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TUTORIAL: Pitching your Movie

QUESTION: I'd like to know what a screenplay pitch looks like. Is there an established format? What types of details do agents or studio reps look for?

ANSWER: This question resonates. Many writers fear pitching stories in person, perhaps one reason they chose a 'solitary' profession like writing. Only screenplay writing is not solitary all the time, only when you face the blank page. Once you put something on that blank page, everybody wants to get into the act.

All successful screenwriters have learned how to pitch successfully.
Working writers have to pitch their story continually - even after they
sell the script to a studio. They have to 'pitch' it again to the director
and the actors and the vital crew members also. Then they pitch it to the press once the movie is made.

Tips for Pitching Successfully

Practice your pitch

With a pal or writing partner, practice initially by pitching a screenplay
you've already written or a movie that you've already seen. Because the producer or exec who's listening must come out of it with the impression that they've 'seen' the movie or at least a tantalizing trailer of the movie.

What to include

The pitch should be about 10 minutes max.

Who is the movie about? You must give the impression the movie centers on one character, the most interesting character - the STAR. Movies are star-driven. Even in low budget ones the independent producer is hoping the unknown they cast in the lead will become a star or at least look like a star in this movie.

Include the arena of the story and the basic situation of the star. Where he/she is when it begins (emotionally, physically, mentally) where he/she goes during the movie and where they end up by the climax of the movie. The conflicts and crises the star goes thru must change them in some fundamental way. Make this known in the pitch.

Highlight obstacles (inanimates or physical situations) and adversaries (characters) that try to prevent the star getting what they want. These blockers should be worthy opponents for the star, otherwise overcoming them won't be satisfying.

What's at stake? Have a few dramatic moments that you can talk about in detail - involving the star - where the conflicts or crisis gets more challenging or complicated. Set up your story so the star resolves or is actively involved in resolving the crisis at the climax.

Genre Marketing

Know the genre of your movie - movies are sold to audiences by genre. The people you'll be pitching are just as interested in how they will market the movie as how they will make it. Don't tell them how to market it, just make it clear that it is MARKETABLE.

How detailed should you get?

Don't get bogged down in the details, you're giving them a movie trailer more than a summary of the movie. Think of it like an exciting movie trailer. Ask yourself how would the trailer to my movie look?

Free Pitching Tutorial => www.breakingin.net/tswpitching.htm

Helpful Tutorials:

Script Checklist

This article outlines what I mean by the who-what-where-how-why's of a screenplay's story - these elements should be included in your verbal pitch as well.

Genre FAQ

The popular movie genres and how they affect marketing.

Script Query Tutorial

How to write a script query - but it applies to pitching as well.

This topic is huge and amorphous - that's why there aren't many books written about it. One I can recommend is THE PERFECT PITCH: How to Sell Yourself and your Movie Idea by Ken Rotcop.

QUESTION: So many people want to become screenwriters. Do I have a chance?

ANSWER: You need juice to tackle this profession, no doubt. Anybody who is 'gauging his or her chances' too carefully won't cut it, I'm afraid. I know that sounds harsh, but this business is not for sissies.

Don't be discouraged. There are so many ways to get your writing on film. You don't have to move to Hollywood and chase after Kevin Costner and Julia Roberts. I agree with Merl Haggard; when they asked him what makes a great singer, he answered in one word, "Desire." His way of saying it made it sound like the word had six syllables and an orchestral accompaniment. Like any creative endeavor, that's what screenwriting takes - desire.

Writing well is only half the job; marketing your work is the other half. You need both talents, if you're missing one or the other, either learn how to develop it or find a writing partner who has it.

QUESTION: I've been a firefighter for many years. I've been working on a story idea concerning fire investigation. Can you pitch an idea before the screenplay is complete?

ANSWER: I'm glad you have some writing experience behind you. It's vital that you have your screenplay on paper. The script becomes a selling tool - as a movie and as a writing sample for you. Once you have a fully-developed writing sample, in addition to trying to sell the script as a movie, you could target appropriate TV venues like THIRD WATCH and try to sell them stories appropriate for their existing format.

