I am republishing this post to give participants at my Pitching Your Book workshop an idea of what’s in store. the workshop is modelled on the one given by Northern Film and Media. First posted this Jan 2010.
This was a fantastic experience, a workshop at Northern Film and Media, supported by the Indie Training Fund. The trainer, Christina Burnett, has worked with the greats. I felt awed and a bit intimidated to be there at all.
Tip
Name check who you’ve worked with, who likes your work: it makes your audience sit up and take notice.
Of course, this goes against all one’s upbringing. We have what is called in the MoneySupermarket ad an overdeveloped cringe gland. Ugh! Do I have to? Are people really that superficial? Shouldn’t the work speak for itself? Yes; yes; yes; and no, it won’t get the chance. Shy bairns get nowt.
What the workshop, throughout the day, demonstrated by putting us in the position of commissioners, was that we all make those instantaneous judgements. Commissioners, and that includes editors, agents and anyone who is in a position to green light a project, will be wading through thousands of submissions. Your work won’t get a chance to speak for itself unless it get noticed in the first place.
What struck me immediately was the difference between writers and producers in this respect. We writers were all shrinking violets compared to the producers and directors. Well, we’ll just have to get over it.
Christina explained that there are generally three stages or forms of pitching: verbal, written, and audio-visual/ supporting material. I’ll deal with these in three separate articles
Random Pen 