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Executive TV Pitch Program

Our Executive TV Pitch Program is the only way to work with TV pitch experts who will take you step-by-step through the development, pitch, and sales process for your TV show.

The Executive TV Pitch Program is right for you if:

• You just have an idea for a TV show -- even if you haven’t written a word of it down yet.
• You have never worked in the entertainment business a day in your life and you have an idea for a TV show, we're going to convince you that your dream of getting it on TV is not pure madness.
• You have a fully developed TV show that you’re ready to pitch.

Does the idea of really hitting it big as a TV show creator seem exciting but impossible?

Well, if you ask any hit TV show producer, you’ll find there was a time earlier in his career when he too doubted whether or not he could really make it happen. 

We’ve all heard of CSI and the many spin-offs from that mega-hit for CBS. You probably haven’t heard of the creator of those shows Anthony Zuiker. When he was an $8-an-hour shuttle driver in Las Vegas hauling drunken gamblers from casino to casino he never dreamt he’d have not one, but multiple hit series seen around the world.

Who hasn’t heard of Survivor or The Apprentice created by super-producer Mark Burnett? What you may not know is that he began his illustrious Hollywood career as a nanny. That’s right, the man who mopped up spilled milk and bandaged boo-boos created a show that catapulted CBS to the top of the ratings and counts the Donald as one of his closest friends.

Now obviously nobody can guarantee you'll become rich and famous as a TV show creator. But we can tell you this:  if you aim high and dedicate some time and energy to learn what you need to do to hit it out of the park, you’ll make a whole lot more deals and contacts than you would otherwise.  It's like the old expression "Aim for the stars and you'll at least hit the moon."  Makes sense, doesn’t it?

You Don't Have to Live in Hollywood to Get a Deal

Monya Claborn and Claudia Reynolds came our three day pitch crash course, the Hit Makers Summit, with a well-produced sizzle reel and a pitch which didn't get anybody excited about their show. They wanted help with how and where to pitch their show A Living Rose. After three days with us, they learned some of the pitch strategies included in the Executive TV Pitch Program. and they were able to pitch their show with confidence to the networks that would be interested in their show. (The #1 complaint of TV development execs is being pitched a show that would never air on their networks. Such a mistake closes the door forever!)

Monya and Claudia sold their show six days after working with us!

Here's what Claudia had to say about our training.
"As a result of Mark and Jeanne's pitch training, we sold our TV show to a network! We felt like we had our pitch down and that we could answer any questions that might come up. We obviously did a good job since we were in pre-production within a week after our pitch. Thank you Mark & Jeanne!"

On the set of Give A Living Rose.
From the left, Mark & Jeanne Simon, producer Monya Claborn, host Kelly Lang,
Olympic skating coach Don Laws and Olympic skating champion/announcer Scott Hamilton.
Monya sold her show one week after working with Mark & Jeanne.

Monya lives in Nashville – not Hollywood.

Monya had not worked in the TV business.

Monya had never produced a TV show before.

Monya was passionate about her idea and knew she needed expert help to make her dream a reality.

But the truth is no one else ever really makes you successful. You make yourself successful by the decisions you make and the actions you take.

What if Monyaons had never contacted us? What if he ’d left our number sitting in a drawer? What if he ’d refused to listen to our advice? And what would have happened if he hadn’t spent the necessary time and money developing his show and making contacts? What would have happened then?

Monya Claborn had TV Pitch Experts on Her Team - You Can Too!

You're in the same situation they were once in.  At one point, they just had a concept for a TV show. Then they revised the script according to our notes and paid an artist on our staff to get the character designs just right. Then we provided guidance on where to set up pitch meetings. They took the necessary actions to develop their show and pitch it properly. Will you make that same decision?

We’ve Developed a Model for Success
We Call S-C-R-I-P-T

“S” stands for Search and Research.  The first thing you need to do when you develop a TV show is to watch a lot of TV. You want to search out and dissect those shows that are like yours in any way. You need to know what your competition is because the TV development execs to whom you’ll be pitching are intimately familiar with what their network airs, as well as, the programming of their competition.

“C” stands for Create and Develop Your Hook. You need to figure out how your show will be different and stand out in the crowded TV landscape. You need to figure out what would make you watch the show. What’s the story that draws people in and keeps them from changing the channel when a commercial comes on?

Deal or No Deal is Not About the $$$$!!!

