A question I get asked fairly regularly is: how do get my concept to a broadcaster? When I dig a little deeper into this question, what I find is that there is a perception that the broadcaster lives in a castle on a mountaintop guarded by a fierce dragon who will toast you and then eat you if you dare stand anywhere near the bottom of that mountain holding a concept document.
It’s not true.
There is no mountain and the dragon just wants to make sure you aren’t some random gibbering kid off the street. And even if you were, they would probably let you in anyway.
Here’s the reality: broadcasters need good content. And that content might just be what you have. They actively want to see it.
Yes, you’ll find at certain events that they can be difficult to reach. Often that’s because they are being hit by every producer in town with “Why aren’t you buying MY show?!” or they have vanished off because one of those producers is spending the rest of that year’s budget taking them to a fancy lunch. They might be there to speak or to find out certain things rather than be pitched to every couple of minutes. You’ve got to understand what that must be like.
And yes, sometimes they will be incredibly slow to answer an email and will require nudges. They are busy people. That’s the reality.
And generally you will want your work to be of a certain standard. Few people are going to have patience for a half-baked idea scribbled on a post-it if this is the seventh pitch you have given them since 9am earlier that day.
But nevertheless, they want to see your content. They can be reached and, when they can find time for it, they will want to see your idea. Usually, they’ll be very happy to meet with you. They can be incredibly welcoming. So how do you it? First, look to see if there are proper channels you should go through. Certain publications such as Kidscreen will do ‘meet the buyer’ specials in which broadcasters will often say how they would prefer to be reached. Some broadcasters have website submissions or some clear contact systems on their sites. Many will make their emails or those of the relevant staff freely available. If you’re just starting out, see if you can find the right person and ask how they would prefer you pitch to them.
More than all of that, go to industry events. Don’t randomly assault broadcasters or pitch to them in the toilet. But sooner or later, you’ll be introduced to some of them and you can then follow up with a mail. Hey, remember me? I have something I’d love to show you. Can I set up a meeting? Or send you some material?
Your well-presented project may be exactly what they are looking for and they don’t want to miss it. So polish up your work, know that they want to see it and then show it to them.
A lot of people have passion for their own work and the desire to create something wonderful. The dream of really really take ownership of their work. And yet, more often than not, those people achieve much more when working for someone else than they do on their own projects. They might tinker away at their projects once a month or so. Or just wish that’s what they were doing and then feel bad that they haven’t actually achieved anything. Sound familiar?
So how do you focus yourself on your own work when you get a bit of time? For me, there are several ways of doing it but what they really come down to is replicating the pressure of having a job. When you’re an employee, usually someone tells you what they need and when they need it. And once you have a goal and a deadline, you have a target and you get to work and great things happen.
When you have your own projects, you probably know your big end goal. But you may not have broken it into smaller tasks yet. And I’m willing to bet you have no deadline.
So set a deadline. Better yet, get yourself a deadline. What’s the difference? If you set a deadline, you can shift it. You get busy and so you put it off for a week. Two weeks. Months. But if you acquire some sort of external deadline, that’s likely to be fixed. An application to a funding body. A submission to the Cartoon Forum. A trip to a conference or a market. Set up a meeting for that market with someone important and then put that date in your calendar. Congratulations – you just got yourself a deadline.
Now put that in whatever diary you use to keep track of what you’re doing, whether it’s your phone calendar or a series of scrappy post-its stuck to your computer. Break down what you need to do into smaller goals and create smaller step deadlines between now and your fixed deadline. Never lose the pressure of that big deadline. In fact, if it doesn’t feel pressured enough, get more deadlines to meet. Become a gatherer of deadlines.
Then meet every one of them. Before long, your project will have turned from an idea to a developed pitch concept and, if you keep at it, hopefully much more than that.
