How to Pitch an Animated Series Pt. : Seriously, Are We Still Counting?

By far my most popular posts are those about pitching series and the development process.  If you haven't read them, it's worth checking out the archives.  I had a development meeting over at Disney Jr. just the other day and we got to talking about how things used to work... back in the day ...in olden times ...when dinosaurs walked the earth ...when Tad shifted over to Disney TV Animation.  

Every studio or network has their own method but the generally development is a series of steps:  pitch, outline, script, bible/marketing tool, (storybook), storyboard, animatic, pilot, focus group, and series. All that can take from nine months to a year or more, especially if things aren't going smoothly.

There's a reason for each of those steps.  Their ultimate goal is to remove any element of chance from the creation of a hit show.  But that ain't gonna happen.  The thing that's going to hit big with kids can change with every beat of a gnat's wing but that doesn't mean that process isn't useful.  There's plenty of useful information to be gleaned from each of those steps.  

Of course, more cynical individuals than I would say most of that is execs protecting their butts from higher ups. This theory says that if all the data points to success, a development executive can't be blamed if the show doesn't perform.  When the DROIDS and EWOKS animated shows tanked the response was a shrug and, "Who knew it could miss?  It was STAR WARS."  Whatever the reason those steps are ingrained in the industry.  The group I was talking to the other day had a hard time imagining producing shows without animatics or developing them without fully animated pilots.

But back in the mid-eighties when Disney TV Animation was starting up, the process was only pitch, outline, script, series.  There were only three places to sell animation in the US and they were ABC, NBC and CBS. You'd present about three art cards, if that, the premise of the show and talk about the lead characters.  Based on that ten minute conversation you'd get deal for a script and bible and you'd get that decision at that meeting!  You'd pitch in the Fall, get green lit to series in April and be on the air in September.  The system wasn't designed for quality productions and Disney pushed, and got, earlier pick-ups.

Those network execs made their decisions based on the overall concept and how the characters played in the script. And eight times out of ten, they went for something with marquee value like a known superhero, a popular movie or TV series or a big toy line. Those things didn't guarantee success but the hit and miss record of the seventies and eighties of the networks then was no worse than today.  

You may think that today's system blands out ideas.  Too many cooks in the kitchen, too much micro management. Taking a pilot to full animation for multiple focus group screenings may seem like butt covering but it actually allows the networks to take greater risks.

I bet there are more original animated series on TV today than at any other time in history. Plenty of them don't have anything approaching a high concept.  A sponge living on the bottom of the sea? Kids fighting boredom by inventing impossible in their backyard?  A 23-year-old racoon and blue jay? How do those pitches say "hit?"

But if the execs believes in the creativity of the show runners, they'll chance a script, then storyboard, animatic and finally a full pilot.  At every step the creator gets the opportunity to show what was in his head and flesh it out.  Meanwhile, the development folks aren't risking a huge outlay of cash all at once.  Ideas get a chance to breathe, mutate and adapt.

The role of the development exec has changed in a big way.   Today they are partners in the creative process, at least through development. They will call your show, their show and from their perspective it is.  They bought it, they nurtured it and they saw to your care and feeding.   That's a good thing because you want them on board, fighting for your show at every step of the way. In fact, at some studios the development exec may become a producer on a series. 

There've always been executives who take a producing title on a series or movie even if their role is insignificant but some may actually roll of their sleeves and do some heavy lifting.  But this is most likely to be the situation if the show isn't completely yours.  

I have two shows in development.   My show at Cartoon Network is 100% my idea.  My show at Disney Jr. is my adaptation of a Disney owned property.  At CN the execs explained why they bought my idea, pushed me to go wilder in my gags and character development and talked about the likes and dislikes of the audience that they want my show to appeal to.   They push but they wait to see if I step up to the challenge.

At Disney Jr., the lead characters I'm working with were created by someone else in a different medium. Since they appeared in more than one movie, they are considered a "Disney Brand."  That means my ideas had to get the go ahead from an internal brand management committee that decides what brands merit expansion (a big plus: they are ready to help promote the show throughout the company if it hits).  My current deal is only for the writing, although, given my Disney experience, the expectation is that I'll be the show runner if it goes to series.  But I'm working on their characters.

