Animation Development by Devid Levy - Revision history

Snapai: /* Preparing a Pitch II: Pitch Bible */

2020-05-18T01:54:45Z

Preparing a Pitch II: Pitch Bible

Snapai: /* Preparing a Pitch I: Two-Sheet */

2020-05-18T01:54:19Z

Preparing a Pitch I: Two-Sheet

Snapai: /* Preparing a Pitch II: Pitch Bible */

2020-05-18T01:51:36Z

Preparing a Pitch II: Pitch Bible

Snapai: /* Preparing a Pitch I: Two-Sheet */

2020-05-18T01:51:02Z

Preparing a Pitch I: Two-Sheet

Snapai at 01:49, 18 May 2020

2020-05-18T01:49:48Z

Snapai: /* The Creator’s Role on a Series */

2020-05-17T23:55:06Z

The Creator’s Role on a Series

Snapai at 23:54, 17 May 2020

2020-05-17T23:54:36Z

Show changes

Snapai: /* Pitch Meeting I: Creator’s Corner */

2020-05-17T23:50:49Z

Pitch Meeting I: Creator’s Corner

Snapai: Created page with "Animation Development =Introduction= Pitching is an emotional roller coaster. Sometimes execs are terrible. Sometimes you are terrible! Why make a series? Good to have a long..."

2020-05-17T23:48:34Z

Created page with "Animation Development =Introduction= Pitching is an emotional roller coaster. Sometimes execs are terrible. Sometimes you are terrible! Why make a series? Good to have a long..."