Way, way back when we made Fluffy Gardens, we started with a pilot episode. After a significant development period and with a full crew, it took us around 4 weeks, possibly a little more. That was with simple, pretty crude, yet charming animation. A higher level of polish and it would have taken us far longer. For just 7 minutes of screen time. And that’s just the animation itself.
To make 40 episodes (the length of our first series) at that rate would take over three years. But of course it didn’t. With the same crew, we were getting episodes out in just 4 days by the end of the series and looking better than the pilot did.
4 weeks to 4 days.
That’s some difference. That comes with familiarity, knowing the methods, the characters, building up libraries. We got better and we got faster. And that’s entirely normal. That is why it is difficult to break down a series schedule to an exact per episode time period. You estimate it based on an average, knowing the early episodes will take an age and the final episodes will be quick.
The real hard work is done up front. Those early episodes need the focus. They need the scrutiny. They need questions: are we happy with this? Are we doing it the right way? And they need the time. That will pay off hugely down the line.
Thing is, it is true for more than just animation production. Having just one writer or two on a whole show, for example, means they get to know it and they put in that work in finding what it is and, soon, they are doing it better and faster. Your composer will learn new things in those early episodes that they will apply as they go on. Everyone in the process will learn some new tricks in those early days or weeks.
So what’s the point here? It’s this: don’t panic when that early work seems to take an age. It’s normal. That’s going to pay off. Just make sure you start to see an increase in momentum as you continue.
I normally only post on a Wednesday so this might upset the entire fabric of the space-time continuum but, in advance of heading to the Children’s Media Conference, I thought I’d get in a little update on me and Mooshku. Why? Because I don’t often talk about my current work here and it’s no harm to remind you about what it is that I do.
So what have I been up to? And Méabh? And all of us at Mooshku generally?
Mooshku have been consulting on 3 lovely early stage children’s properties for third party companies. That entails evaluating existing content, focussing it for the right audience and also broadcasters and partners and putting it together to make a really strong pitch for a really strong concept. That has included writing concept documents, show bibles, storylines and also sample scripts. Simply put, we have been making lovely ideas even lovelier!
We created, wrote and produced Trufax Tot Cop for the Nickelodeon shorts programme, just one of four international companies selected. It is absolutely KILLING ME that I haven’t been able to show this yet or say more about it. There are very good reasons why I can’t but I’m so eager to show it to you.
Update: I’m now okay to add an image so here he is, Trufax Tot Cop!
We produced animation for a live science show for the Edinburgh Fringe last year and, around this time last year at Mooshku, we were just finishing production on a pixel art music video for GUNSHIP. You probably know I love my pixel art.
And we have been developing our new IP and producing some new animation samples to show them off. They are really pretty and fun and we’ll be bringing them along to the CMC next week. We’ll post some online soon too, I promise! In the meantime, some pictures:
Sticking with our Mooshku mission of collaboration, Méabh produced the live-action for the 52 episodes of Little Roy for our wonderful friends at JAM Media. And Méabh is currently producing The Overcoat for the talented guys at Giant Animation, featuring the voice talents of Cillian Murphy and Alfred Molina.
And on top of all this, I have been doing a huge amount of writing. Over the last 18 months or so, I have written…
5 episodes of the upcoming Wild Adventures of Blinky Bill for Flying Bark in Australia.
4 episodes of a lovely new show I can’t yet name for Submarine in the Netherlands.
2 Gråtass live-action theatrical children’s feature films for Cinenord in Norway.
More than 10 scripts for top secret early development projects for Ireland and the UK (early development for 3rd party companies is a lot of what we do in Mooshku).
And I have been writing the full 20 episodes of the new Karsten Og Petra series and a Karsten Og Petra feature film, also for Cinenord. This is one that is particularly dear to my heart. This series is so lovely. If you haven’t seen anything from it yet, you should look it up. It is preschool perfection (I can’t take credit for that – it was perfection even before I got involved!).
And I’m working on something lovely for Karrot (of Sarah & Duck) and a nice new show I can’t yet mention but will be a lot of fun.
