The next ten minutes could change your life.
That's the line that is so lovingly drilled
into you before every pitching event, right?
Maybe if you accentuate this word instead of
that one, maybe if you smile wider, maybe if
you changed your second act, maybe, maybe,
maybe. The 'maybes' will drive you mad.
Here's the bottom line on pitchfests and
other pitching events - they are great
networking opportunities for the executives,
great promotional outlets for advertisers,
publishers and magazines and last, if not
least, they are a chance for people on the
outside of Hollywood to speak to someone on
the inside. And just maybe, get their big
break.
I have attended almost 20 pitching events in
the last few years. In five minute intervals,
that's 12 pitches an hour, three to four hour
sessions, one to two sessions a day. That
means I've listened to over 1500 pitches at
these events. How many of the 1500 projects
have I read? About 100. How many did I really
like? Maybe 10. How many did I option or
decide to develop with the writer? Maybe 4.
Those are your odds, and that's being
generous.
Putting that aside, executives do want
writers to come in and blow us away. We are
looking for something great that we can bring
back to our bosses and say - look what I
found! And we want your considerable money
to be well spent. But we are a fickle bunch
and combined with the fact that we really
don't enjoy waking up at 8am on a Saturday,
there are a number of things that will
immediately shut our window of interest.
I have seen the same mistakes made - the same
rules broken - time after time. So I thought
it was time writers knew the real score and
were given the no B.S. do's and don'ts tips
to succeeding at a pitching event like
Willamette Writers Conference.
The most important over-arching rules are -
be normal and don't make us feel like we're
wasting our time! Just be calm, cool and
collected and have a conversation about your
story. We'd much rather talk to you like
normal people about your story than hear a
memorized speech or a sweaty, stuttering slur
of words. It may sound oxymoronic, but be
casually professional.
As for being normal, well-normal is a
relative term. And it may sound horribly
superficial, but you need to dress and act
the part. You're not just selling your script
- you're selling yourself. Basically,
pitching is like speed dating. The first
thing out of your mouth shouldn't be
something horribly embarrassing or personal.
Executives are not only evaluating your story
and your pitch - but whether or not we would
hesitate putting you in a room with Studio
Executives. And whether or not you are
someone we are going to want to talk to and
work with for the next 1-4 years of our
lives. I can usually tell within the first
minute if that's the case. So here are some
tips to make sure you're not rejected before
you even sit down:
You are not on an acting audition. Do not
wear a costume, and do not speak in your
character's voice. If you have written a
vampire script, do not wear a cape. If you
have written a script about diving, do not
wear a wetsuit. Stunts have been pulled
before to sell a script, and sure - sometimes
they work - but more often than not, they
don't. There was one man who bought out the
entire 9:00-9:05am time slot for every
company and pitched to the whole room at
once. Probably cost him $800. Despite the
auditory problems, it was a ballsy move.
Sure, we all remember the story of what he
did, but I doubt anyone recalls the story he
was trying to sell.
Dress in business casual attire. Sure it's
Saturday morning and the people to whom you
are pitching may be in jeans and a t-shirt,
but you should be dressed to impress. This
doesn't mean a suit and tie, but it does mean
no shorts and sandals. Don't make us think
you're some shlub who had an extra 10 minutes
in their day, so you decided to pitch a
story. Make us think you're a professional
writer who just hasn't caught her big break
yet. Dress like you're going to a meeting
with a producer.
Fighting with the person pitching before or
after you because he or she is taking up 30
seconds of YOUR time, will only ensure that
you won't get any of mine. We know that 5 or
10 minutes isn't much, and we want to hear
your ideas. So, if we need an extra 30 or 60
seconds with someone else - don't get
excited. You would want the same courtesy
extended to you. Not that we don't appreciate
the drama.
Okay - you've sat down, without incident,
and you look and sound great. So, let's move
on to your actual pitch.
Do your research. Don't ask me what we are
looking for. Go on IMDB and look at what we
have done, whom we have worked with, and if
there is a book of company profiles provided
by the event, please do yourself a favor and
read them.