For instance, you might think that NBC’S wildly popular Deal or No Deal is nothing more than a show about overly-caffeinated contestants winning, or losing, money. Not so. It’s a show about real people’s lives and how a windfall will affect them. It’s about a couple who have a dream about building an animal shelter. It’s about the daughter who wants to add on to her home so she can care for her crippled mother. It’s about the father who desperately wants to send his son to college. The families of the contestants are on that stage for a reason. We all will stay tuned to the very end of the show to see if the contestant is going to take the advice of her mom and take the deal or risk it all like her father wants her to do.

Once you’ve figured out what your hook is, then you can move onto the next step.

“R” stands for Refine.  Now you know the demographic of your audience (i.e. females 25-49); you’ve identified the networks where your show would fit; and you have a hook for your story. This is the time for refining your show. The characters need to come to life. The story needs a compelling enough set up to keep an audience tuned into the mid-story cliffhanger which is resolved by a satisfying close. These elements are the same whether your TV concept is a reality show, talk-show, or sitcom.

“I” stands for Investment.  Most people with an idea for a TV show only think about the show itself and not the pitch package it takes to sell the show. No matter what type of show you have to pitch, you’ll want to create a presentation which helps you tell your story. It doesn’t have to be a video sample of your show that takes hundreds of thousands of dollars to produce. You do however need to invest time and some money in creating a pitch package: treatment, mini-production bible, storyboards, location photos, character designs, or anything else that might help sell your show. The contents of your package will vary according to the type of show it is.

Don't Be Intimidated!

The Pre-Pitch Pep Talk or Get Psyched!

Clients of ours were in Hollywood to pitch a show we had developed with them. Our phone rang fifteen minutes before the pitch meeting so Mark could give them their 5 Minute Pre-Pitch Pep Talk. He briefly reviewed the basics of their pitch and stoked their confidence so they were fired up for their presentation. They were pumped! About an hour later our phone rang again and it was all three creators screaming at once that the pitch was a phenomenal success.

“T” stands for Take Action. Whether you have a deal or not after you pitch, you have to be persistent and keep in touch with the executives to whom you’ve pitched. Whether it’s sending thank you letters or follow-up materials, you want to stay in touch and be politely persistent. The entertainment business, just like any other business, is based on personal relationships. People do business with people they know and trust.

Want to know the BIGGEST DIFFERENCE
between the top 2% of show creators who actually have
their shows on TV and everyone else?

The difference is simply this: they know exactly how to pitch and who to pitch.

The other 98% only THINK they do.

Who We Are and Why We Can Help You
Make a Giant Leap Forward

Jeanne Pappas Simon
Former Nickelodeon producer

Little did I know 24 years ago that my entire career would prepare me to help others get their shows on TV.

I’ve been involved in show business for most my life in one way or another. Maybe it has something to do with family history – my uncle, Ben Thau, was head of MGM back in the day when Ben Hur was a box office smash.

I’ve had my 15 minutes of fame in front of the camera as a news broadcaster, a cable talk show host, and a commercial talent. As much as I liked being in front of the camera, I liked the behind-the-scenes action even more. I've worked as an editor, camera lady, writer, and news director. I did all this while I was still living in Missouri. Phase two of my career started when I decided to get serious and move to the happiest place on earth. (Oops that comes later.)

I packed up my Toyota and moved to Beverly. Actually, I rented an apartment in Los Feliz and I worked on feature films at the legendary Corman Studios in Venice Beach, Lethal Weapon 2, and HBO’s hit series 1st & 10. The best part of working on that production was meeting my husband, Mark Simon.

Mel Gibson and Jeanne Simon
on the set of Lethal Weapon .

Not too long after Mark and I met, we knew our life together would have many sequels and we needed a new location. So we moved to the happiest place on earth and we both landed jobs at Nickelodeon which was located at Universal Studios Orlando.

While at Nickelodeon, I was a part of TV history as a producer on the show that catapulted Melissa Joan Hart to stardom as Clarissa in Clarissa Explains It All. This ground-breaking show was created by Mitchell Kriegman who was also the creative force behind the hugely popular shows Bear in the Big Blue House, The Book of Pooh, and It’s a Big, Big World. 

Jeanne Simon, Line Producer, and the cast and crew
of Nickelodeon's ground-breaking series,
Clarissa Explains It All. Creator Mitchel Kreigman
is on the couch in the red vest. Jeanne is standing
directly behind him in the white shirt.

Allegra's Window produced by Jeanne Simon.
Jeanne is in the front row in a white shirt.

I also produced many other Nickelodeon hit shows such as Allegra’s Window, which featured work by puppeteers trained by Jim Henson, Gullah Gullah Island, Weinerville, and Roundhouse with American Idol director Bruce Gowers. I also worked on Get The Picture, Nick Arcade, Make the Grade, What Would You Do?, as well as the ABC pilot Real Mature, and international Blues Clues pilots.

