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PITCH YOUR TV SHOWS TO THE NETWORKS!

Want to pitch to the networks without an agent?

Looking for impossible-to-find treatments and bibles?

Have an idea for a TV show: reality, animation, kids,
sitcom, talk, or game?

When you act on what we're about to describe,
it could change your life forever.

You can make MILLION$
with your own TV show!

The only TV pitch program of its kind.
NOTHING else comes close!

FROM:  Mark and Jeanne Simon

Dear Friend,
If you just have an idea for a TV show -- even if you haven’t written a word of it down yet -- you’re about to discover something which could likely make the difference between enjoying huge success as a TV show creator or getting lost in the annual avalanche of tens of thousands of pitches made every year.

If 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.

If you have a fully developed TV show that you’re ready to pitch, what we’re about to reveal about packaging and pitching your concept will help you launch your show and your career to heights you never before dreamed possible.

You can have a former Nickelodeon, TNN and Animal Planet producer on your team!

We help you to sell your TV concept
by leading you through every step
PLUS, we give you tons of easy-to-use
and proven templates.

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?

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

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

You haven’t heard of David Lyons or his animated show Creepers yet…but, you will. He hired us as consultants when his idea was just that, an idea. He had no hook, no story. The characters hadn’t been designed, the script hadn’t been written, and he had pitched it to no one. We were involved every step of the way: story development, creation of the pitch package, where and how to pitch the show.

Creepers developed by David and Helen Lyons

“With Mark and Jeanne’s help, I landed a worldwide distribution deal with a major company in my first pitch meeting.”
David Lyons
Creepers

David lives in Orlando – not Hollywood.

David is not working in the TV business.

David had never produced a TV show before.

David was passionate about his idea and knew he needed expert help to make his 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 David Lyons 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?

Not much!

He certainly wouldn’t have a distribution offer through Wal-Mart potentially worth millions of dollars, nor would his pilot we co-produced have won over 20 awards and been screened in Cannes, France!

Mel Gibson and Jeanne Simon
from the set of Lethal Weapon 2.

David Lyons had Experts on His Team - You Can Too

You are 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?

One-on-one training at the Hit Makers Summit.

"Mark Simon is a true professional whose guidance can save you years of false starts and lost possibility.  I can recommend him whole-heartedly as someone who not only knows the road to success in the TV Industry -- having gone down it many times himself -- but shines a light to guide you every step of the way."

Marc Zicree, writer-director-producer, STAR TREK, TWILIGHT ZONE COMPANION  

 

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.

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

We’ve developed a model for success which 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 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!

“P” stands for Pitch.  TV execs' jobs depend upon them finding hit TV shows. They need you! Why shouldn't the next hit show be yours? There’s no need to be overly anxious, caught without answers to questions executives might ask you about your show, or worried about what’s expected in a pitch when you are prepared. With expert guidance, pitching a show is nothing more than telling your story. More about this in a moment….

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.

Shortcuts to Success

Getting a show on the air is all about using models that work and not wasting all kinds of money and time trying to figure things out on your own. That’s why we’re about to give you a unique chance to learn from ourselves and others how to shorten your learning curve and help you get better results faster and easier. You’ll save many thousands of dollars and perhaps years you would have otherwise wasted going down the wrong road. Whether you have just a kernel of an idea, a fully developed show, or need help creating your pitch package there are time-tested principles, strategies, and templates you can and should follow. These are like shortcuts to success.

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.

When our clients first call us they tell us that they don’t know where to begin.

What about you?

Certain you have a great idea, but you have no clue what it takes to sell it?

Sick and tired of being told you need an agent to pitch a show?

Our many years in the TV industry have taught us two absolute truths.

Truth #1 If you don't pitch your show as soon as possible, some one else will sell a show to a network that is identical or very similar to yours. That some one else will get the credit, the glory, and the money that could have been yours. TV shows with the same subject or theme seem to float through the collective consciousness which results in people pitching shows that are uncannily similar. The industry term for these shows is M.O.P. or Most Often Pitched.

There are many reasons why one show gets picked over another, but we all know the one who gets there first with the best pitch wins.

Truth #2 There is no one right way to pitch a show, but there are lots of deal-killing wrong ways. Make sure you sign up and download our FREE report called The 7 Biggest TV Show-Pitching Mistakes.

In a minute, we’ll describe a special program that will help you get off that treadmill and show you how to really make things happen fast.

In the past we only shared the nuts and bolts of “S-C-R-I-P-T” with individual clients for a pricey hourly fee. We have so much business that we’ve had to limit our consultation hours. That’s the bad news.

But we do have some good news.

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

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

Our new program is called the Executive TV Pitch Program. It’s 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.