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Animation Development
=Introduction=
Pitching is an emotional roller coaster.
Sometimes execs are terrible.
Sometimes you are terrible!
Why make a series? Good to have a long term goal.
=The Hard Truth=
Development execs are your allies if you want to make a series - they want to find/foster good shows to air!
Relationships - esp with your funding sources - are important!
If you don’t keep pitching, then why were you doing it in the first place?
Keep working in the industry, starting a series doesn’t happen overnight.
Networks buy creators, not ideas: looking for showrunners
You can start from outside, with a short film pilot to adapt. Still, build relationships!
=The Enemy Within=
You can be your biggest enemy - keep making stuff, don’t expect to wait for a network to let you develop as an artist. Don’t wait for perfect conditions. Work every day towards your goals.
=Clearing the Mystery=
There’s no mystery, just maybe people too busy to have written down explanations.
The Seemingly Changing World of Development
Despite changing publication methods, you’re still going to work with a large funding source to make your show.
=Lightning in a Bottle=
You can’t guarantee a network will drop money on you- and they may even do so for poor ideas. But by preparing, you can make it more likely.
=Beginnings=
Pitching isn’t the best form of creative expression for everyone.
Indie films and TV commercial/music video work are better for more experimental exploratory creative expression.
Entertainment-oriented short films will lead better to series.
Series work best with serial storytelling, also a balance of skills.
==Creative Inspiration==
Starts with an idea
From personal experience
Or from imagining what the target audience can relate to
Remixing elements and forms in the world.
Nonlinear/improvisational thinking - words from a hat
Museum inspiration.
Ordinary daily life
Inspiration from other films
==Cracking the Code==
It’s all about character.
A twist on expectations- subverted theme
Twist > conflict > character. How do characters react?
Don’t draw inspiration from characters that are already adaptations?
Contrast that the audience can identify with
==Creative Obstacles==
Don’t cling to your old ideas, keep creating anew.
Series requires lots of ideas, not just that one good idea.
Don’t get stuck in the phase you know well/your comfort zone
==How Young is Too Young==
You should have some life experience to create and run a series.
=Preparing a Pitch I: Two-Sheet=
No universal pitch format.
More experience = less to prove in the pitch, usually
There’s exceptions to that of course.
Reputation and relationships are key though.
The other thing is to organize and convey ideas quickly and precisely
==The Two-Sheet==
Mini pitch bible: logline, show art, brief description of the world and its rules, characters, sample plotlines
Conversation starter, can pitch multiple in one meeting, good way to start the conversation for a more thorough pitch.
Idea isn’t ready until it can at least fill out a twosheet
Quicker and more honest feedback on the overall idea
If you’re experienced, a twosheet may get you the greenlight.
Make the twosheet to have the skeleton to build your pitch bible on.
==When Is Enough Enough?==
A two-sheet won’t be the document that convinces a network to greenlight the project, but it’s a good initial sample of your dedication to a polished product.
=Preparing a Pitch II: Pitch Bible=
An episode storyboard showcases your show better than a pitch bible, that’s what Frederator uses, but most places go for pitch bibles.
Pitch bible has eye candy, succinct fun characters, world, rules, episode synopses.
Pitch bible is industry standard format - can even sell your project without you having to present it!
==Anatomy of a pitch bible==
A two-sheet is two sheets (front and back of a flyer)
Pitch bible should be long enough and no longer. 4-8 pages? Enough to show the show!
Pitch bible should be entertaining in and of itself. Show, don’t tell!
==The Cover==
The first impression of your series, in tone with the show, pleasant and eyecatching.
==Series Log Line==
Summary sentence, capturing the essence of the show.
Also the first thing presented from a series during a pitch meeting.
==Series Synopsis==
Two paragraphs - what is the series about, what elements are part of the format - who are the heroes, the villains, how do the stories run. What should a viewer expect to see in every episode?
Format and Rules of the World
Format: genre, target demographic, episode length, animation technique.
What type of animation world, and what rules does it follow?
==Character Descriptions==
Not just describe - bring that character to life.
Adjectives don’t do that on their own.
What makes them unique in their adjectives?
Contrasts, habits, relationships, etc.
Strengths, weaknesses, hopes, fears, dreams, peeves, habits, interests, passions
2-3 paragraphs for a mian character, and 2-3 illustrations.
What makes the character unique and fun to watch in any situation?
A series is built on its characters
==Don’t include Backstory==
Don’t include backstory in the pitch. How do they live now, not what made them that way
==Show Art==
Pitch art must be special; communicate this specific show’s uniqueness. Different and exciting
The show will be judged by the art as if it is final art.
Dev execs are used to seeing professional show art.
Show that the show is a real show whether the network picks it up or not.
Art on every single page. Imagine it as published art for the show.
In the style of your show’s animation! 2D for 2D, 3D for 3D.
==Episode Synopses==
Premises that could only be told with these characters
Use the setup provided by the world and characters!
Plots that build out of the characters’ hangups and hobbies and personalities.
Not just things that happen to the characters!
==You Say You Want a Resolution==
Dev execs are looking for a beginning middle and end, they want to know that you know how your characters will resolve each plot.
==Contact info/bios==
Name, address, phone contacts, email, website - for the project
Bio paragraph for each creator in the pitch
==Preschool Pitch Bible==
All of the above - and a curriculum.
Needs to detail educational content: what do they teach and how?
