Writers Magazine 2009

Sell, don't tell

Part 1

Some do’s and don’ts if you want to sell a script

If you want to turn your book, dream or idea into a performance script for film, stage or radio, it is going to be a very tough pitch. There are some pretty strict ‘rules’ which you need to follow if you are to maximise your chance of success. This article is a distillation of the consistent message that is expounded every time an agent, producer or, rarely, a successful writer writes or says something about the business.

Their message is ‘Sell, don’t’ tell’. The fact that the process is called ‘pitching’ should give you a clue that you are participating in a bit of a game.

Preparation

When the moment for your pitch comes you need to be well prepared. You can never be sure when or where you will encounter somebody who is willing to listen. The advice is to have a 60 second presentation ready. You need to appreciate that you can only impart a single idea. That single idea is ‘my project is just what you want’. Note the use of the word ‘want’. The person you plan to address is the one with the power so don’t try to tell them you have what they need.

You will need some help to ensure you apply the ‘sell don’t tell’ rule - you are selling your project not telling your story.

Try this sequence for honing your pitch:

1. Write what you want to say then.
2. Check if it is what you need to say.
3. Rewrite to make sure it is selling the project not telling the story.
4. Then time it.
5. That will give you some idea of just how much chopping you have to do. If you reckon on 5 seconds per sentence, your ration is 12 sentences. That is not a lot. 60 seconds doesn't allow for a great deal of information but if you prune it by stages you can combine ideas to maximise the information.
6. You must leave a number of loose ends that invite questions.
7. You need a good title. The title has to do a lot of the work so it is worth spending some time on making sure it communicates as much as possible.

This is your pitch: You should know the pitch-script and be ready to perform whenever the opportunity presents itself.

You can of course apply the same process to the telling of your story, because you might be asked, or get an opportunity, to tell the tale. But before you launch into this, make sure you are prepared to give the story away. There are only a limited number of storylines, so you need to explain what makes your version so special. Then ask yourself ‘if your story is so simple, is it really going to be worth telling?’ This thought process should quickly lead you back to the premise of this piece – sell, don’t tell. The story is only the canvas. It is the characters in your story that your audience wants to meet.

The presentation

When you have produced the minimalist 60 seconds, it is time to think a little bit about the presentation itself:

1. You are dealing with people who have enormous control of your fate and destiny. So it makes a lot of sense to be scared.
2. The fight or flight reflex is natural and sensible - most people would want to run away when the spotlight turns on them.
3. Consider whether you are the best person to make the presentation. Who is going to be best and who has the ability to stand their ground?
4. There are a lucky few who can stand their ground and master these impulse to run away. They are very often trained actors.
5. If you are part of a small team, you need to choose the person with that never say die personality who can stand there and fight your corner, because some tough questions will be about to come their way.
6. Make sure that your audience can spot the loose ends which you have trailed to lead them towards a question. As a writer, this is where you should excel.

Forming a team of co-writers might be worthwhile, as a team looks as if you are serious and also shows that you have probably critiqued your work.

Question time

Questions are a very important part of the pitching process. They also serve to extend those precious 60 seconds you were granted to sell your project. End your presentation by calling for questions, perhaps even asking a leading question. This is not the time to be shy. A number of producers allegedly ask: ‘How did you like my movie?’

But the other point about question time is to listen very carefully to what your audience is saying. They might talk about moving your story to the future while you have it set in a historical context. You need to pick up the clues. Your adaptability and ability to listen will be a great selling point.

This is a job interview so don't be afraid to ask them questions. If you are one of a team then think about the stage management so that the right person can step up to address any questions you get.

You need to take criticism. Don't react badly because if you are going to be involved with them and become a part of the team then criticism and rejection of ideas is going to come your way. If you can react enthusiastically to a new perspective it will be a big plus. If you make a little note of these points without destroying eye contact and continuity, it shows that you are seriously interested. The notes will also be useful when you come to talk afterwards as you should do a debrief of the pitch with your friends.

The questions might actually give you a chance to tell some of your story! So it is worth preparing it, but do not mix up the selling and the telling.

Making the pitch

If you do find yourself standing up to make the pitch this is the advice you should note:

1. Breathing properly is a key part of any presentation – if there is a danger that you will run out of breath you will speed up and probably lose volume. As your words fade away, so will the attention of your audience.
2. Talk slowly and keep the pitch as low as is comfortable. Wired into our primitive brain is the notion that a deep voice has authority. This is another place where somebody with theatrical training does well, as they can control their voice and adjust their pitch to add gravitas.
3. Keep the pace steady as well as slow. You can use some subtle variations to enliven the presentation but avoid getting too excited. Like so much advice, this can appear contradictory. Project authority but don’t be afraid of expressing a little passion.
4. All the normal rules apply about eye contact and body language. Don’t bury your face in your script, fold your arms etc.

You need to get these points right, as you are dealing with experts in the field of body language. It’s not fair, but presentation matters.

So you need to practice until you are extremely confident. If you are confident, you are going to communicate that and there is a chance that your audience will be excited with you. To reach this point you probably require a lot of embarrassing practicing, first in front of a mirror and then in front of your friends.

The second article deals with preparation, the language to use, what’s left for the writer and getting your foot in the door.

Part 2

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