TV shows dramatize the pitch of a series as a moment when a person with a dream stands before a panel of grim executives. An impassioned plea ensues, and the show is either bought outright or the pitchman is dragged out of the room. In reality, pitching an animated series rarely unfolds to swelling music. Whether a pitch succeeds, fails or even makes it to the meeting lies in preparation.
Registering the Idea
Registering the idea for the animated series with the Writers Guild of America will provide proof of the writer's claim of authorship.
Testing the Idea
In her book, "Selling Scripts to Hollywood," screenwriter Katherine Atwell Herbert recommends pitching the idea to friends and family before tackling the boardroom. If the idea passes the live test, write a longer summary to see if the show remains interesting over multiple pages. Once the basic story is set, test out the proposed artwork for the animated series. For an animated series, the visuals could have a stronger influence on the success of the show than the concept. Hire a third-party artist if necessary.
Where to Pitch the Show
In "Life's a Pitch" for the newsletter "aNYmator," President of the Eastern branch of the Association Internationale du Film d' Animation (ASIFA-East) David B. Levy recommends analyzing the network's current lineup. Networks schedule animated series around a general theme and visual style. For example, a cable network that airs anime would be less likely to seek animated shows for preschoolers.
The Query Letter
The query letter is an announcement of intent and the first step in scheduling a pitch. Screenwriter and playwright Paul Argentini states in his book "Elements of Style for Screenwriters" that the letter should summarize the script in one paragraph, include a self-addressed, stamped envelope and request a release form. If the first episode generates interest, the writer will be called back to pitch the animated series as a whole.
Representation
Hiring an agent or becoming a part of an established entertainment institution will allow the writer more access and opportunities than an unknown would otherwise enjoy. Networks are generally slow to trust untested talent, and slower still when it comes to animated series. The production time for animated series is longer than that of live-action shows and thus requires a greater upfront investment of time and money.
The Pitch and the Pilot
The actual pitch must be a thorough presentation of the show's elements and business potential. John Rogers, professional screenwriter and contributing writer of the blog "Kung Fu Monkey" states that the pitch should establish the following within 10 minutes: "Why this show should be on the air" and "How this show will stay on the air" ("Writing the Pilot Pitch"). Between having long production times and narrow appeal, animated series are far more difficult to sell than live-action series. A presentation good enough to sell a drama would be insufficient to convince the network to invest in an animated series.
Conflicts
What are the conflicts involved? Who or what is working against the central characters and how will future conflicts be generated? Whether for an animated series or live-action, the pitch must state what is going to keep the show alive and viewers tuning in every week.
Perspective
Through whose eyes will the story be told? The pitch should be clear on what John Rogers calls the "lens" of the show, the storytelling perspective. Will one character play both narrator and participant, or will the show follow a different character each episode? While an animated series can be drawn at any perspective, the camera angle must be established early and is difficult to change.
Characters
Who are the characters and why should the audience care? The pitch must flesh out the characters and state how they will help the show persist. No matter how alien, the characters must relate to the audience and be generators of future plot elements. Animated characters are already unrealistic in appearance, so strength of personality is especially important.
The Look
Bring character illustrations to the pitch meeting. Writers for movies and TV are not expected to supply actors for pitch meetings, but there must be visuals for animated series. The majority of production planning for an animated series could be dominated by debate on the visual style. Without a clear direction, the network could decide that the premise of the animated series is not worth the effort to bring the slife.
