice. Demystifying these markets, Heather makes them less intimidating, less confusing and less overwhelming and clearly lays out a plan to strategize and navigate these events, making them far more accessible, productive – and fun!
Make the most of your investments of finite funds, time and creative energy. Optimize your odds for success not only within the mainstream, business-to-business circuit but learn how to select, apply and scale its most prudent, proven principals and most promising disruptive strategies through your own Do-It-Yourself / Direct-to-the-Consuming-Crowd fundraising, distribution and promotional efforts.
This creative guide offers: [Read more…]
By Heather Hale
Life has a way of getting in the way of writing. How much of our own writing we get done depends on how and where we’re earning our income, our personal responsibilities and our creative energy levels. Add two personalities to all that ebb and flow and the dynamic can get quite squirrely. But this husband and wife team makes it look easy!
I spoke with Nunzio DeFilippis, Chair of Screenwriting at the New York Film Academy, and Christina Weir, who teaches Sequential Art and Transmedia, to see what kinds of insights we could glean that would be of practical use to emerging screenwriters today.
I’ve been helping them re-edit their sizzle reels, rewrite their one-sheets, practice their pitches and in some cases, even really re-evaluate and figure out what it is they’re actually trying to pitch (i.e.: existing footage to be re-purposed or translated for other territories, themselves as a host or segment guestpert, a replicatable format, or a show they want a financier or distributor to commit to develop or co-produce).
To that end, there are some past blogs that have been helpful to many, so I thought I’d share ‘em with you all (in some cases, again):
- Story Selling: The Art of Pitching
- The Do’s and Don’t’s of Reality Show Pitch Proposals
- Where Should I Pitch My TV Show?
And here’s a Brown Bag Lunch video interview I did with NATPE a couple of years ago (during the one month I thought I’d try being burnette! 😉 Wasn’t my best look – but the content is good!)
We all know that great writing comes from great rewriting. And that second acts are where the real writers live. All that’s true. So very true. But it’s also true that we can all be guilty of nursing a labor of love script to death. At some point, you just have to let go and move on. It doesn’t matter how brilliantly you execute a marginal idea, if you don’t begin with a concept that intrigues or excites your pitch listeners, script readers or trailer viewers, today’s market is simply too insanely over-saturated with competition for a weak project to get noticed above the din.
Don’t begrudge all those hours you invested on “that” script (and we all have one!). Every hour or page you write empowers you to write better, faster, smarter. KEEP WRITING. Put in the “ten thousand hours of practice” that Malcolm Gladwell, in his third great book, Outliers, identified as “the magic number of greatness.”
One of the best ways I know to access the genius of your mind, the richness of your memories, sensory life experiences and unique expertise is to mind map. [Read more…]
Writers are storytellers. But when they have to sell their stories, they often freeze up. That’s an unfortunate and unnecessary career handicap.
Pitching is (of course) a completely different skill set than writing – but it’s just as learnable a craft and instinctive an art. And you’d do well to get good at it. Just as the secret to good writing is great rewriting, pitching takes practice. But where do you even start?
At the beginning.
When an athlete is asked the first time to break down what they do instinctively into step-by-step instructions, often, the combination of moves they try to articulate seem disjointed. It’s only as the separate pieces come together into one graceful, natural movement that everything falls into place. You, too, can achieve that with your pitch: invisible (but flawless) structure, expressing authentic passion, resulting in genuine emotional engagement that inspires desired action.
Have you ever raved about a movie or TV show that you absolutely loved (or even an exciting sports game) to someone who hadn’t yet seen it? Spoilers aside, your enthusiasm was probably contagious enough to make your listener want to see it, too (i.e., to take action).
You want to make whomever you’re pitching to, be genuinely excited to read your script (or at least think it sounds marketable enough to warrant their paying a threshold Reader to vet it for them). Sure, you want to sell or option a script or secure an agent or manager – but those are all downstream goals. What are the real goals that can actually be accomplished during a pitch?
Primary Goal: Elicit a script request.
Secondary Goal: Network (Build Your Relationships and Reputation)
Share Your Passion
For each and every pitch, your challenge is to translate whatever it was about your idea that got so under your skin that you were inspired – nay – compelled – to dedicate weeks to years of your life to create a whole world of characters to express the concept.
No one can give you that passion. As a writer, you should’ve come preloaded with that. That should be why you’re here: crazy enough to pursue this line of work. No matter what you’re pitching, to whom, where or how – your pitch should always start with a fantastic logline.
Loglines in a Nutshell
Loglines are without a doubt the hardest things you’ll ever have to write. And the most important. Books, blogs, videos, workshops and panels galore cover loglines ad infinitum, so let’s just cut to the chase and assume that ya’ll know that you need (give or take) something like this:
[Title] is a [Genre] about [an interesting, proactive Protagonist] who wants to/must [P’s Goal] but [Conflict = obstacles that get in the way/stakes if Protagonist fails].