During the program, you’ll spend three days with us and our team in sunny Florida at Universal Studios Orlando where you’ll learn the specifics of putting the S-C-R-I-P-T approach to work. We’ll spend the first two days working on your individual projects and moving them forward. The third day is optional, but you won’t want to miss the–

• V.I. P. behind-the-scenes Universal Studios tour
• Practice your pitch with industry experts
• Chance to visit an actual show that’s in production  (when schedules allow)

Summit member, Marco Flores, center, practices his
pitch at the Hit Makers Summit.

You’ll also get our entire package of materials to get you started right away. Our clients tell us that the treatment and production bible samples have been a tremendous help to them as well as the CDs on pitching and developing show concepts. There is so much to this package that it’s way too much information to list here. Scroll down for all the package details.

And don’t forget, the most valuable parts of the Executive TV Pitch Program are the twelve half hour, one-on-one consulting sessions you get with us, the package review, pre-pitch pep talks, and Q&A teleseminars with us. 

Who Are We and
Why We Can Help You
Make a Giant Leap Forward in Getting Your TV Show Sold

First, meet former Nickelodeon producer Jeanne Pappas Simon.

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.

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. 

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

I also produced many other Nickelodeon 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 Simon produced, wrote and directed roll-ins and
character development segments on TNN's Roller Jam.

One of the most challenging and rewarding tasks in my TV career was as a consultant for Turner Broadcasting. I was teamed up with another consultant from New York to create the programming, staff, and budget for an entire new network from nothing. After almost one year of heavy development, we pitched our concepts to Scott Sassa (who later became president of NBC) and he gave our network the green light.

Turner Broadcasting greenlit my network!

My time at Turner though got my creative juices flowing and I teamed up with my husband to create and sell our own TV shows. We’ve created practically every kind of show you can think of: animations for kids and adults, game shows, dramatic TV movies of the week, live-action sitcoms, faith-based TV, live-action kids edutainment, training videos, feature films, and reality TV shows. We’ve signed 20 distribution deals and won over 50 international awards including Grand Prize in the first ever Nicktoons Film Festival with our series of shorts Timmy’s Lessons in Nature. Every major network called us to pitch after that win.

We've signed 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.  

 

Now meet director, artist, author, lecturer, entrepreneur Mark Simon.

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.

Industry books written by Mark Simon and Jeanne Simon

I’ve written, published, and marketed ten books (number 11 is in the works), 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 Simon speaking 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.

Mark & Jeanne Simon's Partial List of Clients & Projects

Networks:	My Wife Is Pregnant	Bryan Spicer
Nickelodeon	Early Days	Robert Wiemer
Cartoon Network	GUTS	Jesus Trevino
Fox	Welcome Freshmen	Burt Brinkerhoff
NBC	Dooley and Pals Show	Bryan Hickox
ABC	Wide World of Sports	Reginald Hudlin
HBO	Gallagher	Toby Martin
Showtime	Total Panic
VH-1		Production Studios:
TNN	Feature/TV Films:	Disney
Turner	Hoot	Sesame Workshop
Animal Planet	Lonely Hearts	Amblin Entertainment
PAX-TV	The Waterboy	20th Century Fox
PBS	Lethal Weapon 2	Sunbow
HSN	McHale's Navy	Haxan Films
Golf Channel	Nowhere to Run	Warner Bros.
MTV Latino	Beverly Hills Vamp	Marvel
	Night of the Cyclone	Viacom
TV Series:	Wilde Life	Universal Pictures
Clarissa Explains It All	Interstate 95	Miramax Pictures
Dexter	Two Much	TriStar
Round House	Miami School Bus Hijacking	Dick Clark Productions
Gullah Gullah Island	Walking Dead	Savoy Pictures
Roller Jam	Slave Girls From Beyond Infinity	MTM Productions
Allegra's Window	Party Line	Sony Pictures
Weinerville	In Dangerous Company	Empire Pictures
Carrot Top's A.M. Mayhem	Kill Crazy
Alpha Dog Challenge	Death Row Game Show	Commercials
Zoo Venture	Midnight	Thousands Including:
Secrets of the Animal Kingdom		Coke
International Blue's Clues	People:	M&M
A Message From God	Steven Spielberg	Pepsi
In Search Of...	Mitchell Kreigman	Mastercard
Dragon Tales	Bruce Gowers	3M
Real Mature	Chris Gifford	Ford
Timmy's Lessons In Nature	Brian Gadinski	NFL
Miss Miami	Frank Coraci	Nike
Outta Here	Tim Hill	Burger King
The Brother's Flub	Antoine Fuqua	Yamaha
Disciples	Anson Williams	IBM
1st & 10	Liz Plonka	Shell
The Cape	Jonathan Debin	AT&T
seaQuest DSV	Alexa Junge	NBA
What Would You Do?	Stan Lathan	GE
Second Noah	Woody Frasier	Sprint
Baby Beethoven	Mark Summers	Sears
The Cape	Ian Toynton	Jeep
Nick Arcade	Rob Bowman	Adidas
Firefighters	Reza Badiyi	AMC
From The Earth To The Moon	Buddy Sheffield	Cadillac

If we can develop, pitch, and sell our TV shows without living in Hollywood, without having an agent, and without doing everything right, then anyone can do it. We’ll show you how.

