Hey, screenwriters—

As many of you know, last week was television’s biggest week of the year… the New York upfronts… and I’ve gotten several emails discussing, speculating, and asking about this year’s announcements.  Several people asked exactly what the upfronts are, so I wanted to take a moment and discuss… what exactly are the upfronts, and why are they so important to television?

“Upfront week” is usually held mid-May, and—on the surface—it’s the week when all the broadcast networks descend on New York to hold massive presentations at which they announce their fall schedules to advertisers and press.  They unveil new shows, returning shows, midseason possibilities, etc.  

Traditionally, these presentations are multi-million-dollar stage shows, complete with fun segments like special short films, spoofs of TV shows, etc.  A couple years ago, FOX shot a short “24” parody starring Keifer Sutherland, and NBC has done “E.R.” spoofs.  Marc Cherry, creator of “Desperate Housewives,” once did a choreographed musical number with the women of Wisteria Lane, and last year CW had president Dawn Ostroff snuggle on stage with a live panther to announce the pick-up of “Life Is Wild” (which turned out to be one of the worst-performing and quickly canceled new shows of the season).  Most networks also trot out big-name TV stars, casts, showrunners, and producers of their shows.

After the presentation, which usually lasts 1-2 hours, everyone heads to a restaurant or giant tent for a gala party where the media and advertisers can rub elbows with TV big-wigs and actors.

Click HERE to read TV Week’s post-upfront report on all the shows each network picked up.

This year’s upfront presentations were a bit different than in years past.  Thanks to the writers strike, many networks hadn’t finished all their pilots or decided what new series would definitely be debuting.  Also, because networks took financial hits because of the work stoppage, many scaled back the extravagance of their network presentations, shortening presentations and/or eliminating the after party.  NBC took an interesting tack; rather than holding a traditional stage show which spotlighted just their primetime TV schedule, they created “The NBC Experience,” an “interactive” carnival-like event that illuminated the many different platforms on which NBC content plays: TV, mobile phones, the Internet, etc.  Guests could screen TV shows, take photos with stars, play games with the American Gladiators, eat food from Bravo’s Top Chefs, etc.

Broadcast networks aren’t the only distributors to hold upfront presentations.  Cable networks also hold upfronts, but rather than holding them in May, with the broadcasters that dominate most of television, cable channels and kids networks hold them a few weeks earlier, usually in March and April.  Cable upfronts also don’t tend to be as gargantuan and flashy as the broadcast nets’.  In fact, cable upfronts are often as simple as network executives meeting with individual ad buyers and presenting their schedules face to face (which many feel is a more intimate, effective way of doing business).  Also, as online entertainment continues to grow, many Internet production companies and distributors are beginning to hold upfronts.  Broadband Enterprises and MSN both held upfront presentations this year, announcing their own online shows and series.

Here’s the interesting thing about TV upfronts…  The term “upfront” itself is actually a bit of a misnomer.  People usually use it to refer to the “upfront announcements,” or presentations.  But the truth is, the announcements and presentations are simply the kick-off for the upfront buying season, which is the most important part of the upfront process.  Here’s why…

As you know, broadcast networks (and many cable networks) make most of their money by selling advertisements in their TV shows.  Networks’ ad salespeople sell ads in their TV shows year-round… but during the upfront buying season, which begins with the May announcements and ends just before the fall season begins, they offer advertisers special incentives to buy ads.  They may sell ads at reduced rates or guarantee shows will draw audiences of a certain size.  

In other words, the upfront buying season is like a GIANT BARGAIN PRE-SALE… and it’s where broadcast networks sell up to 90 percent of the coming year’s ad spots.

Ad spots that aren’t sold during the upfront season are sold on the “scatter market,” which means they’re sold a la carte throughout the year.  Ads sold on the scatter market are not sold with the same incentives given to buyers during the upfront season.  In fact, the cost of an ad in a particular show can rise or fall as the year progresses, depending on how popular the show is and how high demand is to advertise in it.  Ads in super-popular shows obviously cost much more ("American Idol" sold ads for a million dollars this year), and less popular shows cost less.  The most expensive scripted show to advertise in is “Grey’s Anatomy,” which—last year—charged over $400,000 per ad spot.  The least expensive shows last year were the CW’s comedies—“Everybody Hates Chris,” “Aliens in America,” “Girlfriends,” etc.—which charged less than $50,000 per ad spot.

