aTVfest’s The Pitch preps writers for the all-important meeting
While some of aTVfest’s events focused on celebrity discussions and show screenings, many of the information-based panels instructed students how to aim their academic endeavors towards professional goals. The Pitch on Feb. 3 was one such panel, featuring television writers, Robert Munic and Andy Parker, producer, Judd Parkin, agent, Noah Jones, of The Gersh Agency and Kaila York, president of Headlong Entertainment. The group of five industry professionals discussed both sides of the pitching process: the writer showcasing their original concept and the producer who will yea or nay it.
Munic and Parker had different levels of experience: Munic is a pitching veteran and current writer/producer for Fox’s “Gang-Related,” while Parker just sold his first shows to Fox and HBO. Both agreed on one piece of advice: each room and network is different, so be ready to change on the fly. “I’ll say, ‘What I meant to say was…’” joked Munic, describing how one show concept can morph into another in the pitching room, all to get even some semblance of an idea sold. For Parker, after several failed meetings, he ignored his rehearsed script and just went for it the way he felt most comfortable, outlining his idea exactly the way he wanted to. That final meeting landed him a deal with HBO.
Producers and agents Parkin, Jones and York stressed the importance of pitches as collaborative meetings, not job interviews. They said to wear jeans, wear a tie, wear whatever is your style. You’re there to find a partner in a creative project, not to impress a new boss. “Go in with confidence that you’re bringing someone something great, something that will change their lives, too,” said Munic. And though Munic told several stories about winging it in the pitching room, agent Jones added, “Please, for the love of God, come prepared for your pitches.” They noted that agents often coordinate the pitch meetings and rehearse the best presentation possible but rarely go into the room for the pitch meeting, so the writer/creator must be prepared to defend their idea, have the confidence to say no and know their voice as a writer so they can answer every question that comes their way.
When it comes to the pitch itself, presentations should be about 15 minutes or less so that the rest of the meeting can be discussion; anything longer and writers risk overstaying their welcome. Conversation with the network representatives establishes the writer’s voice and personality, so that everyone at the table can get an idea of whether they’re willing to spend 10-15 hour work days together. One thing Parkin stressed was being prepared for the question: “What else do you have?” Writers should have several additional ideas in case networks like the writer but not necessarily their first idea. Parkin said, “You never know which card is going to be pulled.”
As the panel shifted to Q&A, one student asked about changes to the concept once a show is picked up and running for several seasons. Munic discussed the 200 or so crew members and their families who rely on a show to continue, and how he’ll keep writing, even if it diverts from his original concept. “This is never about you as the creator,” he said. When asked whether there is any disappointment when a show gets on one network versus another, Munic said, “No. You’re just happy someone took your show.”