This isn't Leno - don't use cue cards. I know
many an executive who will dismiss a writer
who reads word for word from a piece of
paper. You need to know your story well
enough to speak coherently about it for 10
minutes. If you don't know it well enough,
who will? Professional writers don't bring
cue cards to a pitch meeting with an
executive.
Being prepared is half the battle. This
doesn't mean you should memorize a nine
minute spiel, because chances are the
executive is going to jump in at some point
and ask you a question. Some of us even do it
on purpose - don't let it throw you. Have a
couple prepared segues to get back to your
story without letting us see that you are
going through your whole pitch in your head
trying to find your place like a broken
bookmark.
If you still need to read from a page, then
you're not ready to pitch your story yet. And
under no circumstances should you give us
your one-sheet and say 'It's all on there -
read it and ask me any questions you might
have.' My question for you will be - why are
you trying to make me not like you?
Visual aids like an already cut trailer or a
sketch drawing of your animated characters
are okay. Otherwise, leave your props, toys,
posters and dioramas at home.
As I said, we will know within the first
minute if we're into you and your story or
not, so here is the info we need to get in
that first 60 seconds; Your name, the title
of your script, and any pertinent information
about your background that will set you apart
or give you a leg up such as if you have been
produced or optioned before or won a
prestigious contest, or have a hit Youtube
video, or if you are already "in the
business" in some way. Also your script's
genre, the logline - the one or two sentences
that will convince me you have a great hook
and idea. And you can end with a couple
comparison films, like saying my story is
"THIS" meets "THAT," so we can place your
script and pitch in a certain context.
Be excited about your story. If you're not -
no one else will be. Don't pull a Tom Cruise
and jump on the chairs, but if you're stone
faced through the pitch, don't expect much
more from the other side of the table. If you
are being exciting and engaging, and you're
still getting nothing from your exec, then he
or she is probably like that normally and you
shouldn't take it personally.
There's no crying in baseball - or pitching.
Have you written a very personal story - your
own autobiography perhaps - and you cry every
time you pitch it? Then practice that pitch
over and over until you no longer tear up.
Showing some emotion is great, but bawling
like a baby is embarrassing. Writing may be
your therapy, but pitching isn't.
Be more funny. If you have written the most
hilarious comedy of the 21st Century, your
pitch should make me laugh. If it doesn't,
then either your script isn't funny - or
you're doing something wrong.
You should mention some of the big set
pieces or scenes that highlight your story
during your pitch. Don't just tell us the
broad strokes. Tell us what a few of the
trailer moments in your script are. This is
what's going to sell your script - if we can
picture those glorious trailer moments. If
it's a comedy, tell us a few of the funniest
moments or scenes. If your comedy doesn't
sound funny or your horror doesn't sound
scary, why would we read it?
If you have told me your whole story all the
way up to the big twist ending and I am so
enthralled that I ask 'So - what happens??'
don't tell me that I need to read the script
to find out. Because I don't. If it's a great
ending and a great idea, we will want to read
the script anyway to make sure the writing
matches the pitch. If you think you've got
the greatest, most original twist ending -
don't hide it from us!
The period piece. The eternal debate. Should
you write it? Should you pitch it? Will it
get bought? Probably not. Period dramas and
epics are perfect for screenwriting
competitions. But very few of the companies
that attend pitch events are looking for a
$200M epic or something that is set in the
1800s from a first time writer. These are the
types of stories usually left to those with a
proven and profitable track record. If 40
companies tell you they aren't looking for
period pieces - why keep pitching them?
My advice is this: Write what is in you to
write. When you finish your $100M period
drama or sci-fi fantasy epic, smile to
yourself for a job well done. Then put it in a
drawer and write something you can sell. A
horror, a thriller, a comedy, etc. Then, once
you've sold that and everyone in town wants
to know what else you have written, that is
when you say: 'Well actually, I wrote this
wonderful period piece---"
Do not write a "Hollywood Insider" story if
you live in Nebraska. Or, quite frankly, even
if you live in Hollywood. I don't want to
sound like a coastal snob, but if you don't
live and work in Hollywood - then you can't
accurately portray it in a script. There's a
lingo, a mind set and a speed to our
conversations and those who don't live it,
usually can't emulate it in a script.