In between Nickelodeon gigs, I also produced pilots for Animal Planet, wrote scripts for the ABC series Secrets of the Animal Kingdom and produced and directed portions of the pseudo-reality series Rollerjam on TNN.

Jeanne produced, wrote and directed roll-ins and
character development segments on TNN's psuedo-reality series Roller Jam.

Jeanne Helped Develop an Entire Netwrok for Turner Broadcasting

We've signed over 20 distribution deals

Mark and I continue to create and sell our own concepts and now as founders of our newest venture we’re able to help many more people achieve their dreams of having a show on TV.  

Mark Simon
Director, artist, author, lecturer, entrepreneur

For me, happiness is creating something, especially if it has anything to do with the arts. My creativity as a designer emerged at the tender age of twelve when I was a competitive skateboarder unsatisfied with store-bought boards. I designed my own line of boards and sold them to Schwinn. For me, creativity wasn’t complete unless I shared it with others. Making money along the way has always been the icing on the cake.

While an art major in college, I had my own award-winning advertising agency and I published a college newspaper throughout Texas which featured cartoons, photos, and controversial views on current events of the day. After graduationg from college, I knew that I wanted to be in the movie business, so I kissed my mom and Texas good-bye and headed to Hollywood. With plenty of outlets for my artistic talents, I worked as a designer on movies, commercials, and TV shows.

Like Jeanne, I got my start at Roger Corman’s studio. When I was hired as the construction coordinator on HBO’s 1st & 10, I had to see Jeanne to sign employment papers and little did I know that I’d be signing up for a life-long partnership. She let me know that part of our deal was to leave L.A. and of course we did just that. We were both hired at Nickelodeon before the studios had officially opened. My creativity as a designer exploded during my time as a Nickelodeon art director on numerous shows under the inspired guidance of Byron Taylor. Little did I know though that art direction was not to be my career for long.

Mark Wolf (left) and Mark Simon inside a miniature
set piece at Roger Corman's studio on the movie
Slave Girls From Beyond Infinity.

When I heard that Steven Spielberg’s show seaQuest was coming to Orlando I was determined to do whatever it took to get on that show. I thought set designer was the job for me, but the producer had a different job in mind – storyboard and concept artist. I got to direct the second unit, design special effects, work directly with top directors, and work on story!

Mark Simon with seaQuest director, Anson Williams.
You may remember Anson as Potsie from Happy Days.

Thanks to seaQuest I launched a new career and, when the show wrapped, I started my own company, Animatics & Storyboards, Inc., which would eventually become the largest storyboard house in the Southern U.S.

I've worked on over 2,500 productions.

Working on hundreds of storyboard jobs a year, 2500+ to date, has left me a few spare hours at night and on weekends to write books and create my own original TV concepts.

Screen Legend Tony Curtis and Mark Simon
on the set of Midnight co-starring Lynn Redgrave

.
Mark Simon, far right, 2nd unit Director on
Steven Spielberg's seaQuest DSV.

Mark Simon and Ord at NATPE from the hit series Dragon Tales.
Mark was the creative consultant on the first season for Sesame Workshop.

Mark is a Best-Selling Author of Industry Books

Industry books written by Mark Simon and Jeanne Simon

I’ve written, published, and marketed eleven books (2 of them just released Summer of 2008), and I’ve created, pitched and sold dozens of shows. Plus, I’m a contributing writer to Animation World Network and Animation Magazine, Filmmaker Magazine, Movie Maker Magazine and others. The various books and articles I’ve written on storyboarding and animation have established me as an expert in these fields and I’ve had the great fortune to lecture around the world.

Mark and Jeanne Lecture Around the World

Mark Simon gave a talk about animation in China.

In China, I lectured at a cultural symposium on how China could increase the quality and quantity of their indigenous animation. In the U.K., I lectured and gave workshops at Animex about storyboarding and pitching. And domestically, I’ve lectured at high schools, colleges, conventions, festivals, and art institutes on various aspects of art and how being an artist is the best job in the world.

If creativity is my first love, then inspiring others to follow their creative passions is my second love. I’ve pitched (and sold shows) to FOX, ABC, DIC, Nickelodeon, PBS, Dargaud-Marina, Discovery Networks, Cartoon Network, Nelvana, BBC, G4, France 3 and Disney just to name a few.

As word spread about our success pitching and selling shows, more and more people kept calling us about helping them to develop, package, pitch, and sell their shows. The demand just became overwhelming and that’s why we started Sell Your TV Concept Now. We get to do what we love – create shows – and we can help many more people fulfill their dreams of having their own TV shows.

