Full Version: The Pitch



Full Version: The Pitch

From: Crisman Strunk (CRISMAN_STRUNK) [#1]
 12 Oct 2005
To: ALL

I've been working on a pitch for my latest project and, sometimes, I think I'd rather write 30 scripts as opposed to one pitch. I've read a good article at Platinum Studios about creating a pitch and Steven Grant had another good take on the pitch in his CBR column.

I was wondering what are some of the methods folks here use to create that perfect pitch.

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From: ivan brandon (IVAN) [#2]
 12 Oct 2005
To: Crisman Strunk (CRISMAN_STRUNK) [#1] 12 Oct 2005

i fucking hate writing pitches with all of my heart. they are so completely contrary to my entire thought process as a writer...

my advice? keep it short. hook your editor as quickly and as succinctly as you can. one page, max. also, don't ask any questions in the thing. everyone hates that...

if he/she likes it, they'll hit you up for the next step.

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From: Corrupted Andrew Diroll (ANDROS13) [#3]
 12 Oct 2005
To: Crisman Strunk (CRISMAN_STRUNK) [#1] 12 Oct 2005

Not precisely pitches, but in law we have to condense our arguments down to single-sentence headings called "point headings." Some judges don't bother reading your well-reasoned, deeply researched argument, only the point headings.

So I think the trick may be to condense your entire story down into one sentence, or even a simple phrase.

It's probably difficult, considering you have all these themes and undercurrents, a single sentence couldn't do it justice, right? It might help to have someone you trust as a critic to help you write it.

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From: B. Clay Moore (BCLAYMOORE) [#4]
 12 Oct 2005
To: Crisman Strunk (CRISMAN_STRUNK) [#1] 12 Oct 2005

I actually love the pitch process, assuming we're talking creator-owned work here.

Just grab 'em with a great premise, and dazzle 'em with a great, brief story synopsis.

The great thing about the pitch is you don't have to connect all the shit together...you don't have to explain HOW you get from point A to point B at the pitch stage...just make it seem logical by using mind tricks and diversions.

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From: ivan brandon (IVAN) [#5]
 12 Oct 2005
To: B. Clay Moore (BCLAYMOORE) [#4] 12 Oct 2005

yeah, it should be made clear i'm talking about pitching corporate WFH. creator owned tends to be slightly more fun, although, still... i'd much rather write a comic that a goddamned pitch...

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From: Egg Embry (EGG_EMBRY) [#6]
 12 Oct 2005
To: Crisman Strunk (CRISMAN_STRUNK) [#1] 12 Oct 2005

Most of what I want to write is emotional and honest and that’s how I write the pitch. Start with the hook, go to what the story is honestly about (those pages between the setup and the conclusion) before closing out with the “emotion” of the concept - what will be sacrificed to gain peace. I know that's a loose layout, but it’s what I work with.

Egg Embry

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From: Sean Hansen (NERDY_THOR) [#7]
 12 Oct 2005
To: Crisman Strunk (CRISMAN_STRUNK) [#1] 15 Oct 2005

FROM THE DESK OF WARREN ELLIS Vol. 1 from Avatar Press has a good section on it.

Well, unsolicited submissions in general. It's hard to not write down your entire story in a pitch for me.

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From: Sean Hansen (NERDY_THOR) [#8]
 12 Oct 2005
To: ivan brandon (IVAN) [#2] 12 Oct 2005

Are you allowed to show the pitch for NYC Mech? If not, sorry.

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From: Kelly Sue DeConnick (KELLYSUE) [#9]
 12 Oct 2005
To: Matt Fraction (FRACTION) [#8] 12 Oct 2005

Didn't you do a POPLIFE on pitches...?

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From: Matt Fraction (FRACTION) [#10]
 12 Oct 2005
To: Kelly Sue DeConnick (KELLYSUE) [#9] 12 Oct 2005

maybe?

oh, wait-- yeah, with antony.

i should post about what i do now.

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From: Kelly Sue DeConnick (KELLYSUE) [#11]
 12 Oct 2005
To: Matt Fraction (FRACTION) [#10] 12 Oct 2005

Yeah, you should. It helped me significantly.

