The best way to format a pitch is thusly:

Start with a personal anecdote to give your audience some insight into your personality (in a way that relates to your pitch) and maybe what inspired the idea in the first place.
Then jump into the premise (DON’T just read the longline—their eyes will glaze over and they will stop listening if anything sounds too rehearsed).

Then run through the MAIN characters (like 2-3, not too many!)9 we know who the story is about.
Pitch the pilot story: a good pilot is a microcosm of your series, so the pilot story will give your audience a good idea of what the show is. Then get into the season one arc, a couple of sample episodes (esp if it’s a comedy), then the series arc.
Then you can talk about themes and general relevance to the audience/market/works today. Leave them with an impactful ending that makes them excited to buy it.
General tips: convey tone! If you show is a comedy, your pitch should be funny. If it’s visually evocative, paint a picture with your words.
Make eye contact with the people in the audience. Talk casually and conversationally, but be animated. Read the room; move quickly past elements they don’t seem interested in, elaborate on ones they do.
Don’t read! You make bring notes and look at them to make sure you don’t miss anything, and it’s okay to look at them (both these practices are quite common), but the pitch should feel like a conversation.
If you have a hard time gaining the confidence you need to pitch, the best pieces of advice I’ve heard are: 1. PRETEND you like it, and 2. Imagine your pitch is something you watched on Netflix and loved and you’re trying to convince a friend of yours to watch it.
And above all: practice! Practice your pitch to everyone you know (friends, family, pets) and get into as many professional pitch situations as you can. The more you do it, the more natural it will become.

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More from @audreyknox

30 Dec 20
Are you ready to start looking for a manager? A thread discussing what you should have in your creative arsenal for when you take that next step:
A question I get all the time from writers is “how many scripts should I have before looking for representation?” My unhelpful answer is obviously: as many as it takes. The more practical rule of thumb that I recommend is two.
You should have two really solid, well-received, ready to go final drafts of scripts in the same genre (this means two half hour comedies, two hour long dramas, two features, etc.)
Read 10 tweets
30 Dec 20
How to brand yourself as a writer: a thread.

The biggest branding mistake I see from writers is trying to convince everyone that you can write anything. I get it! You want a job writing. It’s your dream. You will take anything that comes your way. Here’s why that’s not smart:
(First off, let me say that I love you and believe in you and I do believe that you can truly write anything you set your mind to. That’s not the issue here).
When it comes to branding, many writers are either afraid of 1. Missing out on opportunities or 2. Being put in a box permanently once they start specializing in something. Let’s address each of these:
Read 16 tweets
29 Dec 20
ATTN aspiring TV writers: As we move into 2021, many of you are thinking of your next steps goals—one of which is probably to sign with an agent or manager. I tend to get many of the same questions regarding this process, so I’ll write some threads with the advice I usually give:
First, a disclaimer: these are my opinions based on my experiences and insights from this side of the business (management representation). If another professional offers different advice or a different opinion, that’s awesome! I highly recommend getting multiple perspectives.
My qualifications: I’ve spent 4 years working for @CartelHQ (starting as a receptionist, working my way up to Assistant, to coordinator, and now manager). I rep TV writers at the producer, story editor, staff writer, and script coordinator levels.
Read 36 tweets

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