Selling Your Film: Proposals, Pitches & Treatments |
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Winning Proposals Focused Treatments |
The "Perfect" Proposal Most filmmakers who come to me for help have scoured the Internet and bookstores, searching for a guide on how to write the perfect film proposal. Sound familiar? If it does, you know their search is in vain. While there are a myriad of books and manuals on how to write business proposals, most of these resources do not apply to the film industry. So, what gives? I hope you’re sitting down, because in case you haven’t heard, there is no such thing as the perfect film proposal. Film proposals are written for a specific reader, and each reader is looking for something different. Think about it; if you are going to get your film made and distributed, you are going to deliver your proposal to anyone and everyone. From studio executives, to private donors, to potential corporate partners, to nonprofit foundations—each person who picks up your proposal will be looking for something that matches his or her specific agenda. So does this mean you have to create a different film proposal each time you send it out? That’s exactly what it means. An experienced filmmaker would never pick up a camera without first considering his or her audience. Filmmakers make films to be seen; therefore, one of the first considerations is, who’s going to see it? How is this scene going to impact my audience? How will they feel when they leave the theater? The same principle applies when you write about your film. You write your proposal with a specific goal—to get funded. Who are you writing to? How is it going to impact the reader, and how will they feel after they read it? Most filmmakers think the film proposal is all about their film. It’s not. It’s about how their film will meet the needs of the potential funder. That’s why it’s called a proposal, because you are proposing something. If you expect a total stranger to give you money to go out and make a film, your proposal must answer their need, their mission, their passion. Get this and you will be miles ahead of your competition. Customizing your proposal for each reader does not mean you have to redesign the wheel every time you send it out. When I work with clients, we create what I call a “proposal template.” This template includes the information most foundations, corporations, film executives and individual donors look for. Once you have completed your proposal template it’s easy to customize it for each individual reader. The first thing you need to do is get to know your reader. You’ve researched foundations, and found one that is a good fit. Visit their website and learn everything you can about who they are and why they are passionate about funding their particular cause. Take a look at their mission statement. Note the words used to describe their cause then see if you can incorporate some of these same words into your proposal. Call the operations officer at the foundation and pitch your film, then sit back and listen. Jot down key phrases, then use them subliminally by rewording them and inserting them into your proposal. This shouldn’t be a stretch, since you’ve already determined the foundation is a good fit. Follow your potential funder’s submission guidelines to the letter, and keep it simple. Your readers do not have time for ambiguity. There are dozens of proposals sitting on their desks, waiting to be read. If they have to wade through pages of jargon to hunt for information, they will simply pass and move on to the next proposal. I can always tell a first time filmmaker, because their proposal is full of confusing industry jargon and complex scenes. Remember (with the exception of a few studio executives and distributors), most of the people who read your proposal are out there supporting causes that have nothing to do with Hollywood. Which brings me to my next point: If you are going to solicit funds from individuals, corporations, or foundations, be prepared to make some concessions. I’m not asking you to sell out. I’m simply asking you to reserve your proposal for information that is essential to your theme. Truth be told, you may have to make some adjustments here or there to appease a sponsor, especially if this is your first film. If you’re thinking about adding a controversial scene, but you’re not totally committed to it, consider the consequences. Once you put it out there, it’s too late. If there is something in your proposal that rubs your readers the wrong way, you’ve lost them. There is a fine line you have to walk when it comes to revealing information. Never hold back critical information that might affect a potential sponsor, but, at the same time, don’t sink the boat because of a controversial issue or scene that you are still wavering on. As you write, keep a mental picture in your head of your reader. Adopt the mantra: My reader is the person who has the power to fund your film. You get one shot; First impressions are critical.
Copyright 2006 SNAFUfilms.com |
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Eva Hornbaker is a screenwriter, literary editor and professional proposal writer, specializing in the entertainment industry. Get help with your proposal by contacting Eva at: |
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