The Hollywood Pitching Bible, page 9
The second seems nervous and is constantly referring to notes as he lays out his ideas. At one point he gets confused and when you ask him about a suggestion he’s made he can’t really explain the reasons behind it. He apologizes for his anxiety saying this is only the third kitchen remodel he’s bid on.
Which do you hire?
It’s hard to just “be confident,” but two things can help. First, don’t think about the pitch as a job interview, think about it as an opportunity to present an idea that you love to see if your listener would like to get involved. You should have the attitude that someone will buy this pitch – maybe it will be this person, but if not it’ll probably be the next. Consider it to be as much their opportunity as yours. But remember that arrogance and confidence are not the same thing.
Second, don’t pitch an idea if you’re not confident about it. Seriously, you must have an idea that you think would make a great movie, right? If not, why do you want to be a screenwriter? If you pitch an idea you genuinely think is great then you have a much better chance of pitching it with confidence. Similarly, work out all the beats of the idea even if you don’t pitch them all. If your story is half-baked, it will show.
It is helpful if you can get everyone in the room comfortable, and that takes an air of confidence. If you’re anxious and desperate it will make the buyer uncomfortable. This is also why telling how you got the inspiration for the story is a great way to open. It’s a natural way to ease into your story.
To memorize or not memorize.
Hopefully, you have your one-liner down pat and can summon it at will. But longer pitches usually require a strategy for recalling vastly more information.
Some writers memorize their pitch word-for-word and then perform it like an actor. If you are a good actor, this might work for you, but there are some risks and problems with this approach. First of all, it can give you stage fright. You put a lot of pressure on yourself to do things a certain way, and if/when something goes wrong it can derail you. Second, it makes it harder to adapt to a changing situation. Your listener might interrupt you with questions. Or what if you sense they are getting bored? What if the listener asks you to do a shorter version than you’ve memorized because they have another meeting in five minutes? These are all examples of thing that can throw you if you are locked into a presentation through rote memorization. In any case, most writers are not savants and are not able to memorize fifteen minutes of story. Most will bring written notes.
Bringing detailed written notes to a pitch is perfectly acceptable and is really the norm. The people you are pitching to understand the challenges you face when telling a story and, by and large, they want you to succeed.
So what kind of written notes should you bring? It depends on what you think you will need. We’ve seen writers who bring a few index cards and we’ve seen writers who bring twenty pages of text. There are some other considerations with this decision that are unrelated to your story. We will get into them shortly.
The one thing to avoid is reading your notes verbatim. It can come off as tedious and annoying.
We suggest you create a bullet-point outline for your pitch then improvise based on that outline. Even though you’re going to improvise, you’ll want to rehearse many times, often with other people, until you know it backwards and forwards. Things that get a good response in your rehearsals will lodge in your mind from positive reinforcement and you’ll naturally deliver them that way in the meeting, but you won’t feel pressured to get it exactly right. Your pitches will become more casual and conversational.
In the meeting you can hold a page or two with the bullet points, or bring index cards. As we’ve said, it won’t raise any eyebrows if you work from notes. However, you should have rehearsed so much you barely have to refer to the notes. You want to engage the listener with eye contact, not stare at your notes. Your notes are a safety net, just in case you lose your train of thought.
And rehearsal is critical. You will be nervous when you pitch. Most writers are. And you have to be prepared for bizarre interruptions and distractions. So the more you’ve rehearsed, the better you’ll be able to handle the stress of the room. You can rehearse into the mirror, or to your teddy bear, or to a spot on the wall, but you should do at least a few pitches to actual people. It enables you to gauge their response to various things and you can find out where they get confused or misinterpret something. Rehearsing is the single greatest thing you can do to improve your pitching.
Like it or not, a pitch is a performance. And most writers don’t like it. You don’t have to master the art of song and dance to pitch, but there are a few skills you do need to work on.
First, pitch with energy and enthusiasm. Think about it – if you don’t like your story, why should your listener? If you slump back, mumbling in a monotone while you pick at a loose thread on your jeans, they are going to think that your pitch bores even you. This doesn’t mean you have to jump around and act out the story. Try to harness the kind of energy and attitude you have when describing a great movie to a friend.
Second, tell your story in straightforward, declarative sentences. Consider the following example of a pitch, as it might be delivered verbally:
“So, it’s about this archeologist, right? And he’s kind of adventurous. He runs around with, you know, a bullwhip? And he’s sort of, like, this expert with it. So the FBI comes to him because they’re a little suspicious of this other archeologist who they kind of think could be, like, friendly to the Nazis or something.”
When you pose your sentences in a questioning way, you seem unsure of your story. Is he an archeologist or not? If you don’t know, who does? And, you want to avoid weak phrases: sort of, kind of, a little, like, a bit. It’s natural to use these in speech, but it weakens the drama of your story in a pitch. As you rehearse, make an effort to eliminate these kinds of words and phrases. Many times we’re unaware we’re speaking this way, so it might help to videotape yourself when you practice your pitch.
