I think novelists could dot down some points from this as well. It's easy to forget that your art is essentially a product too that needs to be sold and marketable (at least if you want to succeed).
Having said that - can we talk about that picture in the middle? The one with the woman in front of the typewriter? It's enchanting. Is she inviting me to come jot down what she's saying? Is she the exec? Love that image.
I thought you might be the one who liked the music ;-) And yes, I kinda love that middle image... I asked it to come up with something in the style of Robert McGinnis...
So many (more or less) universals there. I work in product management -- we have to sell features to the business, who sell them to others. TIL that a logline is a supercharged user story, and that has utility. Also the point about giving others the ammo they need to sell your stuff is something that should be metaphorically or literally beaten into people.
Let's keep it metaphorical, but yes ;-) Unless you're at the top of the chain (where you probably don't want to be, if you're reactive) then half your job is convincing people, rather than entertaining them...
And look, I'm not saying I bug my reps about news when I haven't heard anything but I'm not NOT saying it either...
"A television pitch is not explaining to people what happens: it’s for telling the execs what it’s ABOUT."
You have to care about your story and you have to care about your characters and your job when pitching is to make sure that you show how much you care and if you're lucky, the people you're pitching will care about your stories and your characters, too.
I once successfully pitched a horror feature to a producer by quickly outlining the idea (high-concept contained story) and then getting to the meat of the story which is that two childhood friends who've grown apart and who carry lots of simmering resentment towards each other (for reasons) are now trapped in a confined location with a malevolent evil, and THAT was the bit that sold the pitch: two characters who are relatable and often likeable but who don't like each OTHER very much all of a sudden can't get away from each other and now must deal with trying to stay alive.
Number 7 is hugely important. You can be the best writer in the world but if you're an arsehole who messes people around, then you won't be hired again. Being amenable, flexible, and turning your drafts in on time is the job. And being patient. Because Jeeeeeeeesus, it takes a long time for execs to get back to you :D :(
Yes — being PATIENT should have been on the list, because sheesh... well, you know how it goes!
And great point about what sounds like a great pitch of yours: that kind of character + situation HOOK is gold: you can immediately imagine what kind of things might flow from it...
I think novelists could dot down some points from this as well. It's easy to forget that your art is essentially a product too that needs to be sold and marketable (at least if you want to succeed).
Having said that - can we talk about that picture in the middle? The one with the woman in front of the typewriter? It's enchanting. Is she inviting me to come jot down what she's saying? Is she the exec? Love that image.
Oh, and of course Rammstein! ;)
I thought you might be the one who liked the music ;-) And yes, I kinda love that middle image... I asked it to come up with something in the style of Robert McGinnis...
So many (more or less) universals there. I work in product management -- we have to sell features to the business, who sell them to others. TIL that a logline is a supercharged user story, and that has utility. Also the point about giving others the ammo they need to sell your stuff is something that should be metaphorically or literally beaten into people.
Let's keep it metaphorical, but yes ;-) Unless you're at the top of the chain (where you probably don't want to be, if you're reactive) then half your job is convincing people, rather than entertaining them...
Thank you for these words. If I get to the point of pitching something, I'll keep them in mind.
Great, useful list!
And look, I'm not saying I bug my reps about news when I haven't heard anything but I'm not NOT saying it either...
"A television pitch is not explaining to people what happens: it’s for telling the execs what it’s ABOUT."
You have to care about your story and you have to care about your characters and your job when pitching is to make sure that you show how much you care and if you're lucky, the people you're pitching will care about your stories and your characters, too.
I once successfully pitched a horror feature to a producer by quickly outlining the idea (high-concept contained story) and then getting to the meat of the story which is that two childhood friends who've grown apart and who carry lots of simmering resentment towards each other (for reasons) are now trapped in a confined location with a malevolent evil, and THAT was the bit that sold the pitch: two characters who are relatable and often likeable but who don't like each OTHER very much all of a sudden can't get away from each other and now must deal with trying to stay alive.
Number 7 is hugely important. You can be the best writer in the world but if you're an arsehole who messes people around, then you won't be hired again. Being amenable, flexible, and turning your drafts in on time is the job. And being patient. Because Jeeeeeeeesus, it takes a long time for execs to get back to you :D :(
Yes — being PATIENT should have been on the list, because sheesh... well, you know how it goes!
And great point about what sounds like a great pitch of yours: that kind of character + situation HOOK is gold: you can immediately imagine what kind of things might flow from it...
My career as a writer would be over by number 7 at the latest.. cheerful? Nope. Pain in the ass? Oh yeah! 😂
I will confess I have been un-cheerful from time to time, and probably bordered on being a pain in the ass...