When [the inciting event happens], [our Hero], must [pursue the goal/drive the plot].
If your Protagonist is not pro-actively pursuing a plot-driven goal, then maybe you have more a character-driven or situational story, and you need to adjust your logline accordingly. If you have written a transformational character arc, make sure you point out your Hero’s flaw in your logline as it is key to your theme. An ironic twist at the end of a logline is always good for extra credit – especially for comedies and thrillers.
As always, look for the source of conflict in the story. In an action-driven piece, it will be in the goal versus the stakes against the ticking clock. In a character-driven piece, it will be in the situation. If you have created circumstances that accentuate a clearly defined central problem, perpetuating it from every angle (but never really actually solving it), then you may have yourself a TV show.
There are as many different kinds of pitches as there are opportunities. Let’s limit the spectrum of this blog to four environments:
- Brief Surprise Encounters
- Targeted Queries
- Pitch Fests
- Pitch Meetings
Each of these situations are wildly different. Inevitably, the approach, pace and architecture of each pitch will vary. If you have a chance meeting with someone on your Hit List in line at Starbucks, you may only have a couple of minutes to seamlessly work your brilliant logline organically into the conversation. This is the ambient white noise of LA.
If you’re targeting a handful of personalized query letters, cold calls or third party luke warm referrals, you might introduce your logline with a “What If…?” character or plot premise statement or close with the unique subject matter expertise you bring to the material.
The beauty to a pitch fest is that you can get right down to business. They know why you’re there. This professional speed-dating ritual is probably equally as painful on both sides. Of course, you want to greet them and build (quick) rapport, but with only 3 – 8 minutes all in, you’ve gotta race to get to and through your well-practiced spiel while ignoring the ballroom of competing hawkers all around you.
Most pitch tests are loud, noisy hot beds of chaotic, rushed desperation but a few organizations offer a higher quality experience by vetting both ways. RB and Joey Tuccio’s Stage 32′s Happy Writers’ Online Pitch Fests schedule professional, quality, cyber-face-to-cyber-face Skype pitches and NATPE’s PitchCon, a smaller and more intimate live event provides decision-makers specifically looking for TV projects a convenient forum to find them. Both deliver the actual decision-making executives they promise.
If you’re smart, you’ve already done your due diligence on who you’re pitching to and can replicate the Cliff Note version of what you’d do in a legit, scheduled pitch meeting (below).
Official Pitch Meetings
The Holy Grail. Actual real buyers. Hopefully with development money and access to distribution. One or more Execs have actually set aside time specifically for you, wanting to hear your specific pitch (that they might actually be interested in) or perhaps they are looking – now or in the near future – to hire a writer like you.
Before you go in: practice, practice, practice. You cannot over practice a pitch. Think of an actor who is so far off book they have the freedom and confidence to improvise, to be present and aware.
Trust your material. You know it (you wrote it). Relax. If you have practiced your pitch on your family, friends, writers group and anyone who would listen, you should have earned your confidence. Sure, you’ll still be nervous – you’re a writer not an actor or comedian. But if you record your pitch on video tape – and, like an athlete – study the playback, painful as the feedback may be -it’s also priceless. Fix the pitch and polish, polish, polish.
Just as screenplays are highly structured, so too are pitch meetings. Now you’ve got a Hollywood eternity of 15 to 45 minutes to just squeeze in all of the following (in about this order): greetings, relevant and interesting intro, break the ice, build rapport, honestly acknowledge them for some of their work that you admire, don’t rush but segue on to the genesis or emotional inspiration for your project, slip in the title and genre to make sure they’re oriented, knock that logline that you rewrote more than your script out of the park, and move gently into your well-rehearsed pitch making it seem like more of a conversation than a presentation. Phew! (That’s “all” you’ve got to do!)
Hit a key milestone five minutes in and give them some mile markers: “That’s when we break to Act Two…” Don’t steam roll over them. Engage their imagination. Check in with them periodically. Ask questions. Show respect. Is the type of project they do or might be interested in?
Don’t just list the events of your beat outline. They want you to entertain them with a story – not just outline the structure. As you weave through your key turning points, make them FEEL the twists and turns. Hopefully they’re laughing if you’re pitching a comedy or on the edge of their seats if its a thriller. Emulate what the viewing experience could be through your verbal storyselling.
You already know: Show, Don’t Tell
Don’t Tell: Sell!
(sell, Sell, SELL!)
Don’t be so myopically focused on the artistic elements that you lose sight of (let’s be honest, here) – what the money guys (or gals) are in the room for: to discern how marketable what you’re pitching is. Can they make money off of it? It is Show BUSINESS.