Consider what experts you intend to consult to ensure the educational content
==Pitch Bible Extras==
Comic book, storyboard, script- but show series in the best light
Sample animation - if it’s finished! No more than 1-2 minutes.
Finished songs, voice acting
==Pitch Bible No-Nos==
Anything not mentioned above
No faux merchandise or t-shirts etc, no weird performances/theatrics to your pitch.
Show content, not packaging!
E.g no binding, they’re going to remove it to photocopy it anyway
=Legal=
No-one is going to steal your idea. It’s executing the idea, not having the idea, that makes it special.
We all come up with the same ideas that are in vogue.
Even quirky offbeat ideas come from multiple sources at the same time.
Networks require you to sign indemnity agreements to submit, because of this phenomenon.
==When does a creator need a lawyer?==
When projects are developed by 2+ people, prior to pitching, collaboration agreement.
Your first deal may suck, because you don’t have leverage or reputation and they’re taking a chance on you.
Your work in the industry, even if not in pitching, establishes you.
==If you rep yourself, you might wreck yourself==
Get a lawyer or agent if the deal is valuable. Only don’t if the returns aren’t worth the fees.
Lawyer can also be the tough negotiator, allowing you to maintain friendships that might otherwise be soured.
Should be an entertainment/animation lawyer if possible.
==Finding a lawyer==
Network, go to industry events. Someone knows someone who can hook you up!
Make sure they will represent you the way you want to - trust and communication, they are your ally.
==The Option==
Pay for exclusive rights to produce your series within a certain time if they want to.
Typically for 1 year, with option to extend for another year.
Make sure your services are retained for developing the show.
Sometimes will include production of a short based on the concept - should include your paid services.
Will probably be “work for hire” - try to get rights to the work you do if option is not exercised.
==Legal fees==
Flat rate or hourly, expect a retainer fee while you’re waiting.
==Beyond the option==
Every medium and network has their own negotiable & non-negotiable points
Make sure every important aspect defined - creator attached to project financially & creatively
Long-term arrangements for everyone, at every milestone, all included when the option is signed.
=Pitch Meeting I: Creator’s Corner=
Mistake to pitch exclusively for execs. The show is for your audience!
Chance of your show reaching your audience affected by:
quality/merit of the pitch
assets , reputation, achievements, relationships you bring to the table
Environment of what’s being looked for at the exec’s firm
But don’t worry about it, focus on your audience.
==Setting up a pitch meeting==
Work on meeting execs outside a pitch scenario, relationship building!
Find out what they’re looking for, you’re building a mutually beneficial relationship.
Direct contact via email/phone/social media. Go to festivals & network.
Once you have a contact, ask for a pitch meeting, that’s what they do.
Don’t pitch in an environment not intended for pitching tho, unless asked!
Make sure informational meetings you ask lots of questions.
==Pitching styles==
Be yourself. Do what makes you comfortable for a meeting.
A little sincerity and natural enthusiasm.
Getting-to-know-you chat before the pitch starts.
Content maybe as long as the two-sheet, logline, synopsis, show some art, talk about the characters. Then back to chatting.
===The benefits of not over-rehearsing===
Be prepared, but improvise, answer questions about your series, etc. You don’t have to cover everything in one monologue.
===Creator etiquette and the common mistakes of pitching===
Know your series well enough not to have to read about it from your materials. Give examples.
Know your fit with the network, and other similar shows your show would work well next to.
Don’t try to show it’s exactly like their other shows though, or a knowitall about the network.
Don’t try to engender impulse buying, or competition between networks. This is a date, not an auction.
===The pitch bible as a leave behind===
Don’t hand out copies of the pitch bible before you pitch, or no-one will be paying attention.
It shouldn’t be a monologue
Hand it out at the end of the meeting - don’t even show that you have it until then.
Or possibly mail it to them afterwards as a reminder/thankyou?
They will use the pitch bible to sell it to their bosses.
===Pitching with partners===
Make sure the extra voice doesn’t confuse things.
Pitch partner can help support the pitch and catch questions.
A partner in a different complementing field, particularly an experienced one, can make the team seem more reliable
===Pitching: phone/fedex/fax===
Phone makes it hard to read the room, send art ahead for them to look through.
Email or shipping is probably better.
Can also fly to pitch in person, shows you’re sincere
Videoconferencing.
In-person meeting is still best for getting to know them, if you’re brand new.
===Pitching extras===
Finished animation is great.
Music, original songs, maquettes.
10 minutes to fill them with all the ideas of the show you’ve been living with for months
Extras shouldn’t overshadow the show, shouldn’t be gimmicky.
===Pitching buffet-style at industry events===
Cartoon speed dating!
Probably better for getting feedback about your pitch than getting a show picked up though it
Hook - 1-2 sentence description (like the logline) that hooks your listener into wanting to know more.
==The Waiting Game==
They aim to give feedback within 2-6 weeks, but often takes 3+ months to hear back.
Shop it around unless they ask you not to (and they should be paying you not to, that’s what options are for)
They assume you’re doing this anyway.
Send a followup email about the show after a month if nothing happens
Keep in contact every few months just to keep them up to date and remembering you (not necessarily your show)
No contact after 3 months?: assume no
Pitching is repitching and redevelopment
=Pitch Meeting II: Money Side=
The power is not with the development executive, nor with the creator, but their combination and the relationship between them.
==Network dev execs are people too==
