Now that you have written, re-written,
developed or acquired (for my producers out there!) a screenplay you are eager
to sell, it is time to learn an entirely separate, mission-critical skill: how
to pitch it! Here’s the shortcut: go find a top-level agency, established
producer or impassioned development executive to spread the word to everyone
with a film financing fund.
If
you are looking at this book with a feeling ranging from confusion to
skepticism to outrage, I understand. I said it was a “shortcut”; I never said
it was “the easy way”! For most of you, the first person to pitch the
screenplay you now are passionate about will be you. The great – and surely
surprising news – is you’ve already done most of the work.
To
pitch your script you will need: three tools, two personal characteristics and
one brave decision. The three tools
are: a strong synopsis, a clear logline and an exciting verbal pitch. The two characteristics are: passion and
persistence. The one brave decision
is to open your completed screenplay and do a speedy “1-3-5 Weekend Analysis”
of it to ensure it still is structurally sound before you prepare to pitch it.
We are going to start with this last one because, as you probably have figured
out, without well-crafted structure and story, it will be impossible to craft a
successful pitch.
The “1-3-5” Weekend Analysis
Remember how I “1-3-5’ed” my way
through multiple scripts all those years ago when I began as a reader? You now
are hoping to add your script to that infamous weekend stack! You laid the
groundwork for a “Recommend/Recommend” throughout this book by writing down The
“1,” The “3,” The “5” and The “Story.” You now have a completed screenplay, but
along the way, Main Characters have found their own voices, Worlds have
shifted, choices have become clearer. It’s now time to open your actual
screenplay and speed analyze the script. I will use the “Fix It” mode tips from
throughout the book to guide you – just as I recommended you do at the end of
each draft of the script. If you did so, this is going to be a breeze!
The “1” and The “3” (Theme and Character Arc)
To
test your character arc, check the Rejection your Main Character makes when
faced with the initial unexpected change in your story. What’s the
value/institution being rejected? Now flip to halfway through the screenplay.
Is the Main Character now embracing that same issue? Now go to the end of the
script. Is the Main Character now sacrificing in relation to that same issue? Great.
Fill in these blanks:
(The Rejection)
(The Embrace)
(The Sacrifice)
Now
for the “QC” (Quality Check)! First, is it the same “Character’s Name” in all
three sentences? Congratulations! Second, is that character your Main Character
(keep an eye on the Sacrifice, where the Main Opponent sometimes has taken over
the story)? Congratulations! Third, is the Value the same Value in all three
sentences? Congratulations! Is the answer no to any of these questions?
Sometimes, it’s as simple as changing the Set Up and Unexpected Change to
affect the Main Opponent, who may have taken over the story. Regardless, it’s
time to let your writer know, even if it is you, that you will be requesting
another draft.
Next,
check your page numbers. Does the Rejection happen within the first 10 pages
(no matter how long the script is)? Fantastic! If it doesn’t, your script may
feel “top-heavy.” Does the Embrace happen at the halfway point of your page
count (give or take five pages)? Fantastic! Does the Sacrifice happen in the
last five pages of the script? Fantastic! If your page numbers are not “fantastic,”
it’s time to balance your story.
The “5” (Spine)
You
now are going to check the relationship between the Main Character’s internal
transformation you just QC’ed and the external journey that triggers it. Go
back to your screenplay and write a one-sentence summary and the page number
for each of the moments of the Spine. Remember, you are not summarizing an
entire section of the script for these moments, just the literal beat for each
element. For example, in Kramer vs Kramer,
the Unexpected Change is simply “Joanna abandons Ted and their child Billy.”
·
The Rejection (by page 10)
·
The Commitment (by page 25)
·
The Embrace (by 50% of total pages +/- 5)
·
The Return of the Main Opponent
·
The Escalation
·
The Twist (optional)
·
Rock Bottom
·
The Final Choice
·
The Sacrifice (within last 5 pages)
Now do the same drill you did for the
Theme and the Character Arc. Are each of these moments directly affecting the
Main Character? Do each of them also affect his or her relationship to the
Theme?