Avoid the Mistakes We Made!

Decades of experience and lots of advice from friends in the industry have taught us how to develop, package, pitch and sell tv shows. Now it's your turn!

Jeanne Simon, Cable Ace Nominee for
Best Short-Form Children's Programming.

Frankly, few other people could put a program like this together. With our combined 40+ years in the entertainment industry, working on thousands of productions, owning 3 production studios and having signed so many distribution contracts around the world means we have access to people and resources most could only dream of having.

Most production bibles and treatments are proprietary and expensive so most show creators are not willing to let other people see them. However, since we own most of the samples in this package, we've decided to share them with you.

ASIFA Award presented to Jeanne and Mark Simon
for Excellence in Animation Writing.

We regularly pitch to the major networks, studios and production companies so we are always up-to-speed with what they want and how they want to see it.

Don't Look Like a Newbie!

We'll teach you the TV industry jargon you'll need to know for a pitch meeting for your show. You definitely don't want to have that deer-in-the-headlights look when executives start throwing around terms like: B-roll, story springboards, show runner, show rundown, roll-in, etc.

After we won the first Nicktoons festival,
all the networks called us to pitch our shows!

Actual screen capture from Nicktoons when we
won the $10,000 Grand Prize for our animation.

Shortcuts to Success

Decades in the TV Industry Have Taught Us Two Absolute Truths

But we do have some good news.

You're probably a lot closer to pitching
your show than you realize.

The Executive TV Pitch Program is for anyone who wants to pitch their TV show, earn more money and be more successful in the TV business than they ever thought possible.

Here's What You Get:
Executive TV Pitch Program Overview

10 hours of 1-on-1 consults with TV pitch experts Mark and Jeanne Simon

Instant development team to help you with your treatment, one-sheet, sizzle reel, pitch and more

2 tickets to Hit Makers Summit - 3 day pitch crash course - held each spring and fall
($3,100 value)

48 lb. box of resources guaranteed to save you time and money

20% discount off all Hit Maker Tours (mentoring to major TV conferences)

Access to teleseminar Master Classes for life at no charge (Regularly $69 - $129 ea.)

Start at any time! Not tied to Hit Makers Summit schedule

Access to our Golden Rolodex (Priceless)

Here's What the Executive TV Pitch Program Can Do for You

Perfect Your Pitch:

Create a Pitch Package That Sells a Concept:

How to Set Up Pitch Meetings at All the Major Networks and Production Studios:

Learn How to Get and Hold Everyone’s Attention During a Pitch:

• Pitch with Passion
• How to Begin and How to Wrap Up
• Seven MISTAKES to avoid
• Keys to creating a killer hook or log line
• Look the part or what to wear
• How to pitch with storyboards

How to Follow-Up After Pitch Meetings:

Learn Show Development Strategies to
Create a Show You Can Pitch with Confidence:

Craft a Show Description that Has It All:

Create Characters that People Love to Love and Love to Hate:

Rave Reviews for Mark & Jeanne

TV Show Creators All Want the Same Things:

Expert Pitch Training

Actual Show Treatments/Production Bibles

Contact Info for Networks & Executives

Be Part of a Team

Develop a Game Plan

Inside Track to Hollywood ...and more

These proprietary treatment and bible samples cost tens of
thousands of dollars to create and just can't be found anywhere else
...until now.

We can show you how to do this on your own for a fraction of the cost!

We’ve put together a unique program of every thing we would have wanted to have when we first started developing shows.

When we started, we didn't know what the networks expected. No one was willing to share their knowledge or let us see their samples. It was frustrating and expensive.

Now we want to share in more detail EXACTLY how we’re going to help you go to a whole new level of success with your TV show.

Executive TV Pitch Program Includes
2 Tickets to Our Hit Makers Summit
in Orlando, Florida!

We host Summits twice a year!
Your program training starts immediately when you become a member.
The SUMMIT is just ONE element of our program!

Join and get your materials NOW
to be ready and make the MOST of this amazing event!

Executive Members may bring a creative partner to the Hit Makers Summit at no extra cost! (A $997 Value!)

Hit Makers Summit Highlights

During the first two days of our Hit Makers Summit we’ll present the Sell Your TV Concept Now Crash Course. It’s a fast-paced intensive workshop showing you how successful show creators approach the TV business differently and what they do intentionally and strategically to achieve superior results when compared to other show creators. Whether your TV show is just an idea or a complete script, the pitching principles, strategies, tactics, samples, and templates will allow you to develop you pitch package, get more pitch meetings, get more offers, earn more money and touch more people’s lives.

