dren’s TV is likely to be changed substantially during development after it’s optioned. So
be flexible and open to any changes if you want to be involved. On the other hand, if you
are involved during development, don’t be afraid to stand up for what you believe to be
really important to the vision and success of the show. It can easily take a year or longer to
develop a series. Broadcasters are likely to have contractual approval over the cast, theme
music, writers, characterization of the main characters, premises, outlines, scripts, story-
boards, rough cuts, and final delivered show.
You’re selling to the buyer, not to the audience. Most large networks look for a mar-
keting hook, for something that can be sold internationally, and for something that has
licensing possibilities. They may also be looking for a concept that can be made later into
a feature or home video. Remember that these concepts must be financed somehow. They
look for a good ensemble cast and strong leads. They look for something with a good
story, for “cartooniness.”
What do you need for your pitch? For an original project for television you’ll want a
presentation bible and probably, but not necessarily, some artwork. Some developers also
provide a script or a short one- to five-minute pilot. Most buyers feel that a script is a waste
of time at this point because the concept will change during development. A well-done pilot
is helpful but expensive and unnecessary. A pilot or short produced on a budget with low
production values actually makes a sale more difficult. Usually, developers don’t attach stars
or composers to their television development package. Although it could help in certain
instances, it can also raise the budget too high or interfere with the development changes
that a major company wishes to make. Although if you have major names interested, you
might want to give it a try. Believe in your project, and find a buyer who does, too! Passion
and confidence sell.
Artwork
Many writers hire an artist to design artwork for the series or film they’re developing. If you
don’t know any artists who can do a professional job, you can hire a good artist from an art
school. Be sure that any artist you employ signs a “Work for Hire” agreement before he puts
pencil to paper. Artwork is not necessary to pitch an original concept to many production
companies because these companies are interested primarily in strong concepts and good
stories. They will find the correct artist to fit your concept. However, really outstanding,
professional-quality artwork can help sell your show. Many development people are not
artists and have a hard time visualizing what you have in mind. Unprofessional or
mediocre artwork is probably worse than no artwork at all.
If you do include artwork, you need full-color designs of the main characters and at least
one or two drawings of the characters in action in the locale of the film or series. Buyers
like to see the characters in relationships, characters with an attitude, types of conflicts, and
types of situations. If this is a comedy, make the drawings fun. A visual gag or two won’t
hurt. The drawings should be big enough to be displayed at the presentation. They will
usually be viewed from about two to three feet away. A few developers, like Cartoon
Network, have traditionally preferred a series pitched in storyboard form, but this is not a
requirement. Any designs that are a part of your presentation should also be printed in the
presentation bible that will be left behind. If you’re selling a feature, you’ll want more designs
and you’ll want them to be more elaborate.
84 Animation Writing and Development