PItching to Disney - when you're "there"

So a friend of mine sent me a website from a writer, Stephanie Palmer, and her experiences about pitching to producers and what it's really like once you get to have meetings. As I read her experiences, I realized, oh yeah, that is what it's like! And it made me realize that at one point, I didn't know what it was like and I always wondered what it would be like once you do get to start pitching for "real". So I thought I'd share my experiences for those who are curious and getting ready to be at that point someday on their own. At first I thought I'd write them all in one blog post, but then I realized giving them each their own post might be better so you can see how they were all different and my experience with each.

So here's my first. Pitching to Disney. This was the short film I had sold. Luckily I had a writing partner at the time that had worked on several sitcoms so he had the experience already of being in these kinds of meetings. I noticed that at first I was intimidated by these nice producers. But when you first get that meeting you don't know if that's what your experience is going to be. So the first meeting I kind of just smiled and listened to my writing partner, a lot! LOL

Once the first meeting was over, I realized, okay, that was soooooo not a big deal. So the next time I was able to relax and shine as a writer. It was no different than any other meeting I'd had in advertising, where you really just talk, and share ideas, and listen. Listen! These producers are the ones that will hopefully hire you someday, so listen to what they want, what they feel strongly about, and be willing to take their feedback. You don't have to do everything they want. In fact, don't. They are hiring you for your style and your ability as a writer. So if you don't take their feedback, don't say that then and there. Take in all their notes, nod, do a lot of uh-huhs, and then next time you meet if you think there's a better way to address their notes, then tell them why and how you dealt with it. But only if you really see a better way. Don't do it to be difficult! If you are, they'll never want to work with you again. And you'll get a rep for being difficult.

My friend at FOX who works in research told me that once you get that rep of being difficult to work with, people will talk, and then you won't have meetings any longer. If you're a good writer and have a reason for not using their notes and can make the story strong, then yes, that will always keep you working.

So after a few meetings with Disney, I really started to feel comfortable. That's the key to working with producers. They want to know that you're someone they'd hang out with, be friends with. Let your personality shine. I write comedies, so I also like to joke around with friends. So making the room comfortable by being easy to talk to is how I handle working with producers. It's sort of like a date. If I can make them want to spend time with me, then there's a good chance they're going to want to work with me.

So as weeks went on, we found out that we were one of the few writers left out of like 60 teams. That was kind of cool! Then we had the meeting of, "yes, we're buying your idea!" Which was even cooler. Then got to go to the department where we sign the contract and get paid. Even cooler!

It never got made, as it turned out Disney Feature had two similar ideas being made. But that's okay too. It just showed that we had an idea worthy of their Feature department. And it was my first sale. All good.

So here's Stephanie's website on pitching. http://www.goodinaroom.com I think there's some pretty good stuff there. So check it out when you have a moment. Next blog I'll write about, my pitch to a big TV Network. Now THAT was cool.