Look at the same paragraph above re-formed with direct, declarative sentences:
“It’s about an adventurous archeologist, a man’s man, who is an expert with a bullwhip. The FBI comes to him because they’re suspicious that another archeologist might be in league with the Nazis.”
Much better, right?
The truth is, a relaxed and confident writer makes every pitch stronger. But that’s probably an impossible goal. You will be nervous. So manage it by being prepared. Learning to deliver a good pitch is an ongoing process. So just keep rehearsing and you will get better at it.
One last bit of advice: modulate your performance based on the content of your story. Far too often we’ve seen beginning writers pitch their stories as if every beat had the same dramatic weight. Don’t pitch, “John spends the morning filling out bank forms” in the same way you’d pitch, “John looks up to find a guy wearing a ski mask and pointing a chrome .357 Magnum in his face.” If you come to a dramatic moment in your story, pitch it dramatically! If you come to an exciting action moment in you story, you may want to quicken the pacing of your pitch.
Don’t look for approval, just tell your story.
This is related to being confident. Seeking approval from the listener in your tone and style is a mistake. Pitching is not like a conversation where the talker waits for the listener to respond before continuing. It is disconcerting and distracting for the buyer if they feel they have to encourage you that you are doing well. The listener expects a committed point of view. Give it to them.
Getting questions and handling interruptions.
It’s not unusual to get questions from your listener. Sometimes they will occur during your pitch, especially if you are confusing or don’t speak clearly. But if you’ve rehearsed properly this should be minimal. The listener might even offer up ideas or suggestions for changes to your story as you tell it. While you might find this a little annoying, it means your listener is engaged with your pitch. Embrace it. This doesn’t mean you have to agree and say “yes” right in that moment. If the listener is asking for a big change, you might want to ask the listener if you can discuss it after the pitch. If the answer to the question is an easy yes, say “yes.” If the answer is emphatically no, once again ask to discuss after the pitch is over. What you want to avoid is getting into a debate while you are in the flow of your story.
Certainly, when your pitch is over, you may get some comments and questions about it. How you handle these moments is every bit as important as the presentation itself.
The number one rule is don’t get defensive. Your reaction to questions and comments will affect how the buyer will remember you. If you get angry or argumentative they are going to think of you as someone who is difficult to work with.
Few story ideas are completely without some commercial liability, and this is probably the first thing the buyer will zero in on. Be careful not to step outside your expertise. For example, if they ask you what you think the budget would be, you should not venture a hard number unless you’re a line producer. (The exception is if you’re making a presentation of your completed script to a financier for an independent film, in which case you better have a detailed budget created by an experienced line producer.) Try to analyze where the question is coming from. Are they worried it’s going to be too expensive? You might use the question as an opportunity to describe how you’re going to approach the story in a way that keeps costs down. (Note that some genres are supposed to be expensive – big summer sci-fi films, for example, ought to have spectacle.)
When a buyer has comments, the first thing you should do is listen. Occasionally, writers will be so caught up in the intensity of the situation that they’ll jump in before the other person has even finished speaking. Sometimes the writer’s response can even be unrelated to what the buyer was actually concerned with. So listen to what the buyer is saying and take a moment to think about it.
This is particularly tough to do when the buyer criticizes something about your pitch. Your tendency is to defend yourself. But pay attention to what they are really saying. If you think there is relevant information that might clarify something they missed, share it. If you have an idea of how to solve a specific problem, suggest it. But if they really just didn’t respond to the character, you are probably not going to change their mind.
And their criticism may help you shape the story into something more viable. Usually, you’re going to pitch the same idea many times. Producers and executives in this industry, despite their reputation, are mostly smart and savvy people when it comes to story. So if someone makes a suggestion for your story, it’s worth considering whether to incorporate it before the next pitch.
However, you should not automatically assume every bit of feedback you get is right. A comment might be based on a misunderstanding or an element of personal taste not shared by the average exec. Sometimes smart people just say stupid things. But do consider it. Maybe they have a point. And if you hear the same criticism repeatedly, you better address it.
One question you might encounter is, “If we don’t buy this pitch, will you spec it?” The worst answer is “no.” You’ve just told them you don’t really believe in your project. And if you don’t, why should they?
But if you say “yes,” they’ll probably smile and say, “Great, send it to us when it’s done.” This isn’t all bad – you’ve got someone who will read the script. But you’ve also just agreed to work for free and killed any chance of selling it at a pitch level.
We suggest you respond with something like, “I love this idea and I’m definitely going to write it, but my agent is setting up a bunch of meetings so I hope someone will see the potential in it that I do.” This is a not-so-subtle threat that if they don’t step up, they might miss out. Of course this often won’t work!