In order to ensure everyone has time to work with us or a member of our team personally, we’re only accepting 30 clients into each session.

Every body was a star!

Vacation Time for the Family

This is also a great opportunity to treat your family to a vacation at one the world's premium vacation destinations! Don't let the kids miss out on the roller coasters or let your spouse miss the Blue Man Group, Cirque Du Soleil or House of Blues concerts.

Can’t make it to Orlando? Join anyway because you choose which Summit you wish to attend or we’ll send you audio from the entire three days. We will make sure you get the information you need to be successful!

Here’s a partial list of topics to be covered during our three jam-packed days in Orlando.

Hit Maker Summit Days 1 & 2
Learn the #1 way to protect your TV show
Create killer hooks
Break out groups
Pinpoint 5 networks to pitch
How TV business works overall

Jeanne and the table helped Mary with her sitcom pitch.

Get the creative juices flowing in small break-out groups.

Executive member, Jim Trippon, practiced answering questions that execs were sure to ask.
Each final pitch was video taped so members could review their own pitches and our notes.

Develop a pitch that leaves listeners wanting more.

Realtiy show producer/director Randy Baker, left, told us about tv industry trends.

Find out about TV industry trends that could
put your show on the forefront.

Screenwriter Wayne Carter emphasized the importance of story and character.

 Working TV professionals share their formulas for success.

SpikeTV executive in charge of production, Scott Fishman,
gave the August 2007 Summit members a tour of his TNA Wresting show.

Want to hear real-life stories from writers, producers,
and executives who have bought and sold shows?

Then you’ll want to come to the Hit Makers Summit in Orlando. There’s nothing like hearing how others saved a deal, screwed up a sure thing, or why a show got picked up over one just like it.

Hit Makers Summit Day 3
We tape your pitch practice - See what worked and what didn't
Answer the top 3 questions execs will ask you in a pitch
More TV pitch guest speakers
Identify which TV conferences are right for your show
Develop an action plan

Rave Reviews for the Hit Makers Summit

When You Join Our Executive TV Pitch Program,
We Join Your Team

You get 10 hours of 1-on-1 consulting time to use however you wish. Our clients use this time for creative brainstorming, development of loglines and episode descriptions, packaging and, of course, pitching. We'll work with you to maximize the time you have with us.

Consults & Reviews include:

Pitch Coaching – 2 hours to perfect your pitch. We recommend that you video tape yourself giving your pitch to someone who interrupts you with questions, answers her cell phone, spills her coffee – you know, the typical things that can and do happen in a pitch that trip us up. Send the recording to us and we’ll critique your performance and work with you to make you pitch perfect. (VALUE $1000)

Development Consultation – The story is everything. These two hours are devoted to making a great idea into a fabulous TV show concept with well thought-out characters, engaging hosts, intriguing topics, an enthralling open and an ending worth watching.
(VALUE $1000)

Material Review – We will review any materials you’d like to send us and we’ll email you a written detailed critique. (VALUE $1000)

Pre-Pitch Pep Talks – Three 5 minute pep talks done right before a pitch, so you’re focused, confident, and stoked! (VALUE $PRICELESS)

Email Quick Questions for Life – Perfect for when you’ve got a question which can be answered in a sentence or less. Example: “What script writing software would you recommend?” or “Where can I find the latest schedule for animation festivals?” This will help save your valuable consultation time for larger issues.

Script/Creative Consultation with Hollywood A-list Screenwriter Mr. X
He will give you his expert opinion on:

• Creating and developing characters
• Building story structure and arcs
• Writing natural, well-paced dialogue
• Setting the right tone (suspense, humor, etc.)
• Delivering the big pay off
• Promoting additional episodes or sequels

TV Talks/Master Classes

Telephone/Web Seminars (a.k.a.Teleseminars & Webinars)
Look at this as extra consulting time. All you have to do is dial a phone number or log onto a web site and you can be a part of our members-only TV Talks. If you miss any one of the four TV Talks, we will make the recordings available to you online. Topics will range from story telling to deal making to members practice pitching. And it’s not just us doing all the talking, we’ll have prominent professionals from all areas of TV as guests and they’ll answer your questions.

Resources that Save You Time & Money

We’ve heard the cry of many frustrated show creators and we have ended their torment. Finally, you can have at your finger tips pitch package samples that were instrumental in the sale of concepts, actual show budgets and blank budget forms, scripts, storyboard forms and lots, lots more.

Everything is in clearly labeled binders, so you just have to go to one place for inspiration and guidance. It couldn’t be any easier!

