This is a report I wrote after the Northern Film and Media Pitching Your Project workshop, which may be of interest to those attending the SSWAG Pitching Your Book workshop tomorrow:
There were 9 participants with 9 projects. We were given 9 minutes to read all 9 one-page proposals. We were to notice what struck us going through them all, and if any one stood out.
tell me less
This, for me, was the most eye-opening moment of the day. I looked at the 9 proposals before me. More than 9 pages: some people hadn’t kept to the limit. My overwhelming feeling was: tell me less.
I wanted some way to sift through the information coming at me. Christina’s words: give them what they need to know up front, I heartily endorse. Be clear. Suddenly the truth of that was borne in on me quite physically. I couldn’t see what I was looking at. Where’s the white space?
what I noticed
The difference between the verbal and the written pitches. The two that stood out on the verbal pitching would, if I’m honest, have gone in the bin on the strength of the written effort. One, for the spelling and grammar; the other, because it looked utterly boring – solid blocks of uninterrupted text.
Tip
Play to your strengths. If you’re a bubbly attractive presenter, but not so hot on your written pitch, get help on your weaker area. Spell-check and double check; run it past a writer friend; as with the verbals: practice, practice, practice.
Clarity and concision
My written pitch was commented on by half the participants as a model of clarity and concision. You can see it here. Don’t, though, copy it. It has its faults. And your pitch must represent your vision, your strengths.
I could claim credit for it, but really it’s the flip side of my lack of preparation. I was given a last-minute place on the workshop after someone dropped out. I had a few hours’ notice to create my one-page proposal. Less is more. The time limit concentrated my mind. I also emailed to find out what it should include and the preferred format.
Tip
Give them what they ask for, not more. If they say one-page, give them one page. If you don’t know what they want, ask – or look at their website. You can always point them to where they can look for more. Which brings me to:
CONTACT DETAILS
None of us put our details on our proposal. Always, always do this. (Unless it’s for a competition, in which case follow the Rules.) You’re not a secret agent. Every piece of paper or media that emanates from you should point straight back at you. You want them to know how to contact you, to see more, to arrange a meeting. On multi-page documents, put page numbers, title and some identifier in the footer.
Lay-out tips
- no tiny fonts. 11 or 12 point for preference
- don’t use Times Roman, sans serif fonts are easier to read, and more web-compliant
- bold titles but don’t waste space with huge fonts in the title
- use sub-heads for things you want to draw attention to
- use bullet points or numbered lists
- allow some white space
- see below for the special rules for feature film scripts
Content tips
- be concise: leave them wanting to know more
- use hook-lines and images
- have a clear premise
- have an easy-to-read summary or synopsis
- strong characters, vividly presented
- read your summary for pace
- if you have a ‘name’ on board, that will act as a hook
- a clear lay-out should reflect a clear concept
Striking graphics
- use colour, but test on a monochrome printer – your proposal may be photocopied and you still want it to be legible
- for factual or entertainment programmes, use pictures, sketches and other graphics
- for drama scripts, your words should paint the pictures
- use your company logo or brand. Every proposal is a marketing opportunity
shortlist of thousands
Yes, you read that right. Channel 4 considered a shortlist of over a thousand for 46 programme slots. Commissioners receive thousands of submissions a year. This is what we’re up against. A minute to scan a proposal is probably quite generous.
what is it?
They are looking for this basic information: genre, length and format, number of episodes, channel, strand, slot on the schedule, audience.
who are you?
All contact details. If you are a company, who is the named contact person for the project?
Why are you the person/ people to do it? Can you deliver? What is your track record? For drama, the most important person is the writer. If you have a ‘name’ on board, use it.
can we afford it?
Always include a budget or at least a ball-park figure. They need to know what it will cost, and what sort of production values. If your budget is substantially over the norm, you need to justify it. If it is cheaper, then you can use it as a selling point (provided you can deliver on budget). Everyone loves a bargain.
always prepare for the best case
Dating books recommend you wear underwear that you wouldn’t mind being seen in by George Clooney. (I had to type that sentence very carefully: with George Clooney, in George Clooney, in with George Clooney, within George Clooney.)
Buyers are looking for something to fall in love with. Your project may be it.
FEATURE FILMS: special rules
Feature film scripts follow a rigid (and boring) format. If you deviate from it, you mark yourself out as an amateur. You can find out about film script formats in any screenwriting book.
Drama scripts also follow industry-standard formats. You can download a template from the BBC Writers Room.
Random Pen 