And speaking of which, using comps can be Risky Business. If you’re going to reference comparable precursor films or television programs, please use restraint with the “It’s ABC meets XYZ” mashups. Know your audience. Don’t mention their flops. It’s probably not even wise to use the labor of loves of their predecessors. Models you referenced for structure, theme or even casting inspiration while you were writing will only be of interest to your fellow writers. For the suits, offer up genre, rating or tone touchstones that were box office or ratings hits that appeal to your same demographic.
Questions are great. The more there are, the closer you are getting to a deal – so welcome them. PREPARE FOR THEM. This is the benefit of all that practice. What confused your friends when you pitched originally? Where were the slumps that bored practice listeners? Hopefully, you’ve pruned all that out. Know what the tough questions will inevitably be in advance – and be prepared with a kick-ass answer. Maybe even hold back a surprise twist knowing that this will be an obvious question to ensure they participate – and you are armed and ready.
If appropriate, this is your one chance, inside the ivory tower, to hear from the Horse’s mouth what they’ve got up their development sleeve – and what they’re really looking for. Mixed metaphors aside, dig about (gently) to ascertain future opportunities.
Ask for the Order. Would they like to read the script? Can you send a pitch package? If they say yes…? Hallelujah! – and get the hell out of the room! (Do the jig when you’re out of their line of sight!) A good salesman knows when to shut up. You cannot do any better than a “Yes” and anything that comes out of your mouth after this will only offer them fodder to second-guess their decision. Say, “Thank you,” and leave.
If they have to pitch it further up the food chain (which inevitably they will), delicately offer that you’d be willing to come back and pitch it to anyone else who needs to hear it. If they’ll allow this, it takes the onus off them for a repeat, diluted performance and ensures you nothing will be lost in translation. Not to mention: you get to meet their boss (and begin to build that relationship, too).
Pitch your heart out. You already poured it onto the page, right? This is the second course. GOOD LUCK! I hope you knock it out of the park!
A great deal has been written over the past forty years about (Alfred) “Hitchcock’s Women.” Immaculate blondes, sensual ice queens that could be both treacherous yet vulnerable. These strong independent women often drove the action of his famous suspense films – and they suffered for it. They have become icons of his era.
One of our era’s most distinctive cinematic voices is Charlie Kaufman. In studying his scripts and movies (preparing for an OnDemand Webinar), I began to appreciate the spectrum of his female characters across his six films thus far: Being John Malkovich, Human Nature, Confessions of a Dangerous Mind, Adaptation, Eternal Sunshine of the Spotless Mind and Synecdoche, New York.
The antithesis of his needy male Protagonists, Charlie Kaufman’s female characters are aware of what they want in life – and are willing to take risks to go get it. They are often sarcastic and emasculating, almost always autonomous, confident, extroverted and manipulative.
Catherine Keener’s performance in Being John Malkovich was a breakout role for her. Although she originally didn’t think she was right for the part of Maxine, she seems the perfect Kaufman femme fatale – particularly suited to play his deadpan comedy. Brazen, cocky and audacious, he cast her similarly in his most recent directorial debut, Synecdoche, New York.
Unlike Hitchcock’s always meticulously groomed bleach blondes, Kaufman seems to have a knack for making exquisite women unattractive. Take Being John Malkovich’s Lotte, so frumpy and frizzy, few even recognized her as the beautiful Cameron Diaz who played a woman so unhappy with her life that her first lesbian experience (albeit a surreal Russian doll daisy chain of an initiation) ignites her desire for gender reassignment surgery.
And in Human Nature, the otherwise lovely Patricia Arquette, suffers from Idiopathic Hypertrochosis – an incredibly rare hormonal imbalance that covers her body in hair like an ape. She spends part of the movie naked and feral – but always, true to herself.
Meryl Streep is fantastic in everything but it sure looks like she had a ton of fun playing the libelously Hollywood-ized “true” life story of Adaptation’s Susan Orlean.
One of my all-time favorite movies and Kaufman’s most commercially successful films to date, Eternal Sunshine of the Spotless Mind, a heartbreaking yet hopeful remarriage tragicomedy, is driven by Kate Winslet as Clementine, who catalyzed the whole story by choosing to undergo a surgical procedure to erase all her memories of her boyfriend of two years, Joel (played by Jim Carey). No idealized, fairy tale RomComs for Kaufman fans, no Ma’am: he dishes out poignant, realistic, messy portraits of modern love.