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From: Matt Fraction (FRACTION) [#12]
 12 Oct 2005
To: ALL

this is my blank pitch skeleton. i stole the core from Francis Ford Coppola, and then rewrote it and grew it and changed it to suit my own needs.

this is how i do this now.

•

COVER SHEET
Series name, duration, your name, and who it’s for.

OVERVIEW & FORMAT
A top-sheet, one page, summary of the whole shebang, ideally can be cut-and-pasted whole cloth as a short pitch. Format concerns addressed here as well; can be minimized for top-sheet pitching if needed. Write last if need be.

SYNOPSIS - What?
A broader and more specific survey of the story, plot, themes. Usually a first issue summary in as much detail as possible and as much of the first arc as possible, or, if it’s a limited or OGN, outline the whole thing as best you can. As best. Not for real, just-- you know, make it look like you tried.

CAST - Who?
Pretty obvious. Minimize the details of backstory and relationships here (there are other places for it)-- this is where you’re trying to answer the questions “Why should I care about these people?”

MAIN
SUPPORT 
ANTAGONISTS 
SETTINGS (if applicable, relevant, interesting)

THE TIMES / THE WORLD - When and where?
The backdrop and tone of the where and when. If historically applicable, talk about that. Ties in with the characters pretty well, so if you want to address the history and tone of the leads, here’s the place.

IMAGERY & TONE - How?
The visual vibe and story vibe. Riffing on what the book should feel like and trying to flesh out the series as more than story and plot components. Comics are a visual medium, right? So talk about it.

THE CORE - Why?
What’s the book actually about? What’s the story really about? What’s the point? The mission statement(s).

PITFALLS
Stuff to be aware of and be careful of. Try to stem an editor off at the pass here by predicting criticisms. And warn yourself on how you’ll blow it.

THUMBNAILS
Potential story ideas and outlines. Show that you’ve got more than one arc or issue in you. (Not applicable, obviously, if it’s a limited or OGN.)

REFERENCE
Books, comics, film, music, whatever-- flesh the vibe out with like-minded media. (When appropriate.)

CONCEPT ART
Either original stuff, if it’s being generated with someone, or scans & examples of the aforementioned visual references. (again when appropriate.)

•

What happens is-- you write it like this. You send the cover and top sheet. If someone asks to see more, you send the rest of the bible.

This is probably way more than anybody honestly wants to see-- I don't really know, and honestly don't care all that much. This is the system i need to put myself through to start.

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From: Russell Lissau (RLISSAU) [#13]
 12 Oct 2005
To: B. Clay Moore (BCLAYMOORE) [#4] 12 Oct 2005

I love writing pitches, too. It actually helps me with the writing: If I can summarize a story in a paragraph and then write a few sentences that I hope will get an editor excited about a project, it clarifies the story for me and gets me more focused.

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From: ivan brandon (IVAN) [#14]
 12 Oct 2005
To: Sean Hansen (NERDY_THOR) [#8] 13 Oct 2005

sure, i own nyc mech*, so i can do whatever i want with it... but basically we handed them the completed first issue. it's a poor example of how to pitch, though, because it's not how any sane person would do it. 

my career is kindof an anomaly. i've been lucky in that i've rarely had to pitch. i've mostly been invited to things and the stuff i have pitched succesfully is not yet in print (or announced), so i'm pretty useless by way of example.

*(well, co-own, with my co-creators)

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From: Tony Lee (TONYLEE) [#15]
 12 Oct 2005
To: ALL

I usually go with the

High Concept (and I have to say, the xxx meets xxx imagery still works for me), I was once told that if you can;t tell the high concept of a story in twenty seconds, give up. It's something I've tried to stick to.

Pitch - What the book is about. A synopsis of the main points, from A to Z

If they like it, I then add the more detailed Synopsis, the Cast etc.

What I find I usually end up doing to assist me as I pitch is put together a few pages of script - this way the publisher also sees the tone of the book - and that's got me over the first couple of hurdles a couple of times.