Wear many hats, your potential partners, guide you to making your series work as a commercial success within the network.
Most are creatives or liberal arts majors, and love storytelling/cartoons
Strong knowledge of their audience.
Good ability to work with people and project manage
==The juggling game==
Outside the pitch room, responsible for strategy, scheduling, development, marketing, branding, business, etc. Sales/broadcast deals.
Development exec > producer/exec producer!
Communications between network departments
Talent scout/agent
Help DIY creators learn to work with a team
They are not just waiting for the next pitch.
==First encounters of the best kind==
Dev execs have to say no a lot, to things that don’t match or aren’t good.
Most usable pitches, pitch early, so they don’t have to fix things already developed a way they can’t use.
Even redeveloped projects won’t necessarily be picked up, depends on what network needs that month.
Feedback from one network can help you sell to another!
Repitch is expected - developing the idea to fit their lineup.
Move on after a few tries.
Finished packaged show seems not capable of accepting network input
Pitch 2-3 series at early pitch meetings, in twosheet format
==Dev exec etiquette and the common mistakes of taking pitches==
If the relationship with the exec is bad, the project will suffer.
Execs should treat everyone with respect and courtesy.
Worst thing an exec can do is give you a reason not to trust them
Execs: be honest, be humble, communicate
==Truth behind network mandates==
Network mandate: a list of demographics, formats, content the network is looking for. Ideal trends to follow.
Mandates are not exact, written by committee, subject to change.
Way of looking for what they want to commission.
Easy out for shows that are also unsuitable.
==Effect of fads and trends==
Shows that last won’t be based on fads and trends, but they do affect the dev process.
Audience always has appetite for new
Compelling creators are also essential
==Influence of new media platforms on dev process==
Audiences are diverting to online.
Networks also want web tie-ins.
Online pilots and presentations can prove a concept has an audience before a network jumps
Social networking to dev execs.
Short film venues online.
Greenlight for short films easier, could even be based on a song.
==Other dev models==
Short pitch concepts - e.g. What A Cartoon & Frederator
Open calls based on assignments/prompts (Nick Jr)
Online network nurturing of talent/cast to create a gradually improving series (a la Looney Tunes)
==In a perfect world==
Development Execs are hired to work within network’s guideline and find shows that fit the network’s goals.
No particular flaw, just the entire model involves a long messy process.
Best approach is to just do your best.
=Frederator=
The Chapter About Fred Seibert/Frederator
==About Fred Seibert==
Was Fred - based on the “series of pilot shorts” anthology show.
Ren & Stimpy
Rugrats
Doug
What A Cartoon
Powerpuff Girls
Johnny Bravo
I Am Weasel
Courage the Cowardly Dog
Dexter’s Lab
==Dave’s first meeting with Fred==
There might be room out there for more bunnies besides Bugs Bunny
==First pitch==
Fred wants character-based not concept-based shows
==First successful pitch==
Fred & Eric loved the pitch, but later - wrong demographic for their current work
==Fred still wants to work with Dave==
Gotta work in LA (unless you can make it work elsewhere)
Frederator only looks at pitches in storyboard form
==Fred doesn’t want a doormat==
Come back with revisions after notes, if you want it!
==First approved pitch==
Define the rules your characters operate within
==Fred’s outline for the pilot deal==
No negotiating, all the deals for the 39 shorts are the same
==What went wrong==
Endless rounds of revisions and tweak drift.
==Pilot cancelled!==
Fred wants creators that stick up for their own work. Want it bad, but want it your way!
==Of Men and ManGoofs==
Might have something to do with geography, and only meeting with producers occasionally and remotely.
==Right Approach, Wrong Time==
Pushed back against Fred on the next pitch, with enough gumption that it was sent on anyways! But they were out of production by the time notes were done.
==Moral of the story==
They’re still friends even despite all this.
Also Fred didn’t approve Adventure Time, didn’t get it, his VP of development went to bat for the show.
Don’t take disapprovals personally, the successful folks never do.
=Option or Paper Dev Deal=
Option for paper development: Develop the materials necessary for a pilot
Still need to convince the network to explore the idea on their own dime.
“We like it, let’s see some more from you”
==Rules sometimes rule==
Indie is easy. Development deal means giving up some autonomy.
It’s a commission, you need to respect notes from the commissioner, they’re not bad, just tastes.
Ren & Stimpy’s success was largely because it did have the boundaries to push, the unrestrained version turned out terrible.
==Managing creative notes==
Remember that a produced series is a partnership - drama over notes is a sign of trouble in the relationship.
Greenlit pitches are your first acceptable draft. Not the final form.
Revision process continues into production.
Once the deal is struck, the show typically changes a fair amount from the pitch bible, as development actually proceeds.
==Don’t react to every little thing you hear==
Sometimes the stakeholders just need to think out loud, not everything is a mandate.
Pay attention to attitude/context/socioemotional cues, personality styles.
Doubt isn’t necessarily sincere doubt, could just dislike this part of the process in general
I dreamed I swallowed a pillow and when I woke up my deal was gone
Option deal is still an option - if the project loses steam, or the network priorities change, it can end. But you still have favorable contacts with the production company
==The lifeline of work==
Keep working on personal work and indie projects to keep yourself entertained while working on pitches.
Your dayjob is your rock so you aren’t personally tied to the success of the pitch/development deal.
==Nice guys don’t finish last==
Relationships matter, as much as creative voice or vision.
Erratic creators are the ones most likely to be kicked off their own shows.