Here Are Just Some of the Highlights of What You'll
Learn in Our Six Month Executive TV Pitch Program

Perfect Your Pitch:

• Practice pitch to experts and get expert critiques
• Gain the confidence to pitch to anyone
• Make the best use of the materials you bring to the pitch
• Be prepared to make the best out of the unexpected
• Grab their attention with your killer hook  

Create a Pitch Package That Sells a Concept:

• Prepare those elements executives expect to see
• Secrets to writing treatments that communicate the spirit of your show in your absence
• When art in your package is absolutely necessary
• How to find writers or artists who can capture the essence of your project for you
• How much information is too much and what is just right
• When you need to have a full script

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

• Proven ways to get past the network screeners
• Contact and impress producers at top national networks like ABC, Nickeolodeon, & Discovery
• EXACTLY what to say in a phone conversation or in an email
• Foolproof way to set up a meeting when you’re traveling
• Keys to setting up as many meetings as possible at a convention
• How to know who to contact at the top networks and production companies

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 the art of polite persistence
• Keep your project in play with strategic follow-up letters
• Secrets to keeping the doors open so you can pitch your next great idea

Research Before a Pitch Can Be the Difference Between Deal or No Deal:

• Find out what you must know before you even set up your first meeting
• What questions you might be asked and how to answer them
• How to find out about a producer's personal background BEFORE you pitch to him or her
• Five SECRETS to figure out what the networks are looking

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

• Easy and fun ways to get to the core of your concept
• How to develop a story that people can’t get enough of
• Create endings that wrap up the story and satisfy the audience

Craft a Show Description that Has It All:

• Boil a high concept down to three or four sentences that says it all
• Show executives that your concept has legs with short punchy episode descriptions
• Model your show descriptions after some of the best in the business

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

• How to create characters that the audience knows, likes and cheers on  
• How to create characters that are three dimensional, unique and sources of conflict
• Play out conflict through characters who are villains, heroes and catalysts (move the story forward)

All Executive TV Pitch Program members get to attend the Hit Makers Summit in Orlando for no extra fee any time during the six month program. Our Executive Members get first choice at the available spots before we open the Summit to other people.

Here's what some of our past Summit attendees had to say...

We realized that no matter how far along with their concepts our clients were, they all wanted the same things:

Be Part of a Team
Get Expert Pitch Training
Develop a Game Plan
Inside Track to Hollywood
Actual Show Treatments/Production Bibles
Contact Info for Networks & Executives
...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.

 

Production bibles are detailed descriptions of shows. The Writer's Guild of America minimum for writing a production bible is over $44,000. Include the cost of layout, character design, photos and sample art and the cost can be much higher. We've had clients pay us $60,000 to $80,000 to develop, write and design their pitch packages.

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.

Our first series of pitches cost us over $8,000 and we didn't get anything from it but a big credit card bill.

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 will teach 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.

 

We'll also teach you how to navigate and pitch at the major television conferences around the world.

 

Mark Simon working the NATPE (National Association of Television Programming Executives) conference.

 

After we won a major 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.

---

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.

Our Executive TV Pitch Program includes:

Our Hit Makers Summit at
Universal Studios Orlando!

Our next Summit is
March 3-5, 2008
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.

Members of the August 2007 Hit Makers Summit.

VACATION TIME FOR THE FAMILY

This is also a great time to take the family for a vacation in the world's best vacation city! 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? Apply 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 how to protect your ideas
Create killer hooks
Find out which networks are right for your show and how to contact them

There are a number of break-out development sessions during the Summit.

Get the creative juices flowing in small break-out groups

Member, Jim Trippon, practicing his pitch to Mark & Jeanne Simon.
Each final pitch was video taped so members could review their own pitches and our notes.

Develop a pitch that leaves listeners wanting more

Producer/Director Randy Baker, left, speaking at the August 2007 Summit.

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

Screenwriter Wayne Carter lecturing at the Summit on 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.

Discover the secrets of how Hollywood really works

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

• More one-on-one pitching practice
• Surprises at Universal Studios
• But that’s not all…on Day 3 our August 2007 members were given a chance to work with one of the nation’s top image consultants, Mary Guiseffi, on how to look their best for your pitch meetings. Whether you’re pitching yourself as a show creator, a show host, or a character in your show, she can help you perfect your image. When you look your best, you’re more confident and can do your best.   

