It Takes Big Cojones To Pitch – You Ready? Part Deux

A pitch is a spoken summation of a script with emphasis on the main characters, the conflict, and the genre.  However, for you to sit in front of that production person, agent, or manager and spill out your story takes temerity and courage.

What are the most common mistakes that pitchers make?  What can you do to improve your pitch and success rate?  Remember, your success is based on that check cashing and the camera rolling.  Everything else is just practice.

The Top Five Pitching Mistakes

Mistake #1 – Pitching scripts that are not complete, not saleable, and not your best work

Writers are enthusiastic about their own material.  It is natural to want to spread your enthusiasm.  You may want to pitch your material before it is complete.  Perhaps you think to yourself that if they want the script so badly, they (the agent, producers, managers, etc) will pay you to finish it?  Perhaps you think that the self-same agents, producers, managers, etc have the patience to allow you finish the product before you turn it in?  Yeah, I did that.  Burned some bridges along the way.  Don’t do it.  Do not pitch material until it is completed.  Only in that way will you know the story intimately enough to tell it in a convincing way.  Also, the producers,’ agents,’ and managers’ time is precious and by pitching something that is not complete is wasting their time and they do not forget that you manipulated them.

Mistake #2 - Tricking your way in

I know a female producer friend who went out on a first date with a guy she really liked.  Half way through dinner, he pulled out a script and asked her to read it.  Yeah, she read it.  No, she did not buy it.

Do not deliver a script or treatment inside a prop -- pizza, box of chocolates, even a ticket to the Laker's game.  Your work has to stand on its own.  I know that there have been exceptions to this rule, but if you are pitching a truly great script you do not need these tricks.  I know it is tough to get in and it seems like it would be better to use some kind of trick, but there are so many better ways to get into this business.  If your writing is good enough, the producers, agents, and managers will come looking for you.

Mistake #3 - Pitching the wrong people

Do your own research.  If you are pitching a horror feature, pitch to production companies accepting horror features.  You are wasting peoples’ time if you pitch your horror story to a company that makes only romance.  Yes, I know you did not do that intentionally.  You are aiming to get your story out there.  But, a little bit of research will not hurt.

What do you do if you discover you are pitching to the wrong person?  Stop pitching right that moment.  Why?  Because pitching a project that doesn't fit a producer's market reduces your chance of ever doing business with them on a future project.  Ask about what they are looking for and exit the conversation gracefully.

Mistake #4 - Flashing producers, agents, or actresses with your script

One word – Don’t even think about it.  Well, four words.

I was at Screenwriters Expo several years ago when Joss Whedon spoke.  After he had spoken and as he was exiting the hall, people (I will not give them the title of writers.) intercepted him with their scripts in their hands.  They also threw scripts at him.  Hey, those brads hurt.

Mistake #5: Thinking desperation is attractive.

You have passion in your own work.  That behavior is something you must have as a writer.  You want to translate your passion for your story into something you can convince other people to buy.  However, acting desperate in a pitch is repelling.  If you are desperate, you are speaking from an internal place of failure. In your mind, you have already failed, so you overcompensate in the belief that the behavior will fool people.  I know you have bills to pay.  I have got bills to pay.  But if you chase people, beg, demand, break down, and even declare that they are desperate not only will they reject you out of hand, they will not forget.

Pitching to an agent and producer – what are the differences -

If are pitching to an Agent, sell yourself more than trying to sell your project.  Agents are not buyers.  They cannot finance your movies, but they are the doors to those buyers that you will need.  Project an image of self-confidence along with your knowledge as a writer and your love of the work.

If you are pitching to a Producer, pitch all of the talent that you have as a writer and as a performer.  You need to know your material backwards and forwards.  You  need to show a great deal of self-confidence and yet be willing to listen to their questions and ideas.  Your attitude should always be “up.”  Show your enthusiasm for your project in a businesslike way.

A Possible Sequence of Events in Pitching

Introduced yourself

Say the title of our screenplay

Tell the listener the genre

Give a clear concise logline.

Drop the hook – a brief statement or premise that brings the listener into the story

Stop talking – wait for the question and answer period

Leave the listener wanting more.

Have a ‘take-away’ so that if the listener wants more information you can provide that.

Some Last Words

Three words of pitch success - Practice, Practice, Practice

Practice

How you enter a room

How you introduce yourself

How you introduce your material

How you begin your story

How you engage with the person you are meeting.

First impressions are everything – in person or on the phone

Sharpen your performance skills

After 30 days – call

After 44 days – call.  Ask them to return script.  Someone else is interested.

·         Accept the water

·         Do not talk business too soon

·         Access thoughts, feelings, and experiences

·         Start with silence

·         Lead with genre

·         Embrace the question and answer portion of the session

·         Beware the trap of “who do you think should be cast?”

·         Save a surprise for the end

·         Chose your battlefield carefully

Remember

Just remember, most producers, agents, and managers have the attention span of a ferret on crack, so if you ramble or get off - track, they are likely to start planning their next meeting before you're done.  You need to engage the listener - tell them a story - Start with the logline and then run through the rest of story hitting the emotional high points – the hero, his goal, the conflict, what is at stack, emotional turning points, and conclusion.  Yes, give them the ending.  If the listener starts looking at their watch or appears disinterested, tie it up.  Have a ‘go to hell’ plan - Ask if they would be interested in another pitch.  If they agree to consider the script, stop talking.  Make the most of your face time.  Query letters are not going to cut it.  Have a healthy self – esteem.  Expect, even welcome, rejection.