Let’s
get more specific now, speed-analyzing the elements
of story structure as a whole:
·
The Rejection: In
your Main Character’s voice, write “If only Main Opponent would do [fill in
the blank], things would go back to normal.”
·
The Commitment:
Does the Main Character reject the Unexpected Change at any point between here
and the Reversal? Delete or rewrite those beats; it moves your character
backwards or repeats a beat.
·
The Embrace
·
The Return of the Main Opponent: Is this a descriptive line only (Yes!) or is it
dialogue-driven (if so, rewrite)?
·
The Escalation
·
The Twist (optional)
·
Rock Bottom:
List everything and everyone that once supported your Main Character and ensure
it all has been stripped away – no love, allies or advantages must remain.
·
The Final Choice:
Remember what your Main Character wished the Main Opponent would do after the
Rejection? Does the Main Opponent do exactly that here, with an escalated twist?
·
The Sacrifice:
Is your Main Character’s final decision martyrdom (No! Unless it’s the true
story of a martyr!), or is it selfless choice that makes him or her a better
person while it also makes the world a better place (yes!)?
Perfect!
Wait, not perfect? You know what to do – prepare yourself or the writer for
pending edits.
The Story
Finally, you are going to check your elements of story. To your spine
summary above, add a sentence for each of the story elements and be sure to QC
based on the questions that follow:
·
The Initial World: Will
your audience instantly understand the time period, physical location,
community and norms of the World in which we first see your Main Character (but
only as needed to give context to the Theme)?
·
The Flaw:
Do you establish a central, guiding belief statement for your Main Character
that clearly is a flaw in the initial World (even if s/he hides it or does not
yet pay a price for it)?
·
The New World:
Does the Unexpected Change trigger a change in the time period, physical
location, community and/or societal norms so far, a change in the Main
Character’s understanding of his or her role in the World, or a physical change
in the Main Character that affects how s/he is allowed to navigate the World?
·
The Core Conflict:
Does the Main Character’s position in the New World directly conflict his or
her Flaw/central belief?
·
The (Initial) Jeopardy:
If the Main Character cannot undo the Unexpected Change, what will s/he lose?
·
The Rejection
·
The Commitment
·
The Embrace
·
The Return of the Main Opponent
·
The Escalation
·
The Twist (optional)
·
Rock Bottom
·
The (Highest) Stakes: If
the Main Character is able to defeat the Main Opponent, what does s/he and the
community win?
·
The Final Choice
·
The Sacrifice
Now you are going to do a “stakes-and-jeopardy” check. Go through
every beat of your script and mark each choice your Main Character makes. Is it
clear what s/he wins or loses with each choice? Incredible! Now…is what s/he
stands to win or lose exactly the same in two or more beats? Remember, if your
Main Character makes the same choice, facing the same consequences, more than
once, that is called a “repeat beat.” Repeat beats are not allowed! Find a way
to increase the stakes or the risk in the latter choice(s) to keep advancing
story for your Main Character.
You now have a completed summary of the
critical elements of your plot. Guess what you’ve also completed the first
draft of?
The Synopsis
The
primary asset of any pitch is a one- to
two-page narrative “synopsis” of
the central plot and story highlights. No one’s going to begin by reading your
full script! They first will want to see if the basic story grips them.
How
do you write a synopsis? You just did, by summarizing the key plot points and
internal arc of your Main Character. Now you’re going to spice it up by mining
your script for two or three amazing lines of dialogue to add to those plot
points. Keep it all succinct and exciting – two pages are allowed, but one page
is preferable.
The Logline
The
secondary asset of any pitch is your “logline,” a one- to three-sentence
summary of the entire screenplay. Fortunately, this is relatively easy to do if
you’ve followed the rules of structure and story because you’ve identified the
moments that are the foundation of what matters to your Main Character and your
audience.