A few tips to get your started:

SCREENPLAY FORMATTING:

Read my format tutorial online --> Format Tutorial

This article will tell you how to download free shooting scripts from the Web so you can see the professional script formatting currently in vogue. Choose shooting scripts of movies that you've seen and liked and that are of the same genre as the screenplay you're writing. Thousands of movie scripts are available online.

WRITERS TRICK:

It's helpful to rent a video of the movie whose script you've downloaded. Read along in the script as you watch the movie sequence by sequence. This will give a feel for scripted story-telling, the balance of action and dialogue, how experienced writers use paragraphing to indicate camera shots.

YOUR HERO:

Movies are star-driven. Make sure your movie story revolves around ONE PERSON - the most interesting person in the story of course. This hero/heroine must somehow be changed (internally) by the events of the movie, by the challenges and conflicts you set up and resolve dramatically by the climax of the movie. The hero must want something badly, something that might almost seem impossible. By the end of the movie, the audience must know whether he got what he wanted or not.

QUESTION: What script qualities attract a star?

ANSWER: Whether a producer submits the script to a star or you write to the star's company yourself and get permission to send your script, the script must contain the qualities that will attract the star:

1) An interesting, well-developed character caught up in a compelling situation with potential for exciting conflict.

2) A character who takes action within the story that leads to the resolution of the conflict’s climax. You'd be surprised how many aspiring writers forget this vital #2 'star quality'.

QUESTION: What script qualities attract a successful director?

ANSWER: To attract a director you must lay out a compelling story that can be told visually. By this I don't mean special effects and stunning scenery. The story must unfold visually; the emotion conveyed visually, the danger represented visually and so on.

QUESTION: What is a ‘hook’?

ANSWER: Some people get hung up on this. Sorry about that pun.. The hook of a movie does not have to be outrageously original:

'A one-legged cross-dresser tries to infiltrate the Rockettes to assassinate the Mayor of New York'.

A hook simply means something that will peak the interest of the audience. Take E.T. - it's a simple (though pretty original) hook - an alien child is left behind on earth, he's befriended by an earthling boy and together they figure out a way to get the alien kid back home.

QUESTION: What's the best script software - the ones the pros use?

ANSWER: The best selling program is Final Draft, next is Screenwriter 2000 by Movie Magic and then Scriptware and Script Thing are close behind. The Writer's Store in Los Angeles offers free demo downloads so you can try them out. Or check out my formatting tutorial.

QUESTION: How do I know if the ‘deal’ a producer offers is good?

ANSWER: Keep in mind that you as the creator own all the rights to this project until you sell them. Only make a deal that is comfortable for you. Don't put yourself in a position where you sign an unfair contract because you're worried about lunch money.

In my experience, if a true industry pro is deeply interested in your project, other pros probably will be also. As the creator, you should share not only in profits but also in all merchandising and separated rights (stage, internet, CDs, TV shows etc) down the line. The Guild has some sample contracts on their site; check out the 'separated rights’ clauses.

Once you have serious people interested in financing your project, you MUST enlist an entertainment attorney (a trusted personal referral is best) or an agent to look over your contract. It's essential.

QUESTION: I want to produce my own script – any advice?

ANSWER: Producing is out of my area of expertise. However I would like to point you in a helpful direction. Here are some good sources for independent filmmakers:

The Independent Features Project: www.ifp.org This is a non-profit group dedicated to developing and promoting independent films. They can lead you to financing and distributing sources.

The Association of Independent Video and Filmmakers: www.aivf.org They have a helpful section titled "Advocacy".

www.indieclub.com This is a networking group for filmmakers - listed by geographical area. You're trying to do something very unique, perhaps you can get feedback from others who have tried to create a 'prototype' film in order to protect themselves.

Before you expose your work to any contacts you may glean from these resources, be sure you've established your copyright. Then keep track of who is exposed to your script and your film. And keep records of all correspondence, phone conversations and faxes.

But keep in mind that it is usually not the idea itself that makes a profitable market - it is the execution of the idea. Take these security precautions, but don't get caught up in the notion that everyone will plagiarize your idea or you will undermine your chances to give your project the exposure it needs to be successful. Focus your energy on the execution of your idea - that's what will make it especially marketable, and ultimately unique.

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