(That’s borrow, not kidnap!) Get nieces and nephews involved. Ask a soccer group or church
group what they think. Do they like your idea? Do they have any good suggestions?
Television networks do market testing, often by bringing in focus groups of around ten
to twelve children to test concepts or pilots of possible future shows. This testing can be very
valuable. It works best when the network is looking for specific information from the child
viewers. One U.S. network tests its projects about four times during the course of develop-
ment. Testing also has its dangers. It’s possible for a focus group to kill a pretty good concept.
Testing isn’t always impartial, and information obtained from testing can be flawed. The
expectations of those testing, the kinds of questions asked, the general unreliability of chil-
dren’s responses, and many other things can skew results. One opinionated child can sway
a whole focus group. The report on the testing may not reflect accurately what really hap-
pened. Often in testing, a DVD or video of the artwork is shown to the kids with narration
about the concept. It will probably run about one minute. Kids may be asked to rate each
concept with a happy face, sad face, an indifferent face, and so on. A longer cartoon may not
test as well as a shorter cartoon, because there’s not enough time to get into the longer
concept with a one-minute test. A concept that doesn’t appeal to both boys and girls won’t
rate as high.
Check out the details. Are the rights to the idea available? Is this a visual idea, suitable
and expansive enough for the large screen or intimate enough for the small screen? Are
production resources, talent, and budget available to do the idea well? Is the concept timely?
Will it involve the audience? Is the concept too broad or too narrow? Can this concept be
presented properly in the amount of time you’ll have (film or program length)? Work from
personal strengths. Drop an idea that doesn’t seem promising at this time.
What Are Buyers Looking For?
Each production company, each network, and each development head is different, and each
looks for different things. Do your homework. Watch the cartoons of the company you plan
to pitch. Read the major trade magazines regularly:Animation Magazine(U.S.),Animation
World Network (AW N online),KidScreen(Canada),Worldscreen,The Hollywood Reporter
(U.S.), and Variety(U.S.). If you can go to one of the major markets like MIPCOM and
MIPCOM Jr. or NATPE, do it. All of these help you to know what is selling and who is
buying it.
Picture yourself in the position of the buyer. Most buy on instinct and because of trends.
Buyers generally prefer something with an edge rather than anything too soft. Some exec-
utives you pitch, some toy manufacturers, and some programming executives may not be
familiar with animation or even the film or television medium. Television sponsors normally
have no input on programming, but anything that could scare away sponsors from adver-
tising on a specific program is a definite factor in buying. Network decisions are made by
committee, and all buyers have to justify their jobs. Sometimes what is most likely to sell is
the “least objectionable programming.” What is your program going to do for the develop-
ment person or network that you’re going to pitch? Know your buyer.
Generally the feeling is that multilayering, unpredictability, and diversity are good
things, in moderation. In either a big budget animated film or in TV, something slightly dif-
ferent will probably sell easier than something entirely new. There’s less risk. Usually, net-
82 Animation Writing and Development