Here’s a thing about your creative endeavours, whether it’s that project you’re pushing, that job you’re hoping to get or your whole career – you need to keep up the momentum. It can be so hard to get any kind of movement at all. So when you do get it, even a hint of it, you have to keep pushing and keep that movement going.
Absence makes the heart grow fonder? Nope. Absence makes the heart (or the mind or whatever) forget. People move on and they notice other things and other people and, soon, that momentum you felt you had is gone.
It’s not easy, especially when you have to bury yourself away like a hermit to actually get some work done, as I’m sure many of the writers will understand. But you have to get out there and keep up a presence in whatever form you can. Even if it’s just a blog post about keeping up a presence.
Get out there and build that momentum. And when you get a tiny bit of movement, don’t let up. Stay out there as much as you can and let people see your newest work, hear the stories of what you have coming soon or even just see your face around. Keep that momentum going.
In the world of media, I have seen a lot of unrealistic expectations over the years. I see people with what might be the beginnings of an idea who expect others to throw a fortune at them to take it off their hands and actually do the work to turn it into something good. These people tend to wonder what is wrong with the entire industry when that doesn’t happen. Oh you’ll regret it when I’m rolling in money and this is the biggest property on the planet.
I also see a lot of more humble people daunted by how intimidating the industry can be. Gripped by that fear and a sense that they don’t have what it takes. Afraid to sit down and really develop their idea because it may end up awful and it will all go horribly wrong. I’m not a writer. I’m not a creative. I can’t draw. How will I get anywhere?
And this may come as no surprise to some of you but, regularly, I see these two things in the same person. Because the fear of sitting down and doing the work can often result in a defensive need to offload a project long before it’s ready. Someone take it! Now!
This is a fun business to be in with lots of wonderful people doing wonderful things. But the truth is, it comes with hard work. Sitting down and just doing the work, often on your own before anyone else believes in it, comes with the territory. It’s what you take on when you decide this is what you’re going to do. You have to work hard to prove what you’re doing has any value or has a place in a world saturated with high-quality media already.
It’s not an easy path to walk down.
But if you do, if you put in that work, you will find people who like what you’re doing. You will get to know why something you tried didn’t quite take and you’ll be better prepared next time. You’ll find the enthusiasm grows as you get closer, as you help others on their projects and as you get to be a part of the process. Then, when you find champions for your own work (and if you stick at it, you will), you realise you can do it. You have probably already been doing it. It’s not easy. It’s unlikely that someone will ever dump a truck full of money at your house for your concept, even when you put in the work. But it is still rewarding. It is still worth it.
So do the work. Keep your expectations realistic and do the work. Enjoy it and keep doing it.
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.
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.
You’re pitching your idea, it is special to you and, wow, it’s a pretty strong idea. Amazing that nobody has thought of it already yet. So what happens if someone you pitch it to rips it off?
In reality, I think that probably never happens. For a start, the chances of nobody having thought of a similar idea to yours are negligible. Ideas are just ideas. We have them all the time and we have similar ideas all the time. It is common that many similar projects can be in development completely independently of each other. I have seen this happen many times. There was the witch year at the Cartoon Forum. And the vampire year. They didn’t rip each other off. It just happened.
More importantly, if someone loves your idea and they hadn’t already thought of it, it makes much more sense for them to just deal with you to take it further. You’re a step ahead. You’ve done the groundwork. And really, you’re probably cheaper than their own team.
I think the question you should be asking yourself is not what happens if your idea gets ripped-off but how can I be essential to realising this idea in the absolute best way possible?
That’s really what counts. An idea is just a start. It’s important but not really anything on its own. What is important is how that is developed and explored and made real. If someone could easily rip off your idea and do it better than you, that’s the problem. You need to be the one who can do it best. You need to be the one everyone wants to develop this idea with.
Trends, eh? They’re important. If your animated TV show hits right at the beginning of a trend, pop the champagne. If it’s running counter to the trends, it could be a great project but the timing could kill it and never give it a chance. So how do you target the trends when creating your show?
My answer: you don’t.
It takes so long to develop a concept from scratch that, if it can already be identified as a trend, you missed it. Just develop the concepts that you think are awesome, that your audience respond to, that inspire you and others around you. Forget the trends.