If
you are stumped by writing a logline, experiment with this formula to get you
started: When Main Character in the
Initial World experiences the Unexpected Change, s/he must battle Core Conflict,
Societal Norms and Returning Main Opponent with Highest Stakes in order to
Sacrifice and How World Is Made Better.
This
might look like: “When rising ad executive Ted Kramer’s housewife abandons him
and their son, he must battle his own chauvinism, the world’s disregard for
single fathers and ultimately, his newly accomplished ex-wife to hold onto his
son and the fatherhood he has finally come to cherish.”
It
also might look like: “When a pint-sized suburban pre-teen’s carnival wish
suddenly transforms him into a grown man, he is torn between the perks of being
big – a secret powerful job, high-octane life and devoted girlfriend – and the increasingly
looming loss of his distraught mother, his defiant best friend and his own
childhood.”
Here
are some simpler sample loglines – do they resonate as strongly with you?
·
A laid-back college professor risks his
life to crack an ancient religious code to keep zealots from destroying the
very foundation of Christianity. (The Da
Vinci Code)
·
A loner cowboy battles his love for
another cowboy to protect his home and his heart. (Brokeback Mountain)
·
A miracle-working matchmaker is bested
when he finally falls in love – and loses all his smooth moves. (Hitch)
Now
take a moment to draft loglines for the films in your Lab. Identify which
elements of structure and story you used to write them. Next, construct a
series of loglines for your own script using the elements I identified in my
first two examples above then the elements from your Lab loglines. Finally, read
your sample loglines, share them with your team of “reviewers” and revise them until
one of them makes you and everyone you share them with care what happens to your Main Character.
While
your synopsis presents all of the facts, ideally in an entertaining way, your
logline is selling the emotional, relatable arc of your script. It’s also
establishing the original element of your story, thanks to your Unexpected
Change. Don’t get bogged down in plot points in your logline. Sell your
character’s Mission of growth in a conflicting new World, as a result of an
Unexpected Change.
If
you ever get your hands on a copy of a company’s coverage of your script, take
a moment to compare their logline and synopsis to yours. What did they
emphasize that could help refine your own – or were they telling a completely
different story than you though you wrote? If so…it’s time to revisit The
“1-3-5.”
Once
you have a compelling logline and entertaining, engaging synopsis, it’s time to
prepare your verbal pitch.
The Verbal Pitch
You
now have an emotionally compelling logline to hook your reader and a
one-two-punch synopsis with all of your key plot points and some wildly
memorable, let’s-put-that-on-the-poster dialogue. You would think that reading
these items aloud would make a great pitch.
You
might be right.
If
you are naturally a strong public speaker, with a big smile at the ready, a
great sense of comedic and/or dramatic timing and enormous compassion for your
Main Character’s journey, just reading the logline or synopsis is going to have
quite an impact on most listeners “in the room.” If you don’t have those
skills, you are going to practice until people believe that you do!
First,
however, you should review your screenplay again for some of the more powerful
descriptive lines. Are there critical moments of silence, meaningful glances,
breathless runs down the street, beautifully book-ended moments, etc. that
advance story? Are there any priceless lines of dialogue that made the synopsis
too long? If any part of the screenplay makes your listener lean in, laugh or
emotionally respond, consider it for your verbal pitch.
A
pitch can be 60 seconds or up to five minutes, but shoot for no more than three minutes. If you’ve grabbed your listeners, they will begin
asking questions or, better, pitching you
ideas about what could happen before you even finish. Should the latter happen,
your notebook and pen – or stylus and phablet – already should be in your lap,
ready to write down their suggestions (or shove into your mouth if you feel the
urge to get defensive and explain what they don’t understand about your
flawless script). And if you are invited back to pitch again, make sure you are
able to reference how you would flesh out those suggestions, even if it’s
simply “another possibility we discussed earlier is that Main Character does
‘xyz,’ in which case, ‘xyz’ happens, etc.” That shows them that you listen and
respond to notes, which can only help you with a sale. (At the same time,
executives are notorious for completely forgetting or contradicting earlier
notes! So be prepared with your main pitch and ready to abandon any reference
to the notes they were so excited about just the week before.)
