What Does a Pitch Look Like?

So, more technical stuff in the second part of the pitching series.

There are a few necessary elements to a pitch. First, introduce yourself, schmooze a little. People like to work with people they like. So be likeable. Ask about the projects they are working on, what they think is doing well -- and if it's applicable, adjust your pitch to meet the needs to glean from them. Be a polite snoop, in other words. They'll let you know when to begin the actual pitch. Start with the concept. Some people suggest doing a match-up kind of thing to give a frame of reference. For example, "It's I Love You Man meets Doubt." Some people hate that, though. Try to learn as much about the person you're pitching to as possible to see if they'd appreciate something like that. But at least give a logline so they know what's coming. Unless you established it prior to the pitching meeting, mention the form. Is this a movie? A pilot? Unscripted or scripted? Then, tell them why you think they'll be interested. Are you pitching to get a deal to write the script? To get money to fund your indie project? To get an actor or director on board? If the pitch is based off another source, mention it. Explain that you have the rights. If you don't have the rights -- get the hell out of the room! If you have anyone attached to the project mention that. (and by this, I mean real names. If your cousin is an actor and he's agreed to star in it, don't mention it. Unless your cousin is Zac Efron). Then, begin the story. The story is the most important part of your pitch. Like I said in the previous post, the story should include a beginning, a middle, and an end. Make sure you have enough time to get to the end. Only stress the important beats. Leave some things to the imagination.

The people you're pitching to will have feedback for you, most likely. Well, hopefully. Feedback means they're listening. Take notes. I like to paraphrase their feedback and repeat it back, with a specific way of incorporating into my story. That way they know you're listening, interested, you value their opinion, you aren't stubborn, and you're easy to work with. But keep it short. The feedback portion isn't really about you. There might be feedback mid-pitch as well, and accept it gracefully. The more feedback, the more engaged they are. Most execs I spoke to have said they know if they're interested in a pitch within the first 5 minutes. If that long. Another line I've heard a lot is that pitching is like dating. You kind of get a feel for the person at the outset (How I Met Your Mother fans will recognize this as the lemon law). You're also trying to feel out if you'd be a good match for the person you're pitching to.

Here's a tricky subject: pitch materials. An all-too-often-asked question. If you're pitching an unscripted show, having a sizzle reel is generally a must. Just a short cut of what your show will look like or an ad for your show. Something to give them an idea of the show's style and your talent. So many reality show ideas are alike, but what sets them apart is how they're done. If you're pitching something scripted, it's okay to bring materials, but don't expect to hand them out. You can bring a treatment, a synopsis, a copy of the script, exciting visuals. Some people feel more comfortable if they have them along. But don't hand them out at the outset. Because as soon as you hand someone a piece of paper, what do you think they're going to do? That's right, they'll read it. You want their focus to be on you, not your papers. If, at the end, they ask if you have something, give it out. If you really have to, and you've gauged the people well enough, you can offer to give them more to look at.