CREATIVE PROCESS WORKSHOPS WITH STEPHANIE DALE & JILL MOONIE
Name of workshop: Pitch Ready
Duration: 2-3 hours (depending on number of participants)
This workshop is for: Writers and creatives in any field who’ve done the hard yards (written their manuscript/recorded a CD/prepared an body of artwork) and now stand at the foot of the mountain most daunting, squaring up to approach the industry power brokers perched on top who have the power to publish or reject their work.
This workshop will teach: In short: confidence and courage. Pitch Ready will take authors and other creatives at their most vulnerable stage (preparing to make their work public), examine the strengths of their manuscript (recordings, body of work) and their personal strengths, identify and face down hidden fears that may inhibit their journey, clarify what they believe in in their manuscript, unearth the treasures within and polish them, ready for public display.
Why is this important? Because there isn’t a shortage of ideas, there’s a shortage of great execution. The creative industries are awash with advice/workshops for would-be-published authors and artists on how to write a pitch, and how to pitch the pitch. What is missing from the field is solid, formalised help for the individual preparing to meet the personal demands of the pitch.
Who is running the workshop:
Stephanie Dale, an author and journalist who in recent years has squared off at the foot of the mountain, a journey that included pitching two books to agents and publishers in New York City. As a result, her travel memoir was published in the US in July 2012.
Former Screenworks general manager, and founder of Creative Fast Forward, Jill Moonie has spent years listening to pitches for film and television ideas/manuscripts. She is highly skilled at identifying trending issues and analysing where innovative ideas fit in a fast-changing world.
FURTHER WORKSHOP INFORMATION:
Introductions & definition of pitching
Pitching is verbally outlining your project to another party. Whatever the circumstances of your pitch, the goal remains the same – to not only sell your idea, but to establish rapport with people of influence and gain support from them for your project and for your team.
Know your audience (research); know your platform/publisher; surround yourself with good people; know what makes it special.
Discussion about who and what the pitch is for
Preparation; knowing the outcome you seek; being aware of the impression you want to make and interaction with your audience; seizing the moment; awareness about your time frame; finishing the pitch; avoiding desperation.
Pitch us what you’ve got!
Exploration of strengths and weaknesses; discussion about pitching pitfalls
Write and rewrite
With support from facilitators.
Pitch, pitch and pitch again
Aiming for strong, confident, well-rehearsed performances.
(We observe and gently feedback on fragilities, building strength and confidence); our aim is to get to the nub of ‘the story’, find the story that tells the story.
* Peel back participants’ layers of self-protection so they might deliver the most courageous, confident pitch they have in them;
* Uncover what your story is reeeeally about (beyond cliches and limited beliefs about what might be ‘acceptable’).