Binder #1 - Actual Production Bibles & Treatments
Write a treatment that Hollywood wants to see.
Easy-to-follow samples to reduce your writing time.

Table of Contents

Kids Show Bible
Puppet Show Bible
Comedy Treatment
Game Show Treatment
Animation Mini-Bible
Improv Comedy Treatment
Movie of the Week Treatment
Mystery Series Treatment
Adventure Series Treatment
Talk Show Treatment
Comedy Treatment
Funding Proposal
Dramatic Treatment
Talk/Review Show Treatment

Okay, so let’s say you’re new to the TV biz and the only treatments you know about involve pain and a big doctor’s bill. Never fear, we have included audio CDs that explain everything you’d ever want to know about the sample bibles and treatments. We even go through one of the bibles page-by-page and discuss what we did and why we did it.

Binder #2 - Actual One-sheets/Sales Sheets, Storyboard
Leave-Behinds, & Festival Sheets

One-sheets, a.k.a. sales sheets, are presented on 8.5” x 11” pieces of paper which are typically a combination of art and text either on one side or on both sides of the paper. They are typically used at conferences as light-weight advertisements for your concepts.

Storyboard leave-behinds are also presented on 8.5” x 11” pieces of paper. They are used to illustrate a key action sequence. They are another way to visually tell a story and are a great light-weight leave-behind to go along with one-sheets.

Festival sheets are a one-page description of your entry that helps sell your show to the network execs in the audience looking for the next big thing.

This information may be used in the festival program or, if you attend the festival, you could put these sheets on every chair and/or make them available at the tables where attendees pick up information.

Binder #3 - Instant Pitch Meeting Letters, Templates & Samples

Table of Contents

Instant Pitch Letter Templates:
E-mails, Letters, Phone Scripts
Simple, fill-in-the-blank templates to help you land pitch meetings.
Actual Sample Letters
Network Submission Guidelines
Actual Sample Submission Release Forms
Actual Sample Contracts

Not ready to switch from the creative side of your brain to the business side? You don’t have to. We’ve included fill-in-the-blank pitch e-mail, letters, and phone scripts. Just fill in the blanks with the information about your show and you’re done. It’s the ultimate no-brainer.

Have you spent many frustrating hours researching how to submit your material to the networks? Stop struggling! We’ve included a one-stop resource with everything you need to know in the Network Submission Guidelines.

You can’t pitch your show to anyone without signing a submission release form first. They’re not scary or evil and you can see for yourself because we’ve put several samples in our package. The best part is that these aren’t just blank forms; they are filled out forms that we actually submitted for our own projects.

The same goes for the contracts that we’ve included – they aren’t blank, they are real and filled out. You see it all – rates, names, everything!
• Film/Video Distribution
• Cable Distribution
• Mobile Phone Licensing
• Option Agreement
• Deal Memos
• Acquisition Agreement
• Contractor Agreement
• Writer Employment Agreement
• Writer Consultation Agreement
• Writer For-Hire Agreement

Binder #4 - Blank Budgets, Forms, & Contracts

Table of Contents

Business Forms & Contracts
General Production Forms
Animation Forms & Budgets
Art Direction Forms & Budgets
Storyboard Forms

Everything in this binder is to help you stay organized; protect yourself as an artist and a show creator, and to enhance your creativity.

There are 130 forms, budgets and contracts including:
Copyright forms
WGA (Writer’s Guild of America) registry form
Animation Production Contract
Blank storyboard forms

Plus all 130 forms are yours to use on CD! Just another way our program makes your life easier.

Binder #5 - Script Book

Table of Contents

Literary Agency Guidelines for TV Movies
Script Workbook
Single Camera Formatted Script
Multi-Camera Formatted Script
Reality/Competition Formatted Script
Literary Agency Guidelines for TV Movies gives you the inside track on how agents pick and choose projects they will represent and how they will approach the networks. It’s eye opening!

If you feel that you want to be taken by the hand and led through script development, then you’ll want to reach out for the Script Workbook. It has everything - story and character development exercises, scene/script format guidelines, scene transition techniques, and a sample script.

Shows that are shot single camera, like ER, look more like films and require that the script be formatted for a single camera shoot. A show that’s shot with usually three or more cameras at the same time, such as Friends or Dr.Phil, dictates that the script be formatted for a multi-camera production. Knowing the difference and formatting your script correctly just adds proof that you can get the job done if your show gets picked up.

What? Scripts for reality shows? More is scripted than you think and this genre of show has its own script format.