That post turned out even longer than I expected. We’ve been busy! Really, we’ve been doing what we love to do: make really great stuff for kids. We have our mission to bring kids something really good and we’re strong on that. And we also love collaboration and working with others. We don’t see competition – we see a community. So far, that ethos is working wonderfully for Mooshku.
So that’s the update. If you’re at the CMC, do say hello! It will be lovely to catch up with old friends and meet some new ones too.
We put so much into our work. So much passion and thought and trial and error. Creating anything is decision after decision. You have to make a call and, each time, you know how important those decisions are. And then you get to a point where it is ready to show someone.
The next step might be to pitch it to someone. Or to test it with children. Or to run it by peers.
And you hesitate. Why? Why don’t you test it with kids? You know people with kids, right? The reason is usually always the same: fear that the response you want is not the response you’ll get. We all go through that. Every time. And when we do send it out to people with the power to make or break our project and an email comes back, our chest flutters as we open it. We’re afraid. And when we see negative feedback or a flat-out rejection, we get angry, we get sad. Often we fluctuate between being hugely demoralised and totally stubborn. I’ll show them!
That’s because it matters to us. It’s because we care. Those feelings suck. They really do. But they’re important because they mean we still care.
What happens to your project all depends on what you do next. You have to be completely honest about that feedback, especially if it comes from testing with kids. You have to really look deep and examine the results you got. What worked. What didn’t work… and why. The key is that you accept the results. Too often, we just look for the results we want and we will find ways of dismissing the results we got. They were distracted. They didn’t read it properly. They missed page 7. I had a cold that day. What do kids know anyway? That way of thinking is all too easy, precisely because we care so much and we feel so attached to our project. And it’s a sure fire way to make a project worse.
Work with the results you get, not the results you want.
That doesn’t mean you cave in at every negative sign. It doesn’t mean you start your project from scratch the second someone tells you they don’t like it. It simply means this: those are the results your project is generating right now. Accept that as truth and then you just have to ask yourself: now what am I going to do about that?
Recently, I was exploring an art piece in collaboration with an artist online who really inspired me when I was exploring pixel art for fun. A case of mutual admiration, which is always fantastic. One thing he said to me in a mail was: you really put a lot of love into your pieces. A lovely thing to say and it meant a huge amount as it was, but it was one of those little sentences that opened out into something much bigger as I realised that all the people I admire and all the people who I have loved working with and the people I want to work with in the future share this one thing: they put a lot of love into their work.
You can see it. You can feel it. You might not use those words but, on some level, you know. The love shines through in great work. The love even shines through in work that isn’t so great technically but is approached with honesty and passion. It elevates work.
Find something to love. To really love.
When you find what that is and you try it, no matter how raw you are at the start, you will put more into it than just time or hard work. You will put a little or even a large piece of yourself into everything you do. And people will feel it. It will count. And they will love it too.
I think it might be pitchforks and torches time when it comes to gender in toys. My main reason for this is: it affects so much more than just toys. It spills over into so much more. How many of us were surprised when it came out that the reason focus was taken away from women villains in Iron Man 3 was down to a perception that women don’t shift toys? After #WheresRey and Black Widow and so much more, this is just a common story now. It’s barely a story.
I know how it happens from first hand experience. I have had that discussion with distributors, with producers. Of course most will tell you it’s not down to them. I have to wonder if toy companies and toy stores even know how much they are blamed for every bad gender decision in kids’ media? People in media, people like us, will eventually remove themselves from the decision and it comes down to: “hey, you know how the toy companies are!” Oh those silly toy companies.
Not only will they get the blame but, importantly, they will be shown to be right. They will demonstrate that gendered products sell more. Of course, there is confirmation bias in here and they have created an environment in which this can be shown to be true. After putting boys on all the Lego boxes for years and realising they have a problem, nobody should be surprised that Lego Friends sold well. It just patches a problem they created themselves. This isn’t just Lego of course – they just provide an example most people know. It runs through the whole toy chain right down to people working in toy shops. Yep, lady who shouted after my girls “but that’s the boy’s aisle!”, I’m talking about you.