Now when your concept is developed and you’re pitching and certainly when it is in production and you’re selling, that’s a different story. At that point you can look at the trends and see where it fits. Use it as a story.
But really, let your project just be the best at what it is.
The biggest mistake I think anyone can make in a pitch bible is a wall of text. People won’t read it. It takes up too much time. Unless your text is pure gold, it’s like wading through a swamp. And if it is pure gold, will people have the time to find that out?
More often than not, very busy people are scanning through pitch bibles. So you need to get to the point and keep it lean.
And yet, if you strip it down to the bare minimum, you always run the risk that someone will flick through it and think, this feels a little thin. Is it underdeveloped? Not a fully-realised concept?
So how do you keep it lean and to the point while making clear that your concept has depth, storytelling potential and a fun character dynamic? Active images. Try to get every picture telling a story. If it is simply a single character illustration, tell us who they are in their pose and expression. If it is a setup made to look like a still from an episode (I would always recommend this), make sure it feels mid-story, mid-action. That way it gets people thinking about how the characters got there or what will happen next. An image alone can get the message across that there are stories to be told.
Even if you are showing off a particular aspect, try to tell a story. Showing off your fancy backgrounds? Maybe show a character playing in your fancy backgrounds. Keep it active. Inspire the imagination so that, even if someone doesn’t read one word in your bible, they have a good idea what it is about. And hopefully, they’ll be making up their own stories as they look at your pictures.
When I pick up my Creating A Show posts, I’ll be getting into pitching. Pitching is a crucial stage and rarely easy but there is some fun to be had with it too. For introverts, though, pitching can sometimes seem terrifying, daunting or just something we’d really rather not do. As someone who has been labelled a ‘high-functioning introvert’ in the past, I might gather some thoughts and do a Pitching For Introverts post someday but, right now, I wanted to just point out one advantage many introverts have while pitching. There are generalisations here and everyone is different but many introverts should recognise what I’m describing below. It can give you an edge in a pitch scenario.
Here it is: introverts are rarely surprised.
Many of us spend a huge amount of time in our own heads. We play things out over and over, especially when we know a stressful scenario is coming our way. Now preparation is key to pitching or indeed anything else so I would always advise as much preparation as possible for anyone but often we introverts take that much further, whether we like it or not. We play out a gatekeeper asking us the roughest, toughest questions. We see them poking holes in our concepts. We watch as they pick up our show bible, find that one gaping flaw and then fling it into the bin. And we do this while getting dressed, while eating breakfast and at 4 in the morning when we should be asleep. Over and over again. We can be our own worst enemy when it comes to confidence but not when it comes to exploring potential outcomes.
So by the time we walk into that meeting, there is very little chance that something will happen that we haven’t already played out a hundred times. And usually it goes much, much better.
This is a good thing. We can identify problems before they happen. If we need to make a change, we can. If we know something might be a tricky issue but there is a good reason why certain decisions were made, we have those responses prepared. Things get easier and better the more times we do them. And for many of us, the first time we pitch a project to someone isn’t really the first time we’ve pitched it because we have driven ourselves demented with the conversation for weeks in advance. So we go in better.
I’m not saying extroverts don’t do this too. We’re all different but I know some extroverts seem to play things out live and in the moment more than the introverts. But whatever kind of person we are, I think the main thing is to be prepared. Whether by structured preparation time or the repetive mental run throughs (preferably both), play it out all kinds of different ways. Try not to be taken by surprise. Be open. But not surprised. And that’s where we can have an advantage.
Last week we brought Millie and Mr Fluff to the Cartoon Forum. I have mentioned Millie in my last two posts but I don’t feel I have really told you a huge amount about it, partly because I like this blog to be informative rather than just a platform to promote my projects. But Millie is really important for me and I think it deserves a bit of space here.
So why is it so important? Well, Millie is not the first project of mine to make it out into the world since my big move last year (that would be DINO DOG) and it is not the only Mooshku project in development. But it is my first new TV project. Even bigger than that, it is the first Mooshku project to be revealed to more than just a handful of people. That’s a big deal to us at Mooshku. Mooshku’s first stamp on the world of good children’s entertainment is Millie. It is the first project that can now make it to what would be a Mooshku showreel. That’s important, right? It’s the beginning of a new life chapter that could turn out to be a very big chapter.
