There has been a lot written on pitching an animated series in the last ten years. Articles usually collect a hand full of the top execs and ask them questions like, "what was the best and worst pitch meetings you've ever taken?" You end up with the do's and dont's of pitching according to the developement executive point of view. I personally find this information helpful, yet I recognize that it paints a limmited picture of what really goes on in the pitch process. I've culled this information together from a team of experts representing the begging end of the table. I'd love to hear what you think. Write me at dbl1973@earthlink.net

1) Don't Quit Your Day job
The percentage of those working (earning a living) in animation is so much greater then the amount of people who have created and sold a pilot or series. It must be over a thousand to one ratio. The reality is that pitching shows, and in some cases selling shows, is no way to make a living. If you sell your idea, here's what you can probably expect:

a) Prepare to wait up to 3 months for network legal to get you a first draft contract.
b) Prepare to wait for another 3 months to have the contract revised and approved by both sides.
c) Your contract probably only covers a "paper developement phase." This means, you only have approval to write a script, create character designs, and maybe a storyboard. This stage can last 6 months or longer.
d) Do or die. Most projects are cut off after the paper development stage. Your chances of going forward are likely fifty to one. Did I mention that this year of work creating, writing, and developing can pay as low as two thousand dollars? Networks don't throw a lot of money at paper developement.
e) If your project goes on to pilot stage, this means you will be repeating steps similar to A through D above. This process will take one to two more years. It ends with the completion of your pilot that will likely never make it to air after being killed by focus group testing. In fact, most animated pilots are not intended for broadcast at all.

2) All the Planets Align
No, this has nothing to do with the 10th planet recently discovered by Nasa. This is just a short list why some things sell:

a)You are someone that the network wants to work with. This is due to your reputation or track record of having worked on highly visible commercial projects in a senior role. Networks buy creators not ideas.

b) You are a celebrity. Remember, this is a risk prohibitive business. Its a much safer venture for Networks to green light projects initiated by a celebrity. Celebrities provide built-in audiences and that makes advertisers happy.

c) You came in at the right time, with the right idea and pitched it to the right person from the right network. No sweat, right?

d) Your idea fit in neatly with this week's network development memo and lived up to it's buzzwords like, break-thru-ocity, pixie dust, uber idea, and left-turn. You sly dog, you.

e) You've got supportive and effective network cheerleaders that rally for you and sell you to their superiors once you leave the room. This is very crucial for success because you will probably not be pitching to someone who is authorized to say "yes". Yes is a dirty word.

3) Different But, Not Too Different.
Most networks say they want cutting edge graphics, unique POVs and unconventional storytelling. This is even the case when it comes to preschool material. Oddly enough, the biggest hits for kids (SpongeBob and Power Puff Girls) and tots (Dora and Dragon Tales) are all traditionally animated 2D shows. The truth is, there are very few cutting edge shows on TV. Once again, it comes down to the fact that TV is a business dependent on advertisers revenue. Let's all say it together, "TV is risk prohibitive".

The two examples of networks taking a chance on edgy (risky) programming were Oxygen and Spike. Oxygen's only survivor from its cannon of animation is the fairly conventional "Hey Monie". Spike's first block of animation ended with it's most conventional show, "Stripperella" being the only of its first three animated shows still on air. Spike is about to air its next batch of shows, so one shouldn't rule them out yet.
My point is that it's okay if a show has a familiar element in design, feel or subject matter. This is true so long as there's a twist on the established elements. No one will watch a show that is so edgy it cuts like glass. People (the audience) need to see some humanity in the shows to return week after week... and to (gasp!) want to buy the toy as well.

4) Bunnies Need Not Apply
Networks often say things like "don't give us any ideas with rainbows, trees, clowns or animals." Well what if you had a great idea about a tree-hugging clown that lived in Rainbow Town with his animal side-kick? Some networks won't want to consider your idea starring a bunny because there's already a successful bunny out there (Bugs). One major cartoon making network recently reversed a short-lived no-animal ideas policy. During the days of their animal ban they said, "We believe kids won't relate to shows with animal characters. They want to see other human kids on the screen." When asked how they explained the success of SpongeBob, "We can't", was the reply. So, how can creators navigate through these waters? Happily, these network bans change with trends, marketing reports, shuffling personnel, and hostile company take-overs. Your great clown idea just might sell, yet.

5) Network Identity Crisis
Number's 3 and 4 above, largely happen because today's TV networks see themselves as on-air destinations. Each aims to create a unique programming environment. Ironically, this shows up most clearly in the look, feel and sound of what surrounds the programs (Face on Nick JR, Clay on PlayHouse Disney and the TRL-style live action hosting of cartoons on Nick and CN). Things get a lot grayer when you actually watch the programs. There has been too much cross pollination of network execs and show creators for there to be much distinctions left.

6) Just Watch Our Channel
The single most common piece of advice execs give to potential pitchers, is to "watch our channel" and see what we're doing. This makes for fairly easy research, but what will you really be seeing? You'll be seeing what they bought and developed two or more years ago. Recently, one network broadcast a string of new programming that was made up of mostly space and comic hero type shows. Behind the scenes, the network had already decided to move away from such subject matter in their next developement purchases. Sellers beware.

7) Skewed
Networks developing animation for kids try to further distinguish themselves from their competitors by skewing more or less towards girl or boy and between action or comedy. Yet, all this is thrown to the wind as hits emerge on other networks and result in similar projects being green lit elsewhere (think- CN's PowerPuff Girls giving rise to competitor network shows like Nick's Fairly Odd Parents and Disney's Kim Possible).

8) Parting Thoughts
One very successful show-maker told my SVA Career Strategy class that to succeed in this business you need luck, brains, and an incredible work ethic. Come to think of it, I could have saved two pages of type if I'd started with this sentance.