Strongest shows have a strong creator willing to push their show forward but also stand up for it, that’s what execs are looking for, so long as they respect whose money is being spent.
=Pilot=
A test film, to introduce the world of the show to audiences.
Proof that you can execute a cartoon of the show you want to make
==No way to make a living==
Dev deals and pilots don’t pay a lot.
Doesn’t always even pay a living wage.
You don’t have a pilot deal until you have a pilot deal, and then you still don’t have a series deal.
==The creator’s roles on a pilot==
Not necessarily running production. Stick to area of expertise.
Look for help running what you don’t know.
Hire directors or storyboarders or animators or whatever you need.
Find people to fill in your gaps.
Can be a director/prod but still have animation or design directors, or writing directors!
Look for happy medium in duties & responsibilities.
Avoid burnout!!
Do what you enjoy on the production, let others do what you don’t.
==Navigating Network Dev Notes==
Pilot’s still a work for hire, network will have creative input.
It is a myth born of complaining/venting online, that dev execs are clueless and only obstruct/destroy.
Notes you disagree with have creative value - make you defend and clarify your position, and catch mistakes.
Things can go badly, like if a management shakeup changes execs on you. But usually it’s a positive relationship.
Outsourced production can yield an inflexible show that cannot change once animation is locked.
==Teaming with a production studio==
2-11 min, 3-6 months production. Very fast and cheap.
Can be inhouse at network studio, good opportunity for networking
Can be at creator’s studio, established team with known skills
Can be hired gamblingly
Indie studios, if there’s an existing relationship there
==SFX, Voice, Music==
Voice casting and sound and music are important. Especially voice since the animation is built on top of it.
Make sure your characters lines wouldn’t make sense being said by a different character- otherwise you don’t have a character!
Have a sense of who your characters are, but don’t be too tied to any one voice, let your VAs do their work too.
Musical score is key, sets mood, time of day, character
Get people you know will do an amazing job with the feel you want for the score. Don’t be afraid to approach artist heroes!
==Focus group reviews==
Networks like to use focus groups to score their pilots.
Generate realworld data about appeal and effectiveness.
Focus testing should inform, not make, your decisions
Gives you feedback of what audiences really want - from your own series as is!
Adult series you can simply test against your colleagues.
Trends change over the course of production.
==Post-mortem==
Ask for more feedback.
Sometimes networks will withhold important feedback/concerns to provide space to artists
(enough rope to hang yourself)
Sometimes they can be poor internal decisions too
Have a clear idea of what you want the show to look like - do your research early
Don’t shove everything in the pilot, it is simply a shortfilm in your series that is solid.
Time management - have a good assprod/animation director!
By the time your pilot’s done, you won’t be able to see anything but the mistakes even if it’s awesome
Work on shows close to your heart
=Launching the First Season=
Subject of the book: how to best use production to get the creator’s vision on screen
First season: expansion of ideas, process, crew, challenges
Start with: series order, budget, schedule, crew list, tech requirements, deliverable specs
Workers need time, equipment and supervision/management
Work/workflow must be numbered and tracked
==Crewing Up==
Friends can work, but isn’t the most important criteria for staffing
Hire up: hire people who are better than you
People you’ve worked well with, people you’ve always wanted to work with.
Also keep track of people you’d never hire.
Hire people whose skillsets are compatible with the show’s tech
(I would add: make sure you have at least one person there to train up, we need entry level positions!)
==Working with the Network==
If you can’t handle the compromise, make a film of your own and see if it interests the networks. And they will still want to tweak!
They will have a say, they’re paying for it
Dev doesn’t end when the series production starts
Ideal situation: creators and execs work together to find the right balance for the best product
They will make it marketable, you will make it original.
Push back if they start to meddle areas that aren’t in their expertise.
Worst execs are frustrated creators, who want to make it their own show.
Execs shouldn’t walk all over, creators shouldn’t be doormats.
Communicate your frustrations.
Constant major notes from network means that their target has shifted and show may be cancelled.
Accept a network change and make it work in a way that works: play YES AND
==Production Challenges==
Money and time are always a challenge, there’s never enough of either.
Removing the creator to meet budget can cause a show to collapse.
Keep it simple, to meet budget and schedule.
Collaboration studios can cause problems if there’s not clear roles.
Meta-challenge - they go unsolved, and grind down employees to solve them.
Your agenda is to remove obstacles that prevent your people from doing great work
==In House Digital vs Overseas==
Outsource was popular from 70s to 90s
In-house is much better for the crew’s synergy and learning, and improving work patterns
Encourage unplanned collaboration
Also fully online production
==The Creator’s Role on a Series==
How you work with a team.
Employee providing a service
A writer, series-wide or episode-specific services, directing what they’re good at
Communicate creative vision to crew and delegate work and responsibilities
Creatively on-track. Collaborate with others
Provide leadership, encouragement, inspiration
Mistakes are allowed, but must be learned from
Avoid being an obstacle, put ego aside.
==Success Beyond Success: Now what?==
Creating a series doesn’t mean you’re set for life, very few people create more than one.
You can wind up typecast too, if you work on several shows for the same genre/demo
You must self-promote! Whether by stressing your wins, or making indie films for festivals, to network