Here’s the show concept…
Millie is playful child (just like your child) who runs a zoo (okay, not exactly like your child). Her one aim: make sure everyone has a great time at the zoo. So when an animal is sick or needs the morning off to pick up their dry cleaning or is missing for any reason, Millie calls her very good friend Mr Fluffington-Strypes to stand in for the missing animal. Fluffington-Strypes (Mr Fluff to his friends) is an actor, a gentleman and a rather large cuddly tiger. He dresses up and assumes the role of any animal at the zoo.
Anything but the monkeys, who are noisy, playful and terribly messy and far beneath a professional such as Mr Fluff. More often than not, it doesn’t quite go according to plan and so Millie has a day of fun trying to make it all work out and children have lots of laughs along the way.
Millie and Mr Fluff is a short, snappy preschool comedy show. Comedy is one of those things talked about a lot and there are certainly a few great preschool shows that are genuinely funny for young kids (Peppa, Gigglebiz, Ben and Holly, Pingu going back a bit). But there aren’t all that many. So we worked really hard to get the Millie comedy right for preschoolers in the scripts, the voices, the design, animation, music and sound. And it works. It’s funny. That kids also find out about animal traits along the way is a happy bonus feature.
After LONG development, testing and tweaking, Millie and Mr Fluff has really come together to become something special. And we finally revealed the show to the world (well, to Europe) at the Cartoon Forum.
The pitch went like this: adrenalin kicked in, I started talking about the show, showed a lot of clips and I could see some people smiling which was nice and then it was suddenly over and people were saying lovely things and writing even more lovely things on little purple cards. The show went down great with a lot of people. They got it. In comments, the strength of the core concept was something people could see. They loved the comedy, the look, the music and a few mentioned in particular how well we knew the characters and how that came across.
One aspect that intrigued people: all of the art assets were created on iPads.
All the interest and positive comments were great to hear given the amount of work we did in development – it paid off.
Huge sigh and a sense of satisfaction… before realising that this is just one stage in the process and we now have a lot of following-up to do. And so it’s off to MipJunior with Millie next. A step in a longer journey but a very important one to me and we came away with the results we wanted. And on top of that, we really enjoyed the Forum and got to hang out with old friends and new friends and that was lovely.
So would you like to see some of Millie? Sure you would! Here is the extended megamix of our trailer with little glimpses of Millie stories and scenes. You can watch it in higher quality by clicking the little Vimeo logo on the clip. Here’s Millie and Mr Fluff:
We have all been told something we’re doing won’t work. For example, years ago we were told by a good broadcaster that Fluffy Gardens wouldn’t work. Broadcasters wouldn’t buy it, kids wouldn’t watch it.
Fluffy Gardens sold. Kids loved it.
Being turned down and told that concepts won’t work is an industry cliché. Every success, small or huge, comes with story after story of people rejecting the idea or saying it will never work.
So when it is your concept they’re saying this about, what do you do?
Well, firstly listen to any criticism. Really think about it and its relevance to your project. If amending something could improve your project and make it a better version of what it is, then do that. Don’t do it because you’re expecting anyone to change their mind. That’s the wrong reason and almost never happens. Don’t do it because they know more than you. Do it if you truly believe your project will be improved. Always strive to make your project better.
Evaluate your pitch and materials. Are you showing your project in the best possible way? If not, learn from that and improve your presentation.
Then accept that the project is not right for that person. That doesn’t mean there’s something fundamentally wrong with your project and it certainly doesn’t mean there is something wrong with that person. We all have different experiences and that person may have tried something similar in the past and it may not have worked for them. Or there may be other quite good reasons why they don’t want what you’re selling and they aren’t going to go into those reasons with you. All it means is that the project is not right for them.
Move on. Quickly. And look for someone who it is right for.
Don’t ever let the negativity drag you down. Don’t completely shut it out either, because you might pick up something useful from the criticism. But don’t let it beat you. Don’t let it stop you. Keep going. Make it better, pitch it better and get it in front of the people who will love it.
Eventually, you’ll be telling your very own story about those people who told you it would never work.