Binder #6 - Budgets, Production Schedules, & Rates

Table of Contents

TV Series Costs
Feature Film Costs & Grosses
Syndication Rates
Live-Action Adventure Series Budget
Kids Show Series Budget
Teen Show Series Budget Assumptions, Schedule & Budget
Kids Action Game Show Series Schedule & Budget
Cable Sitcom Pilot Schedule & Budget
Cable Generic Sitcom Series Budget
Studio Audience Comedy Series Budget
Animation Development & Short Budget
Animation Series Schedule
Freelance Guidelines
Orlando vs. Los Angeles Costs
Writer’s Guild Minimums

We’ve also included a CD where we go over the basics of budgeting and even go through a budget line-by-line. You may not be the one who creates a budget for your show, but we included them so you’d have an idea of rates and how budgets are organized.

Executive CD Audio Training Set Collection

Getting Started – Guides you on how to navigate all the binders, CDs, and books in your program. We want you to get the most out of our training.

FAQ (2 discs)– 19 of the most frequently asked questions answered for you so you can use your consultation time on your project.

Develop Your Show Concept (2 discs)– Learn what it takes to develop an idea into a concept. An idea is a starting point; while, a concept gives the specifics of character, setting, and story in conflict.

How to Create a Production Bible – There is no better way to develop your concept, make your characters real, or to figure out the core conflict than to create a production bible. On this CD we fully explain what a bible is, do’s and don’ts, and we go over a sample bible page-by-page.

Filmmaker Q&A - If it’s inspiration you want, then this CD is for you. Nine independent filmmakers participated in a panel discussion and told incredible stories about how they overcame impossible odds to get their films financed, produced, and distributed.

Storyboards – Mark Simon outlines how storyboards can save a production time, money, and many headaches.

Animation Shorts – Mark Simon explains the value of animated shorts and how entering festivals is the best thing you could ever do for you and your project.

Power Pitches – These CDs reveals the secrets that top producers in Hollywood know about pitching and aren’t about to share.

How to Pitch at a Conference – Going to big TV conferences is expensive and you want to make the most of every minute. We explain everything from how to pitch to what to wear.

Selling Show by Entering Festivals – Festivals are where TV execs go to find the undiscovered gems. Find out how to enter festivals and how to get your project noticed by those who can make a deal.

Budgeting & Scheduling (3 discs)– Budgeting for TV is much more involved than just plugging numbers into a budget form. We go over a series budget line-by-line so you understand what positions make up a production crew, rates, union and guild guidelines, scheduling, and casting issues.

It's like having a line producer over your shoulder.

TV Experts on CD Collection

Secrets of producers and TV executives who have bought and sold millions of dollars worth of TV shows. Hear producers reveal exactly how they sold their shows and what executives really want. Just listening to one of these CDs while driving your car to work, could lead to you selling your TV show, fame, and fortune.

Trey Parker and Matt Stone – Creators of South Park talk about how they got started and their production schedule.

Linda Simensky – Current PBS Kids executive and former Cartoon Network Senior VP of Original Animation talks about pilot budgets and how she finds and works with new creators.

Cassie Yde – Owner of the Television Syndication Company talks about syndication budgets and syndicating shows.

Joel Andryc – Chief Creative Officer Saban Capitol Group
Former Head of Development & Programming at Fox Kids Network
Former Executive V.P. of Programming at ABC Family Channel

Having been a network buyer of shows and now a seller, Joel generously shared his expert advice on what it takes to sell a show.

Kim Dawson (2 discs) – Independent Producer, former Showtime development executive and producer of the original Teenage Mutant Ninja Turtle movies.

Wayne Carter Interview (2 discs)– Hollywood A-list screenwriter talks about development and pitching shows.

Alison Snowden and David Fine interview - The creators of Ricky Sprocket and Bob & Margaret talk about the history of their success.

Craig McCracken interview - Creator of Powerpuff Girls and Foster’s Home for Imaginary Friends talks about how he made his connections and production deals.

Spike Decker Interview – Festival promoter and owner of Spike & Mike’s Sick & Twisted Festival of Animation talks about the hit shows he discovered the how to produce a successful short.

And other interviews...

You also get:

2 Sample Animation Pitch Storyboards
Value - $10,000 in production costs

Animations are often pitched with a full set of storyboards for the sequence that’s being presented. You’ll see how storyboards tell a story, create excitement, and provide a visual reference that network execs can fully appreciate.

Entertainment Industry Links

We have spent years researching the net for great sources of information that have helped us in our development and pitching. These constantly updated links include contact information, industry resource guides, job and crew search sites, leading industry periodicals, animation links, articles, podcasts, rate lists, conference videos, unions and guilds, government links, industry conferences, industry books and more. Now these constantly updated links can be yours too. I charge clients $250 an hour to research and compile lists like this. $750 value.