The upfront buying season consists of intense jockeying and negotiating between networks selling ads and advertisers buying them.  Networks use tactics to try and boost ad prices, while advertisers try to get the best deal possible.  And because everything is negotiated, different advertisers often end up paying different prices for the exact same spots within a show!  Networks also must strategize how many ad spots in each show to try and sell during the upfront season.  For instance, if they have a new show they believe will be a humongous hit, but advertisers aren’t giving them the dollars they think the show is worth, they may opt NOT to sell many ads during the upfronts… then, when the show becomes a smash hit that fall ad buyers are clamoring to put their ads in it, the network can jack up the price.

Of course, as new mediums bubble up and Tv’s business models change, so will the process of buying and selling ads.  I don’t think the upfront buying season is going away any time soon—and even though cable and the Internet are eroding broadcasters’ holds on audiences, broadcast networks are still the indisputable big dogs of the TV landscape (at least for now)—but we are starting to see the ad buying/selling process evolve.

Some places have experimented with reverting to TV’s old model of having advertisement-free shows which are simply sponsored by a single company, brand, or product.  FOX cut out half the commercials in its upcoming sci-fi series, “Dollhouse” and “Fringe,” allowing them to have less “clutter” in each episode and charge more for ad spots.  Other advertisers and networks are bypassing traditional ads altogether in favor of “product integration,” where an advertiser pays a show, or its network, to integrate a particular brand or product into the show’s story.  This is different than mere “product placement,” where we simply see a character drinking a Coke or eating a Snickers.  Production integration involves making the product a legitimate part of the story, like when Gabrielle, on “Desperate Housewives,” gets a job as a model for the Buick Lacrosse.

It’ll be interesting to see how TV advertising changes over the next few years… especially as it affects TV’s creative processes.

For now, however, I hope that was a helpful crash-course on the world of TV advertising.  And keep the questions and comments coming!  You can post them in the comment section below, or email me at WDScriptNotes@FWPubs.com.

Talk to you soon!

-- Chad

Hey, filmmakers--

Here's a list of upcoming film festivals that you can both attend and submit to.  Much of this comes from MovieMaker Magazine, which does a great job compiling these things.  Do yourself a favor and-- if you don't wanna subscribe-- become a regular at their site and sign up for their emails... they're terrific.

Also, thanks to Lori B. and everyone else who has sent in festivals to promote.  And if any of you know of other upcoming festivals, please let me know and I'll try and get them out there next time...


The Nashville Screenwriters Conference (NSC) will bring some of Hollywood’s top writers to Music City the weekend of May 30- June 1.  Guests will include writers and producers from ABC’s Grey’s Anatomy, Scott Frank (Minority Report, Get Shorty), Ted Griffin (Matchstick Men, Ocean's Eleven), Steve Nicolaides (School of Rock, A Few Good Men, When Harry Met Sally), and many more. Anyone interested in film and TV can network and learn at the open-to-the-public event at Union Station Hotel.  On Friday, May 30 at 1 PM screenwriter Larry Wilson (Beetlejuice, The Addams Family) will offer his “Method to Madness” program about horror writing, and “The World’s Fastest Screenwriting Course.” There will also be an advance screening of the HBO Films miniseries Generation Kill, by The Wire creators and Rolling Stone journalist Evan Wright, on Friday, May 30 at 5:30 PM at the Country Music Hall of Fame.  A Q&A will follow the screening.  Then, the “Music in Film & TV Luncheon” will return this year on Sat., May 31 at 12 PM at the Country Music Hall of Fame, focusing on placement of music in films and TV. More info available at www.nashscreen.com.


The ANGELUS STUDENT FILM FESTIVAL honors future filmmakers for creating works that respect the dignity of the person. Award-winning films reflect values such as redemption, spirituality, tolerance, equality, diversity, hope and triumph of the human spirit. Angelus Award alumni include Sundance winners Patricia Cardoso (Real Women Have Curves) and Tony Bui (Three Seasons and Green Dragon). Get complimentary tickets to the festival called “best bet” for student filmmakers by MovieMaker Magazine! Just e-mail tickets@angelus.org or call 323/874-6633. For details, go to www.angelus.org or contact Monika Moreno at 800/874-0999.

The 15th Annual AUSTIN FILM FESTIVAL runs October 16 – 23, 2008 in Austin, Texas. Film categories: Narrative Feature, Short, Student Short, Documentary Feature, Short and Animated Short. Early Deadline: June 5, 2008, Late Deadline: July 5, 2008. Do not forget about their screenwriting competition! Screenplay Competition deadline: May 15 (early), June 1 (late). Teleplay Competition deadline: June 1. Get $5 off your film entry fee with a copy of this e-mail. For an entry form and more information, visit: www.austinfilmfestival.com.
 