It is a toy culture the industry created. And so it desperately tries to sustain it, knowing nothing else. Having made the ‘rules’, the huge hits that have to cross gender in order to become such big hits (such as Dora and Peppa) are branded exceptions so these big sellers won’t shake insiders’ confidence in that culture. And you know, the people working in these companies are all real people too. They aren’t just the cartoon villain scapegoat at the end of this media chain. They’re looking at their figures from their gendered strategies and afraid of messing with that in case their jobs end up on the line. I feel bad for anyone in that position, just as I feel bad for people in media who genuinely want better gender representation but they know that they have to stick with certain strategies because that has been shown to work, at least in the conditions that we have all built. We’re all just people here.
And I guess that’s what it really comes down to. Us as people.
So here is a question for you, no matter what end of the industry you are in: do you personally believe that placing clear gender limits on children is beneficial to kids and society in general?
Not your company, not your financial bottom line. You. A single individual.
If you answer yes, if you think that what we should play, who we should be and how we should think of ourselves and others should be limited by notions of gender, I can do nothing else but hope that someone will shine a light on the wider gender problem, the pressures and limits on girls and boys, the toxic environment illustrated by comments on Ghostbusters trailers or the Rogue One IMDB board, and hope that you will one day change your mind.
But if you answer no, if you believe that, actually, it would be better for everyone if we shouldn’t impose limits on children and people based on gender, then let’s all acknowledge that and pull together on the same team. From here on the inside. Let’s call out the bullshit where we see it. Let’s push media that is gender inclusive. Let’s create characters that don’t all conform to basic stereotypes. And let’s fight for them when we’re told “hey, you know how the toy companies are!” so that we don’t pass on the wider problems to the next generation. So we give our girls and boys every chance to be strong, happy and to do what they want to do, and can all do.
Where cultures have been created, cultures can be changed. Just because you think it works one way doesn’t mean it won’t work in different, better ways. Anyone in this generation should be well used to that with the amount of change we have seen in our lifetime. We don’t need to fear that change. We just need to make it happen.
It is the Space Year 2030AD. The world has entered a darker age. Once-specialist 3D riggers and effects artists now litter our cities in little more than derelict shanty towns, their place taken by automated software. Children’s media is produced by just two warring multi-national cybernetic toy conglomerates, having bought out or destroyed every independent creator of children’s media. The network once known as YouTube hosts nothing but children’s infomercials. The Great Adult Colouring Book Crash killed off publishing for good. The few remaining apps, now sentient, search through back alleys and dumpsters for coins, gems and smurfberries.
Bob the Builder is getting relaunched. Again.
Some say the world never truly recovered from the incident in 2019AD when over 7 million children disappeared into a Minecraft server and were never seen again. I think many of us thought it never would.
But there is hope. There is a new generation of children born amidst the chaos. And a secret underground swell, once little more than whispers and rumour, is taking hold. These are the new children’s media creators. Inspired by the renegade spirit of the early YouTubers and with legends of the rough and ready puppets and animation of the first days of children’s media, these new creators put everything on the line to bring fun to kids. They gather in secret locations, broadcasting shows made with little more than scraps and enthusiasm. Shows with energy and fun not seen in a decade. The conglomerates try their hardest but they can’t put them down – these kids have nothing to sell and nothing to lose.
And the closest thing they have to a skill is the drive to make kids and themselves laugh and smile. To brighten up a day with a story or a joke. In 2030AD, the dawn of a new age, this is the only skill that counts.
Last week, I was speaking on a panel about pitching at the Cartoon Forum. I have pitched there six times over the years, starting with some pretty awful presentations but getting better each time, to a point where I have been told (modestly blushing here) that I have given some of the best presentations of the forum.