12.  Prolificacy

Prolificacy is defined as the property of producing abundantly and sustaining vigorous and luxuriant growth.  Nice, but what does that have to do with writing?  As a writer you must write.  You must continue to write every day regardless of whether you have been ‘struck by the muse’ or not.  You must write at least one new scene every day.  If you go back a re-visit previously written scenes, that does not count.  A. New. Scene. Every. Day.

Got it?  Good.

Why are you reading this?  Go write!

John still practices screenwriting in King County, WA along with a small rat dog, a mortgage, and a great view of the valley.

It Takes Big Cojones To Pitch – You Ready? – Part 1

As this pitch discussion is long, I have broken it into two parts.  Part 1 gives you the elements of the pitch, kinds of pitches, types of pitches, and pitches do’s and don’ts.  Part 2 gives you pitching mistakes, improving your pitch chances, the differences of pitching to an agent or a producer, and last words about pitching.

A pitch is a spoken summation of a script with emphasis on the main characters, the conflict, and the genre.  However, for you to sit in front of that production person, agent, or manager and spill out your story takes temerity and courage.  What are the elements of the pitch?  What are the types of pitches?  What are the kinds of pitches?  What are the do’s and don’ts?  What are the most common mistakes that pitchers make?  What can you do to improve your pitch and success rate?  Remember, your success is based on that check cashing and the camera rolling.  Everything else is just practice.

Elements of the Pitch

The pitch is made of the genre, the premise, and the scope of the story.  That simple.  How you put those three elements together is up to you.  The depth of the information is based on how long you have to pitch.

Kinds of Pitches

There are basically two kinds of pitches - the so-called ‘Elevator’ Pitch and the Long Pitch.  Each has its strengths and weaknesses.

The ‘Elevator’ Pitch - Short – 1 – 3 minutes

Be enthusiastic.  You have three sentences to hook the listener.  Just give the listener the essentials - the premise, the genre, and the scope of the script.

The Long Pitch - 5 to no more than 10 minutes

More detail about the story arc and character arc, particularly that of the main character.  Establish your story line and then continue with the structural dynamics of the story; the beginning, middle and end.  Generally discuss the various plot points.  Tell your story in a way the listener can "see" the story.  Tell the listener the end.  Embrace the question and answer (Q&A) period.  Perhaps the listener will suggest another ending.  Deal with it.  Since most of us talk at 80 – 100 words per minute, you should figure on no less than 400 words to no more than 1000 words.  And yes, you must memorize the pitch.

Types of Pitches

1.  Middle of the Story - When you start your pitch put the listener in the middle of the story.

Example:  You’re living your dream.  You always wanted to be a rock star, and now you are.  You step out of your private jet and start walking down the steps to thousands of fans snapping your photo… but then you hear a shot and your bodyguard falls down, and everyone starts screaming and running. And you realize that…and this is the situation that you walk into as you…  And so forth.  By placing your pitch audience in the middle of the story, it pulls them into the world of your story.

2.  Setting and Mood - Open with the setting and create the mood

Example:  It’s 1942.  WWII is well underway.  Hundreds of Europeans fleeing from the Germans want to go to America.  But to do so, they must go to Casablanca to get their exit visas.  The hottest spot in all of Casablanca is Rick’s Cafe, operated by Rick Blaine, an American expatriate.  Rick’s Cafe is a happening night club where people often cross paths with old friends who are coming and going.  Here, we are drawn into the setting and that keeps us attentive.

3.  Provocative Questions - Ask a provocative question.

Example:  What would you do if someone who was extremely attractive offered you one million dollars for one night with your new spouse?

Pitching Do’s and Don’ts

Do’s

·         Prepare – create interest and retain interest

·         Memorize the pitch - 5 to no more than 10 minutes

·         Engage the listener - tell them a story - Start with the logline and then run through the rest of story hitting the emotional high points – the hero, his goal, the conflict, what is at stack, emotional turning points, and conclusion (Yes, give them the ending.).

·         If they agree to consider the script, stop talking

·         Be at ease, confident, and friendly

·         Remember – smile!

Don’ts

·         Try to sell them on how clever or smart you are

·         Be competitive or combative or vain

·         Boast or brag

·         Swear or lose your temper

·         Look for things, fumble and mumble and forget

·         Allow any awkward pauses

·         Don’t act desperate

11.  Love of Words

To be a successful writer, you must love words.  You must write at least three pages or 1000 words a day every day about anything.  You must understand not only the structure of fiction, but the words that make up that structure and how to use those words more effectively.  Write about anything.  Write about your life.  Write poetry.  Write finely crafted vignettes.  It does not matter.  You bring the content.

Read dictionaries.  Read Thesaurus.  Learn how to use words.  But, above all write every day.

Why are you reading this?  Go write!

John still practices screenwriting in King County, WA along with a small rat dog, a mortgage, and a great view of the valley.