When you become a member of our Executive TV Pitch Program you get:

• The 3 days in Orlando we guarantee will send you into creative hyper-drive
  
  
• PLUS you get many hours of one-on-one consultation to accomplish what you need most
  
  
• PLUS a humongous treasure trove of invaluable information that we promise will build your arm muscles and your creative muscles
  
  
• PLUS you’ll be able to participate in members-only telephone seminars where you’ll be able to ask questions of top entertainment industry professionals

We will announce the next class dates some time in September 2007.

What you just read is a quick overview of our 6 month program. No matter the stage of your concept our Executive TV Pitch Program will take your project to the next level and beyond. Read on to find out all the juicy details.

You Get a Team

Consultation with Mark and Jeanne - In addition to the 3 days in Orlando, you get a total of 10 hours of one-on-one consultation time. This is your time to schedule however you desire. (VALUE $3000)

You get 10 hours of one-on-one consulting time
to use however you wish - Our clients use this time for creative brainstorming, developing loglines and episode descriptions, and specific help on packaging. It's up to you.

Consults 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)

Package 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)

10 Email Quick Questions – 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

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 You Can Use

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-amil, 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 Interview – 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 syndicator interview – Owner of the Television Syndication Company talks about syndication budgets and syndicating shows.

Joel Andryc Interview – 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 Interview (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.

But wait, you also get the 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.

Now you've seen our large program. We have 2 options for you.

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


Here's the Program Options:

Contents of Consulting Pitch Packages               Packages

Description	Executive	Producer
3 day Hit Makers Summit at Universal Studios Orlando Create a Pitch Package that Sells Perfect Your Pitch Learn Show Development Strategies Talk to Industry Experts		X
1-on-1 consultation with Mark & Jeanne Simon ($500/hour value) includes:	6 months	2 months
1 hour per month or time may be used whenever you wish	6 hours	2 hours
Development consultation	2 hours	1 hour
Presentation package review	2 hours	1 hour
Pitch coaching	2 hours	X
Five minute pre-pitch pep talks	3	1
Quick questions by e-mail	10	3
Screenwriting/creative consultation with Hollywood A-list screenwriter Mr. X.		X
Teleseminars Coaching Expert Guest Speakers Pitch Practice	6	2
Actual production bible samples: Sitcoms Kids Shows Game Shows Reality Shows Animation     And more valued at hundreds of thousands in production costs	15	3
Audio CD explanations of sample bibles	2 CDs	1 CD
Actual sample one sheets/sales sheets	16	3
Actual sample budgets from network shows	8	X
Actual sample schedules from network shows	4	X
Actual sample storyboard one sheet leave-behinds	7	2
TV Experts on CD – Industry interviews	12 CDs	X
CD audio training collection, including:	17 CDs	11 CDs
Getting Started
FAQ	x 2	x 2
Develop Your Show Concept	x 2	x 2
How to Create a Production Bible
Q&A Panel with Filmmakers
Value of Storyboarding
Value of Animation Shorts		X
Pitch Like a Pro	x 2	x 2
How to Pitch at a Conference		X
Selling Shows by Entering Festivals	x 2	x 2
How to Budget	x 3	X
Actual pitch, meeting & follow-up letters	17	6
Actual contracts	16	X
Sample submission release forms	6	2
2 sample animation pitch boards Valued over $10,000 in production costs		X
The phone book to Hollywood 11,000 producer, studio & network executives More than 2,000 production companies, studio & networks Mobile content producers Includes addresses, titles, email addresses & web sites, phone & fax numbers TV shows & staff		X
Hollywood Rolodex Entertainment attorneys Personal managers Talent & literary agents Business affairs departments Publicity companies Casting directors		X
Templates Fill-In-The-Blank pitch & follow-up e-mails Fill-In-The-Blank pitch & meeting phone scripts
36 network submission guidelines
Over 130 blank forms, budgets, & contracts on CD Animation budgets & forms Art direction budgets & forms Business forms & contracts General production budgets, forms, & contracts Storyboard forms
DVD/CD Storyboard PitchTutorial by Mark Simon		X
Storyboards Motion in Art 2nd Edition by Mark Simon		X
Script workbook		X
Sample scripts	3	X
Sample festival sheets	2	1
Lists of actual TV show & film production costs		X
Program Price Index – Syndication rates per country		X
WGA Schedule of Minimums		X
Links to key entertainment industry web sites
Mark & Jeanne’s Golden Rolodex of key vendors, consultants, professionals and industry contacts
Elements of Style for Screenwriting bookby Paul Argentini		X
Technical Freelance Guidelines		X
Package Price:	$8,850	$3,350

We also offer payment plans. <