Please enable cookies in your browser to get the full Trove experience. Skip to content Skip to search. Hauge, Michael, author. Language English. Also Titled Selling your story in sixty seconds.
Author Hauge, Michael, author. Subjects Motion picture authorship -- Marketing. Fiction -- Marketing. Summary Your career can be made in 60 seconds - if you make the right pitch! Master the Elevator Pitch, even when you've got less than 60 seconds.
Get your screenplay or Novel read by the major power of Hollywood - guaranteed! Contents 10 key components of a commercial story Designing your pitch Practice Targeting your buyers Putting the tools to work Securing opportunities to pitch Gearing up Establishing rapport Revelation, request, and response Beyond the second pitch Pitching templates "The best pitch I ever heard" : executives on pitching Best pitch you'll ever give.
Notes Includes index. Donated by William DeFreitas.. View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"? Jerzy Toeplitz Library. Open to the public Hauge has presented seminars and lectures to more than 80, participants throughout the US , Canada , and Europe.
From Wikipedia, the free encyclopedia.
- Love Me Forever and Ever.
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- About Michael Hauge.
- How to Write a Pitch in 8 Essential Steps;
Categories : Living people 20th-century American male writers 21st-century American male writers 20th-century American businesspeople 21st-century American businesspeople American educators Screenwriting instructors Writers of books about writing fiction American writer stubs. Tell him how much you liked a specific film his company was involved in. Better yet, ask a question that shows you really liked it, and aren't just being polite: 'Before we begin, I have to ask you something. Was that scripted, or did the actress improvise it?
Risk sharing something genuine about yourself as well -- your passion for writing, or how much getting to share your story with him means to you more about this later. I know of many situations where people were persuaded to read a script that didn't sound all that good, just because they felt a connection to the writer. It doesn't matter WHY they want to read it, only that they do.
New Release: Script Studio
When I coach writers and filmmakers on their pitches, both one-on-one and in my seminars, this is the skill I focus on more than any other. You can't possibly expect a manager or producer to get enthusiastic about your project if you're not. Yet I've heard pitches that sound more like grocery lists than something the writer or filmmaker wants to devote years of his life to.
Why is your story burning a hole in your soul?minkanews.com/core/usps/11921-longs-coupon.php
BOOK REVIEW: SELLING YOUR STORY IN 60 SECONDS - The Guaranteed Way to Get Your Screenplay or Novel
Why does it simply HAVE to be told? Why does it have special meaning for you? And why will audiences flock to see it? Does it explore themes the world needs to hear? Does it grow out of your own personal pain, or longing, or ideals?
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Is it the type of film that made you want to be a screenwriter? Maybe you love this screenplay simply because your mission in life is to scare the shit out of people, or to make them laugh so hard that snot comes out their noses. Passion is contagious. I've known of many stories whose plots sounded like two hours at the DMV, but the writers were clearly so excited by them that an agent said, 'OK, let me take a look. Passion is also the best possible means of establishing a relationship with your buyer see 1 above.
The people who are turned on by what they do are the fun ones to hang out with, the ones we all want to support and attach ourselves to.
What Are the Secrets Behind Good Stories? Michael Hauge & Patricia Fripp Join Forces May 3, 2014
They're also the ones who get deals. By far the biggest mistake most writers make is to try to cram an entire plot into a three-minute pitch, rather than emphasizing only those elements that will captivate an executive. The writers take up too much of their listeners' time, and at a tightly timed pitch fest they get cut off with no remaining opportunity to get the buyers' reactions, or even to reveal the good stuff about their scripts.
As I repeatedly emphasize in my book, tape and seminars, audiences go to the movies to FEEL -- to participate emotionally in the story. It's no different with a development executive hearing your pitch. You must convey the elements of your story that will give her an emotional experience or at least the promise of one. If your buyer believes that reading your script will make her pulse race, her eyes tear up or her heart swell, she'll want to read it. Whatever your hero is trying to do, tell the listener why that seems impossible. It's the anticipation of your hero facing insurmountable obstacles that will keep the audience, and the buyers, wanting more.
Just because you're not taking the listener scene-by-scene through your entire plot, doesn't mean you won't reveal anything that happens. While the specific events you discuss will vary from one project to the next, here are some of the major elements to consider:. What is her everyday life like before the story gets rolling?
What is the unusual, interesting or compelling world she occupies? What wound from the past is she still, consciously or subconsciously, struggling to resolve?