Thread by @CaroleKirsch

WRITERS - this week, I'm going to be all about teaching what I know when it comes to PITCHING.
For so many writers -- at ALL levels, from #prewga to showrunner -- leveling up your pitching game represents a huge opportunity to better your career.
Here's a thread 🧵

If you're in the position to sell a show, knowing how to deliver a PHENOMENAL pitch (versus just a "good" pitch where you "let the story speak for itself") can be the difference between Co-EP and Showrunner.

If you've never been staffed, knowing how to give a truly awesome pitch can turn a Creative Exec from "a contact" to "a huge fan."

This is a KEY skill, and (strangely) it seems like it doesn't get talked about nearly enough.

By the way, I use the word "skill" purposefully. I think too many writers think being great at pitching is innate. It's not! Your most recent script was better than your first, right? In the same way, you can level up your SKILL at delivering a great pitch.

I think there are 10 key elements that are present in the very best pitches. I think leaving any of these out is a wasted opportunity!

I'm sure you could give a truly amazing pitch without these elements -- but in my career, having seen *thousands* of pitches (and bought a few hundred) -- these are the things I see that show up over and over in nearly all of the most awesome ones.

So what are these crucial pieces?
In my book, the first three elements you need are:
- A personal INSPIRATION STORY
- A great, compelling HOOK
- An active, powerful LOGLINE

Then, I think what you need next is:
- A great intro to your MAIN CHARACTER (or characters)
- A sense of TONE
- A sense of the WORLD
- and then some talk about the STORY ENGINE (for more episodic shows) or at least the STRUCTURE (for more serialized shows)

In my view, the last three key elements are:
- An exciting/funny/emotional run through the PILOT STORY
- A sense, in broad strokes, of the SEASON ARCS for, say, the first 3 seasons, and then
- Wrap it up with a satisfying end or CODA

The Ten Pieces of a Great Pitch (according to me)
1. INSPIRATION STORY
2. HOOK
3. LOGLINE (include genre/tone)
4. MAIN CHARACTER(S)
5. TONE
6. WORLD
7. STORY ENGINE/STRUCTURE
8. PILOT STORY
9. SEASON ARCS
10. CODA

I'm going to write more about the above as I have time this week. I'll link to those new posts here, as I write them.

And I'm compiling all of this into a free ebook that I will give out soon.

For those of you who made it down here, thanks / congrats!
I'm super interested to know: where do you think you have room for improvement in terms of your pitching? what do you struggle with? what would you like more clarity on?
(Please ask here so I can answer for everyone!)

https://twitter.com/CaroleKirsch/status/1521561082669658112

https://twitter.com/CaroleKirsch/status/1521565681421983744

My social media advisor (@DaveMetzger, hi Dave!) is now requesting I post this image. I am afraid of memes, but let's let him have this ONE victory.

I've had a few great questions so far (linked above) but I'd love to answer more, if you've got 'em!
If you could ask an experienced exec one question about pitching, what would you ask?
(ps -- it's me, I'm the experienced exec)

https://twitter.com/CaroleKirsch/status/1521577785520652288

An answer about articulating the series story, but make it a hamburger. (I skipped lunch, is this a problem?)

https://twitter.com/CaroleKirsch/status/1521612548365201408

Two great questions - one about balancing character and plot, and another about introducing characters in a script with an ensemble cast 🧵

https://twitter.com/CaroleKirsch/status/1521605376705064960

Ok, this thread continues, here! Click through!

https://twitter.com/CaroleKirsch/status/1521885774282584065