Book Review: Animation Development: From Pitch to Production
Animation Development: From Pitch to Production is not a straightforward, how-to manual. In many ways, this is one of its greatest strengths. The book is full of compelling anecdotal information from successful members of the TV animation industry. Stories from such creators as Craig McCracken, Butch Hartman and Tom Warburton clearly illustrate that even the stars of our industry have experienced frustration and failure on their road to producing their own shows. They also share realistic advice for those with less experience looking to create their own series. Warburton, creator of Codename: Kids Next Door, recommends, "Start at the bottom and pay attention to every facet of production. Work your way up so when (and if) you do get your own show you know what you are talking about. You can't lead a team if you don't know how a production is run."
Also useful are the various insights offered by development executives from various studios and networks. Their quotes and tips can help the thoughtful reader leapfrog many rookie mistakes and become a more professional pitcher in a shorter amount of time. There are suggestions on pitch length, utilizing feedback and knowing what the company you pitch is looking for. And there are some candid insights into the pitching mistakes that can turn off some executives. Heather Kenyon of Starz Animation (and former AWN editor) notes that her pet peeve is "episode ideas that end with: 'Find out what happens when…' or a string of questions.' Will Larry save the day?' I don't know. Will he?" These incomplete story ideas are common in pitch documents, but they don't tell the network that the creator can tell a complete, fun and original story with their characters. Insights like this can help a budding creator craft a more professional, sellable pitch.
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I'll be purchasing this book this weekend. I look forward to reading it.
-Brian
Hi Shelia,
Thanks for the feedback. The anchor of my book is advice from dozens of creators who HAVE sold and helmed pilots and series, along with the advice of a dozen executives that take pitches every day. As for my credentials in the pitching world? Besides working in animation as a director of TV animation, I had my own development deal as a writer/creator at Disney in 2007 and since then I've had four development deals as a writer.
A key point of my book is to open to other areas of success--in short, that there are other ways to see a return for your pitching efforts. So, even when my pitches have not led to deals, they often led to directing jobs, design jobs, and writing jobs. That's quite a nice by-product.
I hope you get a chance to check out my book. I think you'll find a lot to help you on your way. But, if you only want to hear directly from the horses mouth, might I recommend Joe Murray's (Rocko, Camp Lazzo) online book about pitching. It's a great read.
cheers,
David
I guess then that you would consider worthless the opinions of all the development execs who have acquired successful shows - I would venture to say many of them have never animated, directed, produced or pitched a show themselves?
Near as I can tell, Levy has never had a pitch of his own picked up and become a show. His opinions on this topic are basically worthless, and nothing more then his opinions. Its the people who have had success at pitching whose points of view I am interested in.
Hi Leah,
Thanks for a very thoughtful and intelligent review. I really appreciate it. I think you got just what I was going for.
I agree with you that agents can be valuable assets. My point is more that the readers should know that they don't need an agent to pitch or to get a pitch meeting. In TV animation pitching I have found it to be true that agents are not a required part of the process––however much they might be of help to certain individuals in certain circumstances.
On your point, "...it is possible for a strong writer to sell a show with no art at all," I also agree, and I have included stories in the book to show that some creators have scored pilots or even series without creating much (or any) traditional pitch materials. There's a bit in the book where I compare three diverse green light stories, each of which proved that there's no ONE single way projects are green lit. But, knowing that animation is such a visual medium, I think it's a mistake to not include art on every single page. Otherwise the risk is a very dry read and a dull presentation.
Thanks again for the review.
best,
David B. Levy
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