For those of you unfamiliar with how it works, the Cartoon Forum is a place to showcase new projects in search of broadcasters or distribution. In the morning and afternoon, short trailers for each project are shown and interested parties can choose which projects to see. There are usually three projects pitching in every slot, so this is competitive and your trailer counts.
Once you’ve got them in the room, you have their attention and it is up to you. We covered quite a lot in our panel talk and we could have kept going for hours so there is too much to go through in one post but here are a few core pieces of advice:
Learn from the pitches of others
Practice only makes perfect if you actually learn something in the process. You have to constantly re-evaluate your own presentation. It can be hard to get any kind of objectivity about our own pitches so my advice is to watch others pitch. Make a note of what engages you, of what keeps you interested and what bores you. When do start looking at your watch? When does your mind drift to thoughts of cake? Whatever they are doing at that moment, make a note not to do it in your own presentations.
I had a pretty shocking eureka moment watching one pitch that bored me to tears. The big shame about the pitch? It was a lovely project. But they made it really hard to like. And it hit me that, much of what they were doing, I was also doing. My pitches changed forever that day. And I learned many positive ways to present from watching Robin Lyons present, who is always entertaining.
Last time I was at the Forum, a local company of some good industry friends gave an excellent pitch. They told me afterwards that, when crafting their presentation, they asked themselves how I would pitch it. Learn from others, both the good and the bad.
Know your material
You have to know every beat of your presentation. It’s not like learning a poem where you know just the words. You have to know every point, every piece of information and why that information is there. You have to learn it and then go far beyond that, to the point where your presentation is part of you. Why? So that you can deliver it naturally, so that it fits perfectly within time, so that you cover everything you need to cover, so that it doesn’t sound like you’re reading a script. And most of all, so that you can deal with interruptions. There is always a chance that something will disrupt your presentation. You have to be able to get right back into it. Don’t go shuffling through notes or running to your laptop. If you truly know your material, you’ll flow right back into your presentation.
Engage with your audience
The default setup in the Cartoon Forum is a desk you can put your laptop on and hide from your audience. Perfect for introvert creators. Terrible for actually interesting your audience.
Find a way to connect with your audience. As obvious as this sounds, they are real people. They are there to find out about your project. They want to be there. So talk with them. Not just at them. And certainly not at your laptop screen or back wall. Look them in the eye and see them as the individual people they are. Smile. And start a conversation.
People love to feel a part of the show. That should be true for the show you’re pitching and also your presentations. Bring them in, let them feel a part of it.
Lastly for now (I could go on for days):
Have a great show
You could give a knockout pitch. You could be the best sales person on the planet. You could start a bidding war there and then, having all broadcasters want your show.
Then they have to go home, back to the office. Your pitch fades away and what’s left is your actual show. And they invariably have to pitch it internally to their own teams. And maybe it doesn’t sound quite as good coming from them? And actually they have a whole bunch of questions that your documents don’t seem to have covered. Maybe this show isn’t quite as well thought out as it seemed?
A great pitch is important. Crucial, actually. But your show needs to be solid. It needs to be interesting. It needs to be well developed. Because at some point in the process, it’s going to have to sell itself.
Every single time I work on a project, I have one goal in mind: this will be the best thing I’ve ever made. This is true whether it is the start of a whole new concept or just one more episode of a continuing series.
Does it always turn out to be the best thing I’ve actually ever made? Not always. But having that as the goal always pushes me to make something better, try something different and give the audience something a little bit special. It prevents me from being overwhelmed by deadlines and letting something go that just isn’t ready yet.
This goal is its own quality control.
And really, why would you possibly want to do anything less?
So whatever you’re doing, whether you’re mid-production or coming up with something new, set a high goal. Make it the best thing you’ve ever made. Simply keeping that as your core goal will vastly increase the chances that it is.