The 5th Annual BIG APPLE FILM FESTIVAL is now accepting entries for this year's event taking place November 19 - 22, 2008 at the world famous Tribeca Cinemas in the heart of the greatest city in the world. The BAFF is dedicated to showcasing and promoting the highest quality films from the New York City independent film community, as well as additional specially selected films from across the country and around the world. The festival includes special New York City premieres, interactive panel discussions with industry professionals, networking parties and a closing night awards ceremony. Alumni films include Suffering Man's Charity directed by Alan Cumming, Love, Ludlow (Warner Home Video), Owl and the Sparrow (2008 Spirit Award nominee) and Chubb Chubbs Save Christmas (2007 Sony Pictures Release). Previous panelists, guests and keynote speakers include representatives from Samuel Goldwyn Films, Magnolia Pictures, HBO, Current TV, Wellspring Media, Cinematical.com, Zeitgeist Films, Wild Bunch Films, First Run Features and Gen Art. In order to bring the most elite talent to the silver screen, BAFF partners with a variety of New York City independent film organizations and media outlets including IFP, The Village Voice, Indiewire.com, Cinematical.com, The L Magazine and MovieMaker Magazine. For more information go to www.bigapplefilmfestival.com.

Compete for more than $3,500 in cash prizes at West Texas’s 4th Annual FLATLAND FILM FESTIVAL this September. Contests for live action, documentary, animated and experimental works. Flatland also screens invitational features by up-and-coming directors, brings in industry guests for a topical panel discussion and rounds out the evenings with fun parties. Visit to enjoy their Texas hospitality and mingle with filmmakers, enthusiasts and industry professionals at the beautiful Firehouse Theatre inside the Louise Hopkins Underwood Center for the Arts in Lubbock, Texas. Visit www.flatlandfilmfestival.com or call 806/762-8606.

The HAYDENFILMS 4.0 FILM FESTIVAL is now accepting entries! Haydenfilms is the premiere online platform for independent and student film producers to showcase their work. The festival is open to all student and independent films, with all genres accepted for review. Your short film could win the $10,000 grand prize! Each entry received must be accompanied by a completed Haydenfilms Official Submission Form, or be submitted through the Withoutabox.com entry process. The extended deadline is July 15, 2008. Visit www.haydenfilms.com/rules.html for more information on how to enter your short into this season's festival!

The INTERNATIONAL HORROR & SCI-FI FILM FESTIVAL is now accepting submissions. Get your film and screenplay in now. Be part of the coolest genre fest in the country. Directors of acquisition from distributors will be in attendance to view films for consideration. This event will receive press coverage from the top genre press, both online and traditional. Submit your film and screenplay now to become part of the madness that is the International Horror & Sci-Fi Film Festival. Go to www.horrorscifi.com for more information.

PALM SPRINGS SHORTFEST—August 21-27, 2008. Now in its 14th year, the Palm Springs ShortFest has become known world-wide for the extraordinary community of filmmakers it attracts and the quality and scope of its programming. This is the largest festival of its kind in America, showcasing over 350 short films from more than 40 countries, with a library of more than 2,200 films available to film buyers, industry and press in the Film Market running concurrently with the Festival. Included are seminars, technological demonstrations and 'one-on-one' meetings with industry experts and filmmaking professionals, free to all participating filmmakers. www.psfilmfest.org.

The POPPY JASPER FILM FESTIVAL of Morgan Hill, CA seeks to showcase international independent short films. Taking its name from the rare Morgan Hill poppy jasper gemstone, the festival mines the fast-growing niche of less-than-30- minute films and brings the passion of filmmaking to the community. The festival has attracted the attention of a number of filmmaking notables, including Academy Award winner John Bruno (Titanic), screenwriter Victor Miller (three-time Emmy winner) and producer Susan Cartsonis (What Women Want, No Reservations and Where the Heart Is). Film submissions accepted until May 31, 2008. For further information, please visit www.poppyjasperfilmfest.org.

Georgia’s ROME INTERNATIONAL FILM FESTIVAL, one of MovieMaker Magazine’s “20 film festivals worth the entry fee,” is one of the best film festivals in the southeast. Each year RIFF features more than 100 films from more than 30 countries, including shorts and features in the categories of documentary, narrative, experimental and animation. Jury awards are presented for best narrative feature, documentary, narrative short, experimental film and animated short. Audience awards are presented for best feature and best short. RIFF is always the weekend after Labor Day in early September. Located in historic downtown Rome, Georgia, all festival venues are within walking distance. The festival also includes the Southeastern Film Industry Expo, a film industry convention featuring representatives from throughout the southeast. For more information, visit www.riff.tv.

