It seems that pitching (ie: a verbal sales presentation of your project) has become yet another needed skill for writers trying to break into the industry. Often this kind of salesmanship is required when the writer has his or her first contact with an interested party ("so tell me all about your screenplay") or when she/he plunks down blood money to attend one of those pitch sessions that seem to be cropping up here and there (by the way, I hear that Eva Peel's, Spec Script Marketplace is a good one (310 396-1662). While writers squawk over the sweat and tears of script revisions and the like, when it comes to pitching many would rather face a surgeon's scalpel. The idea of confronting "the man" with the stakes on the moon, and cleverly rendering the consummate sales pitch can be so traumatic that one might even consider a new career in leaving town. Wait. Pitching will probably never be easy, but it can be very manageable. Hear me, I know what I'm talking about! The greatest enemy of pitching is the notion (often generated in the "how to" culture) is that there is a TECHNIQUE to be learned. This notion implies that one must somehow capture the art of contrivance and "salesmanship," practice it to the max and then dole it out like a Shakespearean Sonnet. Forget about technique, it's usually death on the Nile. The only rule for good pitching is BEING YOURSELF and COMMUNICATING THE TRUTH. In this regard, all styles are welcome. The enthusiastic artisan on the edge of his/her seat, passionately chatting up their project can be very winning but so can the quiet, stoic-faced waif, earnestly making his/her case. Another cardinal rule for effective pitching is this: prepare all you want but NEVER, EVER READ YOUR PITCH. It just doesn't work. My suggestion is that you create a "beat sheet" (like a crib sheet) touching upon the main points of your pitch. A smorgasbord of the highlights. While preparing, keep in mind to pitch like you write: have a beginning, middle and end. Then get the gist of it set in your mind (you can keep an index card with your cues handy) but, when the big moment comes, kill the teleprompter, shoot from the hip and trust in your own spontaneity and well directed fear. Your passion and extemporaneous energy, will provide more spunk, sparkle and splash to your presentation than any scripted spiel could possibly do. And even if it's specked with imperfections, it'll be a thousand times more enchanting and dynamic than some over prepared, memorized diatribe. When I used to pitch TV projects at the networks, I was always confronted by that moment of terror, usually on the car ride over, when it would suddenly seem like I had "nothing to say." I would scribble copious, last minute notes, while feeling paralyzed in banality and dullness. But, I finally learned how to interrupt this insanity. Instead of scrambling to get my "part right," panicking that I'd forget my lines, I would start back-tracking, remembering my love of creative work. And I'd ask myself the following questions: *What do I like about my project? *Why did I get involved with this thing to begin with? *I'm enthused, right? How come? Spit it out boy! As if by magic, I would wake up to the genuine, vital me and remember how excited I was when I got the idea (or when I heard the idea from the writer)(and why I thought it would be entertaining, touching, relevant etc). And this flooded me with a whiff of my original enthusiasm which included an ambitious vision that America might someday share in my delight. Suddenly I had lots to talk about! By the time I would reach the network, I'd be bursting. I'D BE PREPARED FROM THE INSIDE OUT! I found it helpful when I began my pitch by explaining the genesis of the project, then I'd seque into the creative realization that ensued after inception(introducing examples of story lines, descriptions of characters, etc.) My pitch was also supported by reminding myself of the fundamentals of salesmanship *TRY TO ENJOY THE EXPERIENCE *MAKE CONTACT WITH PEOPLE IN THE ROOM *LISTEN WHEN THEY SPEAK *REMEMBER (ALTHOUGH IT MAY NOT SEEM THAT WAY), YOU NEED THE GIG BUT THEY NEED THE MATERIAL, THAT'S WHY THEY ARE THERE. YOU HAVE SOMETHING OF VALUE TO OFFER! It's ironic that many of the principles of pitching are similar to the principles of writing itself. Contrived, formulaic writing is as boring as contrived, formulaic pitching. On the other hand, spontaneous, bold and "from the gut" writing and pitching has endless potential. ------ Recently, we received the following email and liked it so much that we asked the writers if we could show it off. They gracefully acquiesced. "My writing partners and I used your service some time ago for a collaborative screenplay of ours called Dorm Room Psycho. You sent us a very helpful audio taped review, and I had a productive phone conversation with you as well in which we discussed numerous ways to improve the script. The three of us used these things to rewrite and greatly improve the script. I just wanted to let you know that this screenplay recently got us signed with an agency, and the agent there gave us an excellent coverage report. He is currently working on marketing the script to potential buyers for us, and I believe your input on our project helped us get to this point. I always tell the people I come in contact with that your service is well worth it. You've helped us greatly, and we appreciate it. Take care, and thanks again." Sincerely yours: Jonathan Cook ----
PLEASE DESCRIBE YOUR WORK AND WHEN WRITERS SHOULD BE SEEKING YOUR FEEDBACK.
JUDY: It's hard for many writers to gauge when material is ready for marketing. A script consultant can help writers access this and -in cases where it is not - provide the objective feedback one cannot obtain from self, family or friends. Writing is rewriting--and the key to honing one's material is being able to sit down and revise with real conviction. We aim to give writers such exact, detailed, comprehensive direction that revisions aren't scary but exciting as clients walk away with a tangible, practical sense of where to start, what to focus on and what will help make the material begin to sparkle.
