 Aspiring screenwriters want one thing. Okay, they want two things. They want
to sell their work (that’s one thing). But, more importantly, they want
someone to show them the ropes (that’s the other). In the abyss that
is Hollywood—when a writer can sink or swim—well … let’s just
say there’s an abundance of treasures (read: writers) at the bottom of
the Pacific. Steve Kaire in his CD audio seminar, “High Concept: How to
Create, Pitch & Sell to Hollywood,” offers a life preserver of sorts
for those interested in high concept projects.
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Kaire’s CD imparts concise, comprehensive information. He spends the
first part of the seminar discussing high concept in detail: requirements, advantages, genres. And he gives examples for just about everything. Kaire starts off by saying, “Only high concept projects can be sold off
a pitch.” He then defines the five requirements for a project—be it screenplays, treatments, ideas or television series—to be considered high concept.
“When you’re pitching, you want to tell what your story is about,
not what happens in the story,” he says.
Kaire knows of what he speaks. He is one of few writers who have sold work off of a pitch. Kaire, who has been writing for 20 years, has sold/optioned eight projects to the major studios, including Columbia, Interscope and United Artists, without representation. He has a masters degree in dramatic writing and filmmaking, and is a featured writer in industry publications as well as a sought-after lecturer, speaking for organizations such as Women in Film, Flash Forward and the Screenwriters Network. He was rated a “Star Speaker” for Screenwriting Expo 2004.
This audio seminar has no bells and whistles, just the essentials. It’s
easy to believe Kaire wants would-be writers to gain from his experience. He takes the listener through the four elements that need to be included in a pitch, and then lists genres by the ones that are easiest to sell through those which are most difficult. Kaire adds that, “Drama does not