The SAN DIEGO FILM FESTIVAL, co-founded by an award-winning filmmaker, features four days of 100 films, industry panels, inviting audiences and hands-down the best parties. It’s no wonder San Diego Film Festival has been named one of MovieMaker Magazine’s Top 25 Fests Worth The Entry Fee; Ultimate Film Festival Survival Guide’s Best Beach Fest, Best Party Fest and Best Regional Fest; plus one of the Top 10 Film Festival Vacations. Visit www.sdff.org.

The 8th Annual SCREAMFEST HORROR FILM FESTIVAL & SCREENPLAY COMPETITION takes place Oct. 10 – 19, 2008 at the prestigious Grauman’s Mann Chinese 6 at Hollywood and Highland in the heart of Hollywood. Call For Entries deadlines are approaching for new horror feature films, shorts and feature length screenplays. Film submission deadlines: Early—July 15, Final—August 15. Screenplay submission deadlines: Early—June 15, Regular—July 15 and Final—August 15. Winning screenplay receives $1,000 cash and Movie Magic software. Screamfest is sponsored by Boost Mobile, Write Brothers, Inc. and InBaseline. For more info www.screamfestla.com or email screamfestla@aol.com.

STARZ DENVER FILM FESTIVAL * November 13-23, 2008 * Now entering its 31st year, SDFF presents approximately 175 films over 11 days and hosts more than 150 visiting filmmakers. Known for its exceptional hospitality and diverse programming SDFF has become an increasingly important stop for any filmmaker.  Entry information available at www.denverfilm.org.
“Few American festivals have put it all together in terms of size, scope and intimacy as well as the Starz Denver Film Festival.” —MovieMaker Magazine; “The best kept secret on the US Film Festival circuit may well be the Starz Denver Film Festival.”—IndieWire

Hey, TV writers--

If you have an idea for the next The Big Bang Theory, Bones, or Dancing with the Stars, I'm teaching a 3-hour seminar at mediabistro this coming Wednesday on "The Art of the Pitch: How to Sell Your Television Series Idea."  Here's the scoop...

WHEN: Wednesday, May 14, 7-10 pm
WHERE: mediabistro.com, 7494 Santa Monica Blvd., Ste 303, West Hollywood, CA
COST: $65 ($50 for avantguild members)
TO SIGN UP: Call Stefanie at 310-659-5668 or click HERE

To learn more, check out this webpage, or here's a little blurb...

You've seen the perfect TV show. It's got great characters, weekly cliffhangers, comedy, drama -- everything you could want in a hit series. There's just one problem: it's still in your head.

This seminar will help take your idea from seed to sale. After all, selling your show isn't merely the first step in bringing your vision to life; it's the most important step. What are networks looking for? How should a pitch be structured? When's the best time to pitch? Do you need a franchise? Does attaching talent help?

We will break pitching into three stages: honing your idea, crafting the pitch itself, and getting your foot in the door with producers and executives. We'll examine different kinds of shows and the necessary elements of each. We'll then discuss how to structure a pitch to make it accessible to producers, writers, and executives. Lastly, we'll explore the business of pitching; not only how to gauge the marketplace to make your idea irresistible, but how to navigate television's labyrinthine network/studio system and what you can expect once you get there.

In this seminar, you will learn:

• The necessary elements every show -- and every pitch -- must have
• The difference between different types of shows, and how to pitch them accordingly
• How to structure a pitch, both verbally and as a written document
• Who you want to pitch to at networks, studios, and production companies
• When to attach actors, writers, or directors to your idea, and when not to
• What to expect when you're in the room, making your pitch, and what happens when you leave

Please note:
While we will discuss in class your ideas and how to best pitch them (if you feel comfortable sharing), this class is not about evaluating ideas. To be honest, we have no idea what's a good idea or not. After all, we're not the ones who bought Desperate Housewives. Or, for that matter, Jerry Springer.

Marvel Studios doesn't waste any time.

After Iron Man opened at over $100 million, they've already announced the premiere date of Iron Man 2... April 30, 2010!  This is less than two months before the premiere of Thor, which is scheduled for June 4, 2010.

The following summer, Marvel will release Captain America on May 6, and The Avengers in July.

(For those of you who don't know The Avengers, they're Marvel's superhero team-- kind of like The Justice League of America-- that originally consisted of Iron Man, Thor, Ant-Man, Wasp, The Hulk, and-- eventually-- Captain America.  The Hulk's movie opens next month on June 13.)