I keep it short and sweet though.

Once we get to thrid base though - thats when the trees are killed to print out my pitch pages...

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From: Larry Young (PLANETLAR) [#16]
 13 Oct 2005
To: Tony Lee (TONYLEE) [#15] 13 Oct 2005

(and I have to say, the xxx meets xxx imagery still works for me)

...and everyone else, too. Oh, sure, it's all trendy to say you don't do that, and all, but if you say "Office... SPACE!" to someone to pitch a quirky work-based ensemble with green skins and ray guns, that puts an image in somebody's head with TWO WORDS.

Anyone who says "THE UNTOUCHABLES meets EIGHT MEN OUT" doesn't work hasn't seen it make money a few times.

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From: Tony Lee (TONYLEE) [#17]
 13 Oct 2005
To: Larry Young (PLANETLAR) [#16] 13 Oct 2005

It seriously is the best way to image a story for someone. 

THE GLOOM - 'A Mel Brooks take of 40's Pulp heroes.'

WHERE EVILS DARE - 'The Dirty Dozen' meets 'Van Helsing'

MYTHLANDS - 'Lord of the Rings' meets 'SWAT'

- OF VENGEANCE - 'Pale Rider' meets 'Twin Peaks'

And my favourite

WiCKeRMaN - 'Spartacus' meets 'I, Robot'....

Don't they all sound great? They're most likely crap - but don't they sound great!

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From: Jason A. Quest (JAQ) [#18]
 13 Oct 2005
To: Larry Young (PLANETLAR) [#16] 13 Oct 2005

if you say "Office... SPACE!" to someone to pitch a quirky work-based ensemble with green skins and ray guns, that puts an image in somebody's head with TWO WORDS.

Yeah. I've elicited some wicked, scheming smiles just by saying "Ultimate... Jesus". (devil)

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From: Scott King (SCOTTKING) [#19]
 13 Oct 2005
To: ALL

I went and got myself a BA in film and what I was taught is something a little different than what’s being said here.

I was taught that each screenplay you write should have a tagline and that tagline is the “XXXXX meets XXXXXX.” This is normally used as an attention getter and so that whoever you are pitching to is able to easily identify with your script.

Then an actual pitch should only be a paragraph or so long in which you hit the main idea behind the screenplay. It’s not an outline and it’s not a summary of the whole story. It should just be the heart of your story.

Then if whoever you are pitching to likes both your tagline and basic pitch you can do your treatment. And the treatment should then be a one page basic summery of the actual story.

…mind you I’m talking about written pitches but if you are going to be doing it in person we were told to use the same method. Start with tagline, go for the pitch, and if they want more and are really that interested go in for the quick actual summary.

I have yet to actually pitch a comic book though I will be working on two of them soon. But I don't see why you couldn't use this methodology for a comic.

Also once you have your pitch... practice it. Do it every day. Wake up and turn to your GF and give her the pitch. Go visit your parents over a weekend and give it to them. Hangout with a buddy in a bar and give it to him... just practice it over and over again so that you are able to give it without thinking and without comming off long winded.

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From: jock [#20]
 13 Oct 2005
To: Larry Young (PLANETLAR) [#16] 13 Oct 2005

this brings to mind a pitch that frazer irving has in his head for marvel.
though the two words not only conjur the spirit of the piece, they also serve as the title.

'HULK FUCK'


you should hear him sell it over a few beers....
J

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From: Dirk Manning (AARONWEISBROD) [#21]
 13 Oct 2005
To: ALL

I *DESPISE* piching as well... but these posts have ALL been very helpful.

It's also nice to see people speaking -up in facor of the "________ meets _________" method of "taglining" a series.

I also once heard it said that anyone who can't boil their story down to a one-line premise doesn't really know what their own story is about.... and I thought these were some pretty wise words in regards to the pitching process. Thoughts?

Best wishes,
Aaron Weisbrod

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From: Enforcer Bastard (JESSICA) [#22]
 13 Oct 2005
To: jock [#20] 13 Oct 2005

ha. i'd love to hear this pitch..