Kaufman updates the “Hell hath no fury like a woman scorned” model when Mary in the same film, portrayed by Kirsten Dunst, realizes not only the source of her puppy-dog-like adulation for Howard (played by Tom Wilkinson) was (ineffectively) washed away by this same procedure. Not only is she one of his most recent “patients” (unethical on so many levels), but her humiliation is heightened by discovering this secret in the middle of the night – in the middle of the street – with Howard’s oft-betrayed wife looking on, empathetic from her superior position. Mary takes it upon herself to re-educate all of Howard’s former customers, setting in motion who knows what kind of unraveling and disruption on so many fronts.
And finally, there are so many doppelgängers in Synecdoche, New York it’s hard to tell them apart (much like replacement spouses). Philip Seymour Hoffman’s Caden Cotard had a revolving door of one woman after another in a series trying to fill the void left by his first wife, Adele (played by Catherine Keener) and the daughter she took with her. After trying to recast this role in his “real” life with Claire, played by Michelle Williams, he casts Tammy (Emily Watson) to play Hazel (played by Samantha Morton) – both of whom he sleeps with – so similar in appearance, audiences had a difficult time telling them apart (kind of the numbing point). The entire cast ages decades in a matter of moments as time – and life’s opportunities – slip through the fingers of this asleep-at-the-wheel Protagonist.
In so many of his films, Kaufman poignantly tracks the erosion of love – and the atrophy of affection – through a cinematic dance of self-awareness, identity – and lies. But he can always be counted on to write complicated, complex, proactive female roles for all ages.
Watch this column for future articles on the Eternal Brilliance of Charlie Kaufman’s Non-Linear Mind.
– See more at: http://www.scriptmag.com/reviews/producers-pov-charlie-kaufmans-women#sthash.3prp722e.dpuf
A couple of summers ago, I judged The Hollywood Player Pitch Contest at NATPE’s PitchCon. For the past couple of years, I’ve helped TV Pitchers develop their materials and prepare for their pitches. I thought it might be helpful to share some Do‘s and Don’t‘s of what ought to be in your proposal when pitching a script.
* Know WHAT your show is. Is it a half-hour or an hour show? If it’s a competition program – what kind? Elimination? Build? Talent Search? Game Show? Social Experiment?
* Know what your FORMAT is. This is what you are pitching in reality programming. This is your protectable asset. Break it down: what is it? You can register your treatment or outline with the WGA. Or even work up a hypothetical pilot script and copyright that proposed execution of the idea.
* Know your milieu. Is it Fashion? Health? Science? Foodie? Travel? Know your WORLD.
* Know who your AUDIENCE is. What are your likely demographics? (This is also your most obvious clue as to who your likely distributors or outlets might be).
* Provide a snapshot of the project: a quick, orienting overview so we can get on the same page with you, frame our expectations appropriately, not be confused – and be prepped to enjoy your passion!
* Have at least a ballpark idea of the show’s budget (or at least what’s realistic for your genre).
Remember: reality is profitable because it is cheap.
* Have a great sizzle reel. Thirty seconds to three minutes is ideal. But it is far better to have no sizzle reel than a cheesy one with marginal production values that could do more harm than good. If what I might imagine off your great pitch is better than what you actually got in the can? Cut your losses and leave the clips at home – no matter what it cost to shoot.
* If you claim to have a celebrity attached: have them attached. (Even better, have DE-tachable “attachments”).
* If your show is contingent upon specific talent, it’s not always a good idea to bring them with you into the pitch. Sometimes it is (they’re “great in the room,” sell the show better than anyone else, are real creative and business partners with you, etc.) sometimes it’s not (your talent pitches themselves, not your show or the Execs aren’t interested in them as talent but their being right there in the room inhibits the discussion of any other options).
* If you are showing merely optional representatives of a “type” (a unique family, profession or lifestyle), then some tape of options is a better way to express the possibilities and keep the discussion open and flexible.
* Know your precursors. What is on the air right now that is comparable to the show you have in mind in one way or another? How is yours different? How is yours better? What elements does your idea share with successful, similar TV shows from the past? All the better if they are siblings from the network or cable channel you’re pitching to – or what they are currently competing against.
* Have a few great product placement, sponsor, ShowRunner or Co-Pro candidates up your sleeve (even if only short list suggestions).
* Oversell with superlatives. This isn’t your first born. Explain what your show could be (not the over-the-top ad copy of your wildest dreams of what the best in the business could do with a limitless budget and perfect conditions).
* Tell them how to do their job.
* Be derisive of the industry. If you think everything on TV right now is crap, then why do you aspire to write for it? And why would the people you’re pitching to want to work with someone who thinks their entire business and its output is beneath them? Be smart. Be respectful and courteous. Sure, be creative and passionate – just don’t be rude and offensive.
* Over-encumber your project with a daisy chain of “attachments” that are just dead weight albatrosses.
* Reality TV is popular because it is high concept, easy to market – and cheap to produce!
* Think: intriguing premises populated by unique characters in fascinating, unfamiliar worlds.