As co-producer of Adventures in Zambezia, Khumba, and most recently the Triggerfish Story Lab, I have had the privilege of being front and centre as I have watched the South African animation industry grow.
Based on what I have seen abroad, there is a genuine increase in demand for fresh and diverse content at international TV and film markets. As Africans, this is our competitive advantage, which will differentiate us from the rest of the world and breathe fresh life into our animation industry.
Since launching the Story Lab, I have seen more than 1 500 unique project pitches, projects that African creators believe would be great animated feature films or TV series. This experience has taught me that while our creators have some very unique stories to share, there are still some things we could learn about presenting our projects (and ourselves) in a more succinct but impactful manner to the international buying audience. Here are some things I have learnt along the way.
You have a great idea?
Well, that’s the easy part. Everybody has an idea. The tough part is following through on that idea and creating a concept that stands out in a crowd.
So, before you put in months and even years of work, test the idea. You will be too close to your material to make any kind of objective analysis of its potential. It’s not whether you think your script is great, but whether other people do. Especially people who are in a position to offer you a deal.
Before sending off or pitching your concept or script:
Have your concept or script read by people whose opinions you respect. Do they genuinely respond to the concept and do they want to know more? If you have a script, offer it to a mix of acquaintances – young, old, male and female. Other writers are a great place to start.
Weigh all feedback before making changes. Keep in mind everyone will have an opinion about your concept or script. But if 80 per cent of your readers think a certain character is flat and lifeless, chances are that character is flat and lifeless.
Hold nothing sacred. The issue isn’t whether or not you like what you’ve written, but if other people see the potential of investing in the project.
Know who the project is for and what the ideal platform is. Understanding your core audience and the platform for your project is very much a part of development of the show. Don’t develop the project in a vacuum. Know the best home for your project and what the potential development consumer strategy may be.
Pitch perfect
You have spent a lot of time on your concept or script, so don’t blow it by being unprepared or winging it when it comes time to pitch your unique idea. Development executives hear hundreds of ideas a day, often preceded by “I have a good idea, and the world needs to see it.” While this may be true, you are not defending your art, you are selling it. Be clear on why you created these characters and this world. What makes them interesting? Why would an audience want to watch them? These are questions you should already know the answers to well before going in.
Who do you want to pitch to?
Knowing this upfront will help you more clearly craft a pitch to suit this audience, possibly even saving you a lot of disappointment and hard-earned cash.
Typically potential partners include executives from broadcasters (e.g. Disney Channel), distributors and licensors (e.g. Freemantle Media) or producing partners (e.g. Magic Light Pictures). Be sure to do your homework. Don’t expect a response from someone if their vision is different to yours; find the right potential partners. To best capture their attention, you need to know what kind of movies/TV series this partner produces/distributes/broadcasts and who their audience is.
Some partners want to see the merchandising and licensing potential of a project from development, while others are looking for an artist to get behind on a unique comedy series.
Pitching opportunities
There are more than 250 international animation festivals and markets each year, with opportunities to pitch projects and enter competitions.
Apply online. Get nominated as a finalist to pitch. Get on a jet plane and go to the festival. Expect to pitch your project to a panel of experienced judges, made up of producers, distributors and financers, who take part in these pitching sessions to spot innovative and interesting projects.
There are other pitching opportunities at festivals. Once you have booked your ticket, start doing some research and find out which executives will be attending, then start reaching out to them via email.
- Pre-arranged meetings are essential. You can’t simply arrive at their booth and request a meeting. Most executive’s schedules are full before they even arrive at the festival.
- Speed pitching sessions. You need to sign up for these. You will be notified when and where. Typically you will be given a five-minute slot to pitch. Do these as many times as you can!
- Informal events and networking opportunities. These have been created to bring people together with the potential of talking projects, industry and more. Smile, relax and enjoy these events. Don’t see this as an opportunity to pitch to complete strangers without some informal conversations. Don’t be desperate!
Know your projects audience. Your pitch needs to clearly show that you know who your audience is and how this project is a perfect fit.
Pitch your key points: concept, story and characters. That’s it. Anything more than that you are probably overselling your idea and possibly losing your audience. For TV series, pitch the project title and logline with the series synopsis and some episode ideas. If you have time and/or budget to explore the visual style for your concept, include one or two really great images in your pitch.
For a feature film, pitch the project title, the logline and the synopsis. A film poster or cover image would help your pitch, but this is not essential. Your pitch should be under five minutes. You want to make sure you capture their attention immediately and get to the point shortly after.
Do I need pitch materials?
Depending on the nature of the pitch, have something to share, whether a leave behind or at least get a business card so you can follow up afterwards.
- A digital presentation. In a formal pitching session, you will be required to create a digital presentation to share with the judges and audience. This could be as simple as a PowerPoint or you could show videos, audio clips or other materials to maximise your pitch.
- A one-pager. Successful informal and formal meetings would be enhanced with a leave-behind. Executives don’t want to carry massive pitch bibles around but if they really like your project, they will want a reminder.
A double-sided A5 leave-behind is ideal. Make sure the copy, visuals and design is succinct and clear.
Get a copy editor to help you ensure the words capture the tone and that the idea leaps off the page.
- A pitch bible. This is typically only created if you have budget and time for visual and script development, as this process could take more than six months. The bible is made up of the synopsis, characters, friends and foes. The world will also be explored visually to a degree. You will need to also include at least six springboard ideas for potential episodes so that potential partners can get a sense of what a first season could look like.
Getting a potential partner interested is just the beginning. Expect months of negotiations, more development, and a lot of soul-searching to make sure your goals are aligned with potential partners.
By Vanessa Sinden, Triggerfish Animation Studios