Currently, I'm in my second draft of the pilot script.  While I do that, my development exec is getting artists to work on character designs.  She's 100% open to my input and suggestions but if I keeled over dead tomorrow, the she would continue working on the show.  At this stage of development, she's the one shepherding the show, not me.  She is also the one with the resources that I count on to help me create a series that is partially targeted to pre-schoolers.  

The day to day experience of working on either show will be just as creative for me.  I'll take responsibility for the Disney Jr. show as much as for my original characters on Cartoon Network.  I've always enjoyed the process of creation and development executives are part of that process.  I'm sure there are sour apples out there but 95% of the execs I've worked with were not just "suits" but assets.

                                                                            --Tad

 

 

 

 

Comments

[David]

I really appreciate your positive outlook on current animated series. You focus on the aspects of today's main stream cartoons that truly are fresh and original. The major networks aren't snuffing out the flame of creativity as some may believe. Your perspective encourages me to keep pursuing original ideas by making sure they are presented in a marketable way. An artist doesn't always have to dumb down their work for the "suits", they simply need to understand the presentation that the execs are looking for.

I don't know that I will ever get a legitimate opportunity to put your insight into good use (it seems like a long shot - a very long shot), but I certainly am grateful for this blog!

[Colleen Hickey]

Thanks Tad. I really needed that advice. Who do I talk to if I want permission to use characters from Disney? I want to do a books series based on the Fearsome Four, where they become heroes thanks to an old friend of Megavolt.

[Tad]

If you're talking fan fiction, my advice is to be inspired by the characters you love and create a set of your own characters. Establishing a group of inept crooks and telling the story of how they become heroes will be MUCH more fun and rewarding. You'll grow as a writer too.

If you're talking fan fiction and are set on using those characters, don't ask. Just have fun and do it as a fan and share it with whoever. An official inquiry will get a "no." It's one of those areas where the studios agree to look the other way. If you make them look, they have to protect their intellectual properties and refuse permission.

If you're talking about real books then it's not about getting permission, it's about paying Disney for a licensing fee for the right to publish books using their characters. And just because you have the money, it doesn't mean they will give you the rights. They may not want those characters on the market right now. Plus they'll want to know your track record and how successful you've been in the past.

Having said all that. I don't know who you would talk to to open discussions (and you'll probably need a lawyer).

[Colleen Hickey]

Thanks.

[Colleen Hickey]

So in other words, I need an agent or someone to make a deal on my behalf. Thank you for your advice. Let me know if your interested in hearing my ideas.

[Michael]

Hello, Tad:

I happen to post on the toonzone.net message board. I was informed by a fellow toonzone poster about your blog. If you have a chance to check out toonzone's Disney message board, look for the recent thread on "Ideas for future Disney programs". I did post on that thread- I do have an idea, but it involves animated anthropomorphic crime fighters, predominately canine and it's more of the action-adventure type, which features lazer beam play, badge-wearing good guys and gals, diabolical and sinister villains, threats of menace, explosions, car chases, arrests, anything that exemplifies an action-adventure cartoon with anthropomorphic crime fighters. I do know in the past, Disney has been successful with original anthropomorphic crime fighters and nowadays, that's what's missing from the studio. Have you ever considered developing or creating something similar to this? If you need for me to give you more of a description of what I'm posting about on your blog, please let me know. Thank you.

[Tad]

Anthropomorphic adventure shows are not what's "missing" from Disney; it's what Disney is choosing not to do. DisneyXD would be the natural home for your show but any new action show will most likely be tied into Disney action movies like TRON, or Marvel characters. I think you'll mostly see Marvel shows. I suppose someone could pitch a GUARDIANS OF THE GALAXY series featuring Rocket Raccoon. That would be the closest to your show but I'm not privy to Disney development.

I don't naturally gravitate toward anthropomorphic shows unless it's something like Ben Caldwell's DARE DETECTIVES which is a mix of animal and human characters. Of course I'm always up for human/monster shows like HELLBOY.

My current development at Disney Junior does involve dogs but it's a pre-existing Disney property. I'm not looking to pitch them original ideas.

[Colleen Hickey]

How are you able to make a spin-off like Darkwing Duck happen? I want to present my idea for a spin-off for Darkwing Duck.

[Kelvin McQuilkin]

How open are the execs to animation musicals?? I have a hip hop animation musical that I'm looking to pitch. Do you think I can get a pitch opportunity without a lawyer?? Thnx for your thoughts!