When
you pitch, your job in the room is to entertain
and engage the listener. It is not to carefully outline every beat of the
script. It is to entertain and engage
the listener so they are dying to read the script themselves. Better yet, you
want them dying to make the movie without ever having to read the script. You
are not selling plot points in a pitch! You are selling a relatably Flawed
Character, in a relatable New World, on a Mission that Conflicts with his or
her Values, with increasingly higher Stakes and Jeopardy, and an increasingly powerful
Main Opponent, all of which is punctuated with brilliant examples of dialogue.
And you are finishing it all up with the actual end of the movie.
Let
me emphasize that last sentence. Your pitch is not a theatrical trailer or a
tease! You are asking people to part with thousands to millions of dollars.
They want to know how the story ends, and you want to tell them because if you
don’t, they will never see how your Main Character ultimately sacrifices so
they will connect to and care for him or her. The end of your movie is where all of
the emotion is – of course you’re going to pitch it!
Passion and Persistence
Remember
that your job in the room is to entertain
and engage your listeners as you pitch your screenplay. If you are not
excited and invested – in other words, “passionate” – about this script, then
absolutely no one else will be. No one is going to just trust you and read your
whole script!
To
keep it simple, plan to spend an equal amount of time, minimum, prepping your
pitch, pitching and otherwise shopping your script as you did writing it.
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REAL SCREEN REINFORCEMENT |
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Here’s a three-minute, simple pitch
of Kramer vs Kramer to get you
started (as it would have been pitched in the 1970s): Just when rising ad exec Ted Kramer
thinks he can’t love his job, his boss, his life any more, his boss announces that if Ted nails this next
giant account, he is on track to becoming partner. But when Ted heads home to
tell his wife Joanna, she greets him with a single sentence: “Ted. I’m
leaving you.” After a struggle to keep his wife in the house – and his career
on track – he stops her at the elevator just in time for her to tell him she’s
also leaving their son…and she doesn’t love Ted anymore. Ted wakes the next day to a new life,
in which he is a single parent to his heartbroken 8-year-old son Billy. From
burning French toast to forgetting after-school pick ups to venturing back
into the dating world, Ted can’t find the right balance between the demands
of his job and of his child, but with the surprising support of Joanna’s
former best friend and the increasing trust of Billy, Ted finally gets the
hang of being his son’s dad. But as he giddily snaps shots of Billy riding
his bike for the first time in Central Park and drops him off at school, who
do we see lurking in the diner across the street? It’s his now ex-wife
Joanna…and she’s back for Billy. Joanna and Ted face off in a crushing
courtroom custody battle, with Ted stunned to learn Joanna now out-earns him
and Joanna reduced to tears by Ted’s attorney’s attacks on her for having
abandoned her child. After both are utterly destroyed by their turns on the
stand, Ted’s attorney advises that the judge has awarded full custody of his
son to Joanna. “We’ll appeal!” he insists, but his lawyer shakes his head.
“This time,” he says, “it will be Billy on the stand.” It’s a beautiful morning in Central
Park as we see Ted telling Billy, “You’re going to love it at Mommy’s house.”
Later, Joanna’s door buzz cracks like a bullet through their apartment, and
she asks Ted first to come downstairs. In the lobby, she tells Ted she came
to take Billy home, but she realizes he already is home, with his father. As
Ted weeps with gratitude and relief, Joanna takes the elevator up to tell Billy
herself. “How do I look?” she asks Ted. “You look beautiful,” he says, The
elevator doors close, and Ted’s new journey as a father begins. |
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