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How a meeting works
It’s useful to have some idea of what’s going to happen when you go into a meeting. If nothing else, it might help you to relax a little. And, truth be told, even experienced screenwriters tend to spend an inordinate amount of time discussing this kind of thing.
General meetings.
One of the most common types of meeting you’ll do is what is known as a “general meeting.” You get a general meeting when someone has read some of your work and wants to meet you. The majority of the time you will be meeting with one person, but there could be two, three or even more. There might be more than one producer or development exec at the company who wants to meet you and/or there might be an intern or assistant to take notes. Most general meeting will be with producers or the people who work for producers, sometimes called creative executives or development executives. Needless to say, you should know the job title of everyone you will be meeting in advance. If someone is a senior vice-president and you call him or her a “development executive” they might be insulted. Most people work hard for their titles. Know whom you are talking to.
Etiquette.
Get there on time – and be prepared to wait. Yes, people in Hollywood are busy but sometimes there’s a bit of a power play that happens. They get to keep you waiting to prove they’re more powerful than you. The wait is actually good. It gives you a chance to settle in and get your bearings. And, if you’ve just had to walk halfway across the studio lot on a hot September day, it gives you a chance to cool down.
Bring a notebook and something to write with. You are a professional going into a business meeting – be prepared. If the buyer gives you feedback on your pitch, write it down. This serves two purposes. First of all, you’ll remember everything more clearly. Second, it will allow you to digest what has been said before responding. It’s not uncommon for writers to have knee-jerk negative reactions to suggestions. If you give yourself time to consider the comments, you may discover merit that wasn’t immediately obvious. And even if the suggestion is off base, you don’t want to get in a heated argument with the buyer.
Before you go in the assistant or receptionist will ask if you’d like anything to drink. We recommend water, even if you’re not thirsty. You may get dry mouth during the meeting, plus it gives you a prop. If you need a few seconds to think over how to answer a question you can take a drink to buy some time. Don’t ask for soda – it will make you burp. And avoid coffee or tea. They may not cool down enough to drink before the end of the meeting. And if you’re nervous, caffeine might exacerbate the problem.
We know this stuff seems silly. But sometimes little things like this can make the difference between a good meeting and a bad one. Or at least they can affect your comfort level.
Typically, you’ll meet in the producer or exec’s office. Other times you’ll meet in a conference room. If it’s an office, they most likely will have a seating area. They’ll come out from behind the desk and meet with you in that more casual setting.
In the room.
If you’re meeting in the buyer’s office, the seating areas will usually have a couch. A really soft, comfy couch. Try not to sit on it. You will sink back into it and it will sap your energy. If you do end up on the couch, sit forward on the edge. And if there are multiple people in the meeting pick a spot where you can look at all of them with relatively little head movement. You don’t want to be swiveling your head back and forth like you’re at a tennis match.
If you happen to get a lunch or coffee meeting, which is rare when starting out, first-date rules apply. Don’t order anything too messy or hard to eat. It’ll distract you and the risk of an embarrassing incident is high. Don’t arrive too hungry, either. This is about business, not about eating. On the plus side, the writer never pays in these situations.
The meeting will probably last about thirty minutes. It will start with some small talk. They’ll probably ask where you’re from and how you got started in the business and may discuss the script of yours that they read. Your goal here is to be charming and pleasant – the kind of person they’d like to work with. It’s also good to convey an interesting life story. It implies you’ll have an interesting point of view in your writing. You might want to consider, in advance, what’s interesting about your life story so you can make sure to work it into this conversation. At some point they’ll probably say something like, “so, what else are you working on now?” It is critical that you have an answer to this question. The perception of activity is important. But don’t be a braggart. Talk about the other project you are researching or lining up to write or pitch. If the buyer hears something that piques their interest, they may ask you to elaborate.
Although technically this is a get-to-know-you meeting, it’s likely you will be pitching your next idea. If so, the pitch should be fairly casual and not too long. This is a perfect opportunity to wield the five-minute version of your idea. They probably aren’t buying… but they might. Mostly you’re trying to let them know you have other good ideas and getting them excited to read the next spec when it’s done. But you never know… if the pitch is good enough you might just sell it in the room.
One meeting, one idea.
We recommend that you don’t pitch more than a single idea in most situations. It shows that you are committed and passionate about that idea, not just throwing things out to see what sticks. But it’s also advisable to have a “doorknob pitch” ready if they don’t respond to the first one. A doorknob pitch is a brief (two minutes or less) pitch of a rough idea. It’s called a doorknob pitch because of the image that you would deliver it as your hand’s on the doorknob on your way out, kind of an “Oh, I almost forgot” attitude. Of course, you don’t actually do it that way. But it comes at the tail end of the meeting and is done in a quick, off-the-cuff manner. You can preface it by saying something like, “This isn’t fully developed but there is another idea I’ve been kicking around.” If they like it you can ask to come back and give them the full pitch in a week or two after you’ve “had time to work it all out.”