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From: jock [#23]
 13 Oct 2005
To: Enforcer Bastard (JESSICA) [#22] 13 Oct 2005

it's a beautiful thing.....

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From: JohnPopa [#24]
 13 Oct 2005
To: Matt Fraction (FRACTION) [#12] 13 Oct 2005

Actually, that helps a lot.

Thanks.

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From: Tony Lee (TONYLEE) [#25]
 13 Oct 2005
To: jock [#23] 13 Oct 2005

Dear god - I REMEMBER this!

Frazer Irving - raper of childhoods for decades...

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From: Enforcer Bastard (JESSICA) [#26]
 13 Oct 2005
To: jock [#23] 13 Oct 2005

i want the shirt..

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From: Luis Sopelana (SOPELANA) [#27]
 13 Oct 2005
To: Matt Fraction (FRACTION) [#12] 13 Oct 2005

Hey, thanks. That looks really useful.

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From: Nate Southard (NATESOUTHARD) [#28]
 13 Oct 2005
To: Matt Fraction (FRACTION) [#12] 13 Oct 2005

Okay, others have already chimed in on this, but I just wanted to thank you for posting that. I'm working on a pitch now (still looking for an artist) that this format is perfect for. I can even use this to aid the artist search. Takes a bunch of weight off the shoulders, I'll tell you that.

Again, thanks a million.

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From: Elizabeth Genco (ELIZABETH) [#29]
 13 Oct 2005
To: ALL

Kleid put together an excellent column on pitching not so long ago, with helpful infos from Alex De Campi and Mr. Wood:



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From: Larry Young (PLANETLAR) [#30]
 13 Oct 2005
To: jock [#20] 13 Oct 2005

'HULK FUCK'

ouch

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From: Patrick Meaney (PATRICKMM) [#31]
 14 Oct 2005
To: Dirk Manning (AARONWEISBROD) [#21] 15 Oct 2005

I also once heard it said that anyone who can't boil their story down to a one-line premise doesn't really know what their own story is about.... and I thought these were some pretty wise words in regards to the pitching process. Thoughts?

If you can't get your story across in oen sentence, odds are you won't sell it, but I've found that a lot of the movies or comics I like are very tough to explain to people and don't conform to the xxxx meets xxxx format. Like Magnolia, it's very difficult to convey anything about the film in one sentence. Or any of Wong Kar-Wai's work.

But both Paul Thomas Anderson and Wong Kar-Wai are at the point where they don't really need to sell their films, the name itself is brand enough. So, on Magnolia, the PTA name is enough, whereas Boogie Nights is an obvious one sentence pitch. 

Now, I'll admit that this may just be a weakness on my part, but I find it very difficult to condense my stories into one sentence for an easy pitch/sell, and I'd say that most films/comics whose story you can adaquetely explain in one sentence are probably going to be boring or predictable. 

The things that are required to sell your story seem to go against everything that produces original, compelling work. I think this actually gets to the core of why comics are so dominated by superheroes, people are sold through familiarity. So, they'll go back to the characters they already know, or with original work, gravitate towards concepts they're already familiar with. So, if someone was to make a graphic novel called Ninja Pirates vs. Zombie Astronauts, it's totally pre-sold, and people know exactly what to expect, and thus it's easier to pitch. But at the same time, it's probably not going to be a particularly original work.

So, it seems like you need to be a name brand to be able to sell stories that aren't reliant on an easily definable concept, a story that isn't easy to explain, or distill into a catch phrase, because by that point, your name is the catch phrase.

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From: Chris Randle (CRANDLE) [#32]
 14 Oct 2005
To: ALL

The last pitch I sent to someone included the line "You could say it's like DESPERATE HOUSEWIVES meets LOST...but that would be a shameless and opportunistic lie."

I'm still not sure if that was a good idea.

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From: Larry Young (PLANETLAR) [#33]
 14 Oct 2005
To: Patrick Meaney (PATRICKMM) [#31] 14 Oct 2005

>>The things that are required to sell your story seem to go against everything that produces original, compelling work. ................
................

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