I. Pitching and Selling: The Big Picture

• 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 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

It’s All about Business:

• TV and new media can both offer a wealth of creative rewards and opportunities for the producer

• You want your project to be a business opportunity for other people as well as for you

• Commerce is always involved - profits must be the bottom line whether it comes from:

  • Advertisers

  • A subscription base

  • From an expanding range of other revenue streams

Know the Market:

• When pitching your project, you want to be sure you’re pitching it to the right place

• The majority of international markets depend primarily on American and British programming

• Watch programs produced in other countries, and research the global marketplace

• 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

  • Other details that tell you if this is the right fit for your project

II. Research your Pitch

• As a producer, you want your project to be unique and have a hook, and 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 offer a solid business opportunity

• 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

  • Passion

  • Potential to follow through on the project

Pitch to the Right Place:

• You want your project to be a comfortable fit with the end users:

  • Branding

  • Programming schedule

  • Public image

  • Overall vision

  • Financial capabilities

• Do your research before you go into a pitch meeting. You want to know their:

  • Brand

  • Logo

  • Mission statement

  • Demographics of the audience

  • Primary advertisers or subscribers

  • Budget range

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 protocols 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 before they will read the pitch or meet with you

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

Potential Markets:

• Each market has its advantages and its drawbacks

• Our current media climate involves the gamut of delivery systems and the result is an almost unlimited marketplace:

  • TV and its many formats

  • The Internet

  • Video on demand

  • DVD

  • Cellular technology

  • Portable media players

  • Video games

• 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

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

• Often, a studio and a network will co-produce a project with one or more independent production companies

• 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

  • Other markets

• Ideas for programming might:

  • Start with the studio’s executives

  • Come from:

    • Independent producers or production companies

    • Packaging agencies

    • Other sources

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

• 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, to 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

• 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

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

• 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

• Public television is funded by:

  • Individual memberships

  • Private corporations

  • Grants

  • City, state, and/or federal funding

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

• 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

  • Variety

  • The Hollywood Reporter

• 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

  • Ongoing interaction with the project

Local Television Stations:

• 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

• Most local and regional television stations have limited budgets, and depend primarily on pre-produced programming supplied by:

  • Network

  • Syndicator

  • Producers

  • Paid-programming infomercials

• Many stations produce their own programming:

  • Children’s shows

  • Daytime talk shows geared mostly toward women’s interests and social issues

  • Home shopping

  • Local weather

  • How-to shows

  • News

  • Traffic

  • Information

Syndication:

• Most programs in syndication have already been broadcast on the networks and now air on local station

• 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 the 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 another repurposing of the material

VOD:

• VOD, or video on demand, is available everywhere

• 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 projects, 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

• 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 find advertisers to place banner ads on your website, or embed short commercials

• 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

• This method can be time-consuming, and it requires not only an entrepreneurial mindset but also:

  • An initial startup fund

  • A lot of research

  • Infinite belief in your project

• You could see results and profits if you can navigate the:

  • Duplication

  • Marketing

  • Mailing lists

  • Networking

  • Packing and shipping

  • Accounting

  • Phone calls

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 that regularly license or buy American and British shows. These markets are generally managed by specialty distributors

• 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 is 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

• 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

• 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

  • Subtle change

III. Create the Pitch

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

• You want your cover letter to be brief, stand out and reveal several things about you and your project that the proposal doesn’t:

  • The cover letter sets the 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

    • 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. 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 they were 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. Use 12-point Times New Roman or another simple font

  • Use good paper and professional letterhead quality

  • Use a high-quality printer for your copies

  • Make sure you’ve spelled the person’s name and company correctly. Confirm their title if you’re using it in your letter

Sample cover letter

Your letterhead [Your name, address, city, state or region, country, zip code; email, fax, phone, mobile]

Date

Ms./Mr. [development exec buyer, investor, etc.]

Title

Company

Address

City, state or region, country, zip code

Dear Mr./Ms. ___,

At the suggestion of [So-and-So], I’m enclosing a proposal for my television show [or other content] called It’s a Hit! [title], a half-hour [or other lengths] program about two teenage golf caddies who use their tips to form a rock band in the clubhouse basement [the show’s one-liner]. The Chaos Brothers have expressed strong interest in playing the lead roles. [Emphasize any talent with name value attached to your project such as stars, writers, directors, etc.]

The story’s theme of teenage joys and relationship demons expressed through music [very brief synopsis] bears some similarity to your excellent documentary series on boy bands [make reference to the development exec’s former track records] last year. Your production company [or studio, network, independent producer] could be the ideal group with whom to partner in making It’s a Hit, well, a hit.

As the producer [and/or writer and/or director] of this project, my background complements the project because [your very brief bio and connection with the story]. I feel strongly that it’s highly marketable, appeals to [your project’s main target group], and can result in profits and satisfaction for all concerned.

I’m honored that you’re taking the time to consider my project. I look forward to hearing from you at your convenience [and/or to have an opportunity to pitch you in person].

Sincerely [cordially, respectfully, best regards],

Signature

Printed name

Title (if any)

The Written Pitch:

• Also called a proposal, prospectus, or pitch on paper (POP), this written pitch is a direct reflection of your project

• 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 artwork - 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 professionally-written pitch reflects certain industry standards and its basic format is:

  • Short and sweet

  • Dramatic

  • Direct to the point

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

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

The Title Page as First Impression:

• 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 the genre or mood of your project, sets a tone, and often tells a story in itself

• Genre and length:

  • 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 logline

• The logline:

  • Your logline is a mini-version of your story. It explains the plotline in just a few words. It can be a snappy appetizer that grabs people’s immediate interest. Countless shows have been green-lit from a simple but dynamic logline

• Author(s):

  • 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 their own production company

The Synopsis as Storyteller:

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

• 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, and 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

The Presentation of Information:

• 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?

  • Comparisons:

    • 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 logline

  • 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 their character and each relationship with the others

  • Style:

    • Emphasize your project’s unique stamp

  • 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

    • 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

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 registering your treatment or script at WGA, either online or by mail

• 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 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

IV. Pitch the Pitch

• 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 intuition and sense of timing are 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

The Verbal Pitch:

• Having your written pitch is the first half of the producer’s sales job

• 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

• The second half is your verbal pitch, and it’s just as important. The verbal pitch can effectively convey your:

  • Passion

  • Professional skills

  • 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

  • Think of what are your important backstories, and what can you leave out of the pitch

  • Describe:

    • Your main plotline

    • The hero and antihero

    • Their journey

    • The conflict

    • The resolution

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:

• You want to capture their attention with your idea and with your presentation

• As you work on developing your verbal pitch:

  • Concentrate on your communication 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

• 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

  • Act out a short scene

  • Use a storyboard presentation

  • Screen a short demo piece

  • Use a few well-chosen props

Work with a Partner:

• If you’re pitching with a partner, practice who will be doing and saying what, and in what order

• Rehearse your roles before the meeting, and come in relaxed, respectful, and enthusiastic

• 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

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

V. Kepp Pitching

• 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

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 5 minutes, 10 at the very most

Networking and Connections:

• Most producers’ jobs or project financing comes through connections, colleagues, friends, or friends of friends - ultimately, your reputation backs up their recommendations

• 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 continuing education programs that focus on TV, new media, and media studies

Summary

• Pitching your project is a vital part of the production process

• There are countless stories of producers whose pitch won enthusiastic kudos from development executives, and got made - or were never heard from again

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 the 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