Mark & Jeanne's Golden Rolodex

Some of our private production sources which we rely on in production. How can you put a value on solid recommendations? Priceless.

Lists of Series Costs

During a pitch, you don't have to have a line-by-line budget. But you should know approximate production costs. We've researched the production costs of over 50 national TV shows so you don't have to. Paid my assistant to research for over 2 days with updated budgets every year. $400 value.

Syndication Rates

We include a list of how much money different types of shows make in syndication in all of the major territories around the world.

WGA Schedule of Minimums

• Know the Value of your work.
• Budget properly.

The WGA, or Writer's Guild of America, sets the minimum rates for writers working in film & TV. This is valuable for you in budgeting and exciting for those of you who are also writers. Find out what your talent is worth.

Screenwriting Book

• Properly format your scripts
• Look like a pro
• The #1 recommended book for formatting scripts

Elements of Style for Screenwriters by Paul Argentini is the most highly recommended manual for writer's of screenplays. It is absolutely the best we could find to help you write your best work.

 

Technical Freelance Guidelines

This guide outlines how to work with freelancers and which positions are usually considered freelance.

Literary Agency Guidelines for Marketable TV Movies

This guide is not available for sale anywhere. (It's an inter-agency memo that we found just for you) This is what agencies tell their agents to look for while reading books which may work as a television movie. Priceless.

Storyboard Pitch Tutorial on DVD/CD

Not only do you get 2 full samples of boards, you also get a DVD/CD called Storyboard Pitch Tutorial of Mark Simon using boards to pitch. He shows you how storyboards can be a selling tool like no other.

The Phone Book to Hollywood – Some say they’d buy into our program just to get this book.

What’s inside…

Resource Guide
United States and International Film Commissions – Contacts, addresses, phone numbers, e-mails
Guilds, Unions & Associations

Deals by Company
This section is an alphabetical list of every TV network and distributor. Under each entry is a list of production companies and their phone numbers with whom the networks and distributors have deals.

Companies and Staff
Compilation of production companies complete with contact info, names of key players, credits, what’s in development, and submission policies.

TV Shows and Staff
Amazing list of the TV shows currently airing. Listing include: distributor, contact info, production companies, names and titles of key players.

Index by Type
Index of production companies and broadcasters by type: Animation, Commercials, Direct-to-Video/DVD, Documentaries, Features, Internet Content, Made-for-TV/Cable Movies, Miniseries, Mobile Content, Music Videos, Reality TV, Specials, Theatre, TV Series.

Index by Name
Another index by people’s names.

When you’re ready to pitch your show and you need names and numbers – this book is it! With over 11,000 producers, studio and network executives, plus more than 2,000 production companies, studios and networks you don’t need any other resource.

Hollywood Rolodex .
This thick book is another can’t-do-without resource.

What’s inside…

Agents
Managers
Attorneys & Business Affairs
Publicity Companies
Product Placement
Casting Directors

Here’s your chance to get
hundreds of thousands of dollars
worth of actual pitch package samples
in Mark and Jeanne Simon’s
Sell Your TV Concept NOW!
all-in-one program.

Mark & Jeanne with their Executive TV Pitch Program materials.

Click below to listen to a description
of the contents of the Executive Program.  

There are Two Ways to Get Your Show on TV:

Way #1:  The “Get Lucky” Approach – A precious few TV show creators are like winners of the lottery jackpot. They pitch a show that hits a nerve with a development executive and she becomes a champion for the show and gets it on the air.

Every TV show creator dreams of this happening, but of the tens of thousands of shows pitched every year, your chances of having yours get to the top of this heap without insider knowledge of how the industry works or a pre-determined development and pitch plan are slim indeed.  It’s really like winning the lottery; it happens but you certainly can’t count on it happening to you without the skill set to give you the competitive edge.

Way #2:  The Intentional Approach – TV show creators who dream of a network deal and actually succeed at getting it are very strategic and intentional about how they do it. They determine what they need to do, to whom they need to pitch, and then they make it happen.

But they play the game in very different ways than most other creators. They don’t just work hard at developing their shows. They educate themselves about who will watch their shows, who will buy their shows, and build a marketing plan for their shows accordingly. In our 40+ years of combined experience in the entertainment business, we’ve developed and signed over 20 distribution deals around the world for our own concepts and helped dozens of others do the same with their own ideas.

Executive TV Pitch Program Checklist

A $16,000 value for just $7,750!