WHY DO YOU THINK A SYNOPSIS OR QUERY LETTER WILL GET MATERIAL READ (BY AGENTS, PRODUCERS), YET THE SCRIPT ITSELF GETS A PASS? (and often they don't even call back to say no) CRAIG: This question is similar to being asked why we go to a movie after seeing a seductive trailer and walk out lamenting the fact that we wasted our time. Well, the trailer worked but the film didn't. Strong query letters often
pitch high-concept ideas. Ideas that sound nifty, sometimes even
intriguing. The hot idea can work wonderfully in the pitch, but
many times it just doesn't have the legs to succeed in the script.
Or in some cases, it hasn't been given the finesse it requires
to shine. I've dealt with many writers who produce an awesome
query letter and are relentless in their marketing. But it's
all for naught unless the script As far as industry folk not even explaining why, this rude and hurtful practice is rampant and undermines the character of the business.
HOW DO YOU HELP WRITERS THAT HAVE WRITTEN VERY STRONG MATERIAL, YET FEEL STUCK AT THE LEVEL OF QUARTERFINALIST ETC? CRAIG: Often a script just has to GET BETTER. Like with Olympic athletics, when you get into the big leagues the difference between success and failure can be measured in small quantities. "Working" a good script and inching away at the upgrade will (if you're lucky) eventually find critical mass.
JUDY: Well-written scripts
can be challenging because strong writing is seductive. However,
it's like looking at someone who is physically beautiful but
not necessarily smart, interesting, sensitive etc. When I read,
I am sifting through the various technical elements of the script,
finding the gold and tar. What does and doesn't work. A dull,
plotless tale can be
HOW DO YOU DIFFERENTIATE GOOD FROM GREAT MATERIAL? JUDY: The difference between
good and great? Soul. There are some
EVEN WHEN A WRITER THINKS THEIR SCRIPT IS PERFECT, WHAT MUST THEY DO PRIOR TO SUBMISSION? CRAIG: It would make me very happy to receive a perfect script, read it without touching a line and then call and congratulate the writer. It happens sometimes but not very often. Now many, many writers believe that their script is absolutely ready. They fervently believe that all they need is an agent or producer to support it. (This belief often helps get them through the grueling writing process). However, they're almost always wrong about this. To sell a spec script the material must be almost perfect. Very few writers are objective enough to really know what they have. If you know someone who will read your script for free and knows his/her stuff, go for it. But, if you don't, it makes sense to run it by a knowledgeable pro. There's too much at stake not to.
FOR WRITERS WHO AVOID SCRIPT CONSULTANTS THE WAY OTHERS AVOID MEDICAL DOCTORS, WHAT HAVE YOU TO SAY? JUDY: It's understandable, but as with one's health, then don't wonder why there may be long term problems as a result -- i.e. empty pockets from spending so much money on sending out material, making phone calls with no callback etc. And of course there is the beating your self-esteem will take from the possible, relentless flow of negative responses. CRAIG: I have one (sort of)ex-client who I know in my heart does not want to hear how to fix his stuff. He's an older gent who's enjoying his dream of scoring. He checks in with me every so often and regularly compliments our newsletter. In his case, I think it's very sweet that he wants to preserve his fantasy and I'm truly glad that what he's doing makes him happy. I wouldn't think of messing with his dream. But I don't think he'll ever sell his script.
WHAT WOULD YOU SAY TO WRITERS WHO CLAIM THAT THE HOLLYWOOD ELITE DON'T USE SCRIPT DOCTORS, SO WHY SHOULD THEY? CRAIG: Let me tell you a secret. I hardly know a pro who doesn't seek some kind of help. But writers in Hollywood are fortunate because they develop relationships with producers and development people who make themselves available for feedback. Moreover, these writers often work in conjunction with companies that have every right to inspect and comment on the goods before it's sent to other powers that be. Thus these writers get a steady steam of feedback along the way. In other cases, pro writers have writing buddies (the trusting types that is) with whom they trade off. Many utilize pro help. The last thing they want to encounter is an unexpected negative response from the buyer. Like lawyers who ask witness's questions (when they already know the answers), smart writers do their best to know in advance what they've got. HOW DO YOU DEAL WITH A SCRIPT THAT IS D.O.A. (DEAD ON ARRIVAL)--TRY TO SAVE IT? TELL THE WRITER TO START OVER? JUDY: I usually don't think of the material in those terms--rather, I look for what is salvageable, then -and most importantly-- begin to hash out with the writer what they were going for, what it is they wanted to say. I try to get them to get clear with themselves on where their passion lies and what inspired them to write in the first place, what vision they needed to communicate. We work from there, talk about why the script missed it's mark, get to the bottom of what sabotaged the effort and construct ways to start anew whether that means starting from scratch or cannibalizing what they already have so that it can begin to take the intended shape. ANY LAST WORDS? JUDY: I hope writers stay honest, original and close to their own bones as they write, for this will infuse their stories and characters with the power, voice and humanity that gives material real life. Writing what one thinks people want to hear or writing recycled material because you think that's what sells often backfires and leaves material dead on the page. You keep yourself fresh by making your script something only you could have written. If you want to find out more about Hollywoodscript.com and the work we do with screenwriters and their scripts, please visit our site at http://www.hollywoodscript.com
Copyright 2001 Hollywoodscript.com LLC |
||||||||||||||||
