TenNapel Shares Story Pitch Approach and Tips
9.25.2006
Two weeks ago, Doug TenNapel generously shared with a crowd of students his business anecdotes and creative methods. He believes many “purist” artists miss out on good jobs in Hollywood because they will not compromise to adapt to the necessities facing media companies. While early on, some of his most successful commercial projects earned him little, they helped him become a name in Hollywood. Thanks to those early compromises, the doors of the Katzenbergs and Spielbergs of the world opened to him to pitch them his ideas. For instance, failing to understanding the studio’s audience will doom most any pitch. To know more about the audience, “know your network.” In addition, create something only you are good at so you remain needed throughout the project. Finally, look at the highest grossing movies of all time to appreciate what kind of story appeals to the broadest section of people.
Moving from the industry to the concept of a story, TenNapel demoed his method to structure stories. Beginning with a moral statement or philosophical story message, he begins with the ending then arcs back to the beginning. He then divides each story part into smaller units that all direct the protagonist to an inescapable conclusion. The characters grow along in relationship to the story needs. As a means of enriching his stories, TenNapel gathers notes, ideas, reference in more than 30 mailbox like spaces, each representing an on-going story concept. When the time is right, he sorts through all the material in a box, and keeps the best ideas as he finalizes his story pitch.
Last, about pitching, he repeated, “be mercifully short.” Even though most pitches fail (more than 90%, he said), you can still succeed in creating a positive on-going relationship with executives at the studios.
Ultimately, TenNapel celebrated opportunity in the U.S.A. While he pursues his own “fine art” for his closest friends and relatives, he feels grateful that our society values artist’s intellectual property enough to protect it in a system of laws, and that businesses create opportunities that give persevering artists a chance to make a good living.
Moving from the industry to the concept of a story, TenNapel demoed his method to structure stories. Beginning with a moral statement or philosophical story message, he begins with the ending then arcs back to the beginning. He then divides each story part into smaller units that all direct the protagonist to an inescapable conclusion. The characters grow along in relationship to the story needs. As a means of enriching his stories, TenNapel gathers notes, ideas, reference in more than 30 mailbox like spaces, each representing an on-going story concept. When the time is right, he sorts through all the material in a box, and keeps the best ideas as he finalizes his story pitch.
Last, about pitching, he repeated, “be mercifully short.” Even though most pitches fail (more than 90%, he said), you can still succeed in creating a positive on-going relationship with executives at the studios.
Ultimately, TenNapel celebrated opportunity in the U.S.A. While he pursues his own “fine art” for his closest friends and relatives, he feels grateful that our society values artist’s intellectual property enough to protect it in a system of laws, and that businesses create opportunities that give persevering artists a chance to make a good living.


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