=Parting Thoughts and Advice=
All his pitches led to new roads to industry jobs, but never a successful pitch!
==Creative Advice from Creative People==
Storyboard artists are the best creators.
Start with execution, you need to be able to MAKE your ideas
There’s a lot out there, but it’s not hard to do better than what’s out there
Follow the lead of people who take something small and strange and make a pop culture impact
Creativity is easy, the work is hard
Get some experience before you try to get a show made
Watch TV know what each network is about, and take it one short at a time
Don’t chase trends, do what you want to, don’t fit the mold
Maintain relationships be yourself, drop the ego, work together
Make a short to practice making a cartoon series
==Dispatches from the Dev Desk==
Use your pitch to sell your creativity, ask questions, inform yourself
Keep the pitch short, imagine it as a 15 story elevator ride.
No is fast, yes takes time. Especially with feedback. Ask questions!
Get to know everyone involved
Know the audience of your networks. Online only wants 1-3 minute episodes.
==Final Word from Author==
Treat pitch & development as an adventure not a risk. And don’t let it eat your entire life!

@@ Line 124: / Line 124: @@
 A two-sheet won’t be the document that convinces a network to greenlight the project, but it’s a good initial sample of your dedication to a polished product.
-=Preparing a Pitch II: [[Pitch Bible]]=
+=Preparing a Pitch II: [[Pitch bible|Pitch Bible]]=
 An episode storyboard showcases your show better than a pitch bible, that’s what Frederator uses, but most places go for pitch bibles.