Never pitch an unfinished project. This is to
protect both of us. The point of a pitchfest
is for me to ask for your script. If your
response is 'Well it's just in outline form
right now, but I can finish it in about a
month if you really like it,' my response to
you will be 'Thank you for wasting the last
10 minutes of my life.'
We know that you have not copyrighted or
registered those outlines and it is not our
job to flesh out your story and give it a
stamp of approval before you write it. Of
course once written, we will give suggestions
on how to improve or change it, but you need
to finish your idea all by yourself
first.
ALWAYS bring a one sheet. I don't care if the
event tells you not to. If you don't have a
one sheet with a synopsis and your contact
information, how are we supposed to remember
you or contact you? Ninety-eight percent of
the time, we will not give our contact info
out. And even if we have cards, we will lie
and tell you we don't. Why? Because
somewhere along the way we had that ONE guy
who bombarded us with emails and calls about
every line of every script he wrote. It all
comes back to being normal. So if you want us
to get back to you or even remember you after
hearing 60 pitches, you need to give us a one
sheet. My understanding is that there is a
three-tier process for the WWC conference,
which pretty accurately describes our thought
process:
1) We loved the pitch, so we give out our
card and take a one-sheet
2) We're interested in the pitch, so we ask
for one-sheet only
3) We're not interested and we tell you flat
out. We may still take a one sheet. You
should know, however, that just because we
accepted your one-sheet does not necessarily
mean we will ask for the script.
Be confident - but not pushy. It is
definitely okay to ask if we would like a
one-sheet. It is not okay to ask five times
if we want to read your script or insist that
you could just sneak it to me under the
table. We will not take your script at the
table. This is for a few reasons, the most
important of which is that we cannot take and
read scripts from everyone, and it would seem
too obvious if we took one or two others but
not yours. Plus, often after reading the one
sheet, we can tell what type of writer you
are - which is why it's always important to
have an impressive one-sheet.
If after you leave the room you run into one
of the execs you pitched earlier that day,
act NORMAL. Say something you would normally
say in conversation. Like "Hello." Don't
mention the script you pitched, or the script
you didn't get to pitch and you also don't
have to be overly gracious or
complimentary.
And if you're next to them at a
urinal, probably best not to say anything at
all.
There is an unwritten rule - no pitching in
the bathroom.
Again, contacting a producer is like dating.
If we actually gave you our card and asked
for the script - wait two days and then send
it. If I get home from the event and your
script is already in my mailbox, I start to
worry. If you did not get a card, but you
gave us a one sheet - let us contact you. If
we don't get back to you within three weeks,
you can consider it a pass. Not all execs
will email you either way. If we do email
you and tell you it's a pass, but say 'If you
have any other projects, feel free to let me
know' - then please do. Don't email us 26
loglines five minutes later, but mention that
you would love a chance to send a few
loglines of other projects in the future.
Mine the relationship like a field of
delicate flowers. No mowing.
To conclude, pitching events are not
for first time writers who have just
completed their script two days prior. They
are for those writers who have written,
edited, polished, re-read, and pitched their
project to anyone who will listen. We should
not be the first person you talk to about
your project. You will just be wasting your
time and ours. And that's against the rules.
**********************
Daniel Manus is the Director of Development
for Clifford Werber Productions (Cinderella
Story, Sydney White). CWP recently set up a
family fantasy/adventure project at United
Artists which Daniel is attached to
co-produce. He is also attached to produce
several projects independently including
"Dreams of an Aspiring Romantic," starring
Emily Osment and "Strange Fruit," written by
J.S. Cardone (Prom Night).
Daniel recently started his own script
consulting company - No BullScript
Consulting, which can be found at
www.nobullscript.net. He has been a freelance
script consultant for years, working for
companies such as ScriptShark and Script
Coach. He has written articles published in
Script Magazine and Screenwriters and
Playwrights Market and is currently writing a
book about pitchfests that will serve as a
"No B.S. Guide for Writers."
Daniel was previously Director of Development
for Sandstorm Films, which had a first look
deal at Sony Screen Gems and a development
deal with Top Cow Comics.
Raised on Long Island, NY, he holds a BS
degree in Television with a concentration in
Screenwriting from the Ithaca College Park
School of Communications.