@@ Line 94: / Line 94: @@
 You should have some life experience to create and run a series.
-=Preparing a Pitch I: [[Two-Sheet]]=
+=Preparing a Pitch I: [[Two-sheet|Two-Sheet]]=
 No universal pitch format.
@@ Line 106: / Line 106: @@
 The other thing is to organize and convey ideas quickly and precisely
-==The [[Two-Sheet]]==
+==The [[Two-sheet|Two-Sheet]]==
 Mini pitch bible: logline, show art, brief description of the world and its rules, characters, sample plotlines

← Older revision		Revision as of 01:49, 18 May 2020
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		+	[[Category:Books]]
	Animation Development		Animation Development

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 How you work with a team.
-* Employee providing a service
+* Employee providing a service <br/> A writer, series-wide or episode-specific services, directing what they’re good at
 * Communicate creative vision to crew and delegate work and responsibilities <br/> Creatively on-track. Collaborate with others
 * Provide leadership, encouragement, inspiration <br/> Mistakes are allowed, but must be learned from

@@ Line 124: / Line 124: @@
 A two-sheet won’t be the document that convinces a network to greenlight the project, but it’s a good initial sample of your dedication to a polished product.
-=Preparing a Pitch II: Pitch Bible=
+=Preparing a Pitch II: [[Pitch Bible]]=
 An episode storyboard showcases your show better than a pitch bible, that’s what Frederator uses, but most places go for pitch bibles.
@@ Line 134: / Line 134: @@
 ==Anatomy of a pitch bible==
-A two-sheet is two sheets (front and back of a flyer)
+A [[two-sheet]] is two sheets (front and back of a flyer)
-Pitch bible should be long enough and no longer. 4-8 pages? Enough to show the show!
+[[Pitch bible]] should be long enough and no longer. 4-8 pages? Enough to show the show!
 Pitch bible should be entertaining in and of itself. Show, don’t tell!

@@ Line 150: / Line 150: @@
 =Pitch Meeting I: Creator’s Corner=
 Mistake to pitch exclusively for execs.  The show is for your audience!
 Chance of your show reaching your audience affected by:
 quality/merit of the pitch
-assets , reputation, achievements, relationships you bring to the table
+# quality/merit of the pitch
-Environment of what’s being looked for at the exec’s firm
+# assets , reputation, achievements, relationships you bring to the table
 But don’t worry about it, focus on your audience.
 ==Setting up a pitch meeting==
 Work on meeting execs outside a pitch scenario, relationship building!
 Find out what they’re looking for, you’re building a mutually beneficial relationship.
 Direct contact via email/phone/social media. Go to festivals & network.
 Once you have a contact, ask for a pitch meeting, that’s what they do.
 Don’t pitch in an environment not intended for pitching tho, unless asked!
 Make sure informational meetings you ask lots of questions.
 ==Pitching styles==
 Be yourself. Do what makes you comfortable for a meeting.
 A little sincerity and natural enthusiasm.
 Getting-to-know-you chat before the pitch starts.
 Content maybe as long as the two-sheet, logline, synopsis, show some art, talk about the characters. Then back to chatting.
 ===The benefits of not over-rehearsing===
 Be prepared, but improvise, answer questions about your series, etc. You don’t have to cover everything in one monologue.
 ===Creator etiquette and the common mistakes of pitching===
 Know your series well enough not to have to read about it from your materials. Give examples.
 Know your fit with the network, and other similar shows your show would work well next to.
 Don’t try to show it’s exactly like their other shows though, or a knowitall about the network.
 Don’t try to engender impulse buying, or competition between networks. This is a date, not an auction.
 ===The pitch bible as a leave behind===
 Don’t hand out copies of the pitch bible before you pitch, or no-one will be paying attention.
 It shouldn’t be a monologue
 Hand it out at the end of the meeting - don’t even show that you have it until then.
 Or possibly mail it to them afterwards as a reminder/thankyou?
 They will use the pitch bible to sell it to their bosses.
 ===Pitching with partners===
 Make sure the extra voice doesn’t confuse things.
 Pitch partner can help support the pitch and catch questions.
 A partner in a different complementing field, particularly an experienced one, can make the team seem more reliable
 ===Pitching: phone/fedex/fax===
 Phone makes it hard to read the room, send art ahead for them to look through.
 Email or shipping is probably better.
 Can also fly to pitch in person, shows you’re sincere
 Videoconferencing.
 In-person meeting is still best for getting to know them, if you’re brand new.
 ===Pitching extras===
 Finished animation is great.
 Music, original songs, maquettes.
 minutes to fill them with all the ideas of the show you’ve been living with for months
 Extras shouldn’t overshadow the show, shouldn’t be gimmicky.
 ===Pitching buffet-style at industry events===
 Cartoon speed dating!
 Probably better for getting feedback about your pitch than getting a show picked up though it
 Hook - 1-2 sentence description (like the logline) that hooks your listener into wanting to know more.
 ==The Waiting Game==
 They aim to give feedback within 2-6 weeks, but often takes 3+ months to hear back.
 Shop it around unless they ask you not to (and they should be paying you not to, that’s what options are for)
 They assume you’re doing this anyway.
 Send a followup email about the show after a month if nothing happens
 Keep in contact every few months just to keep them up to date and remembering you (not necessarily your show)
 No contact after 3 months?: assume no
 Pitching is repitching and redevelopment
 =Pitch Meeting II: Money Side=
 The power is not with the development executive, nor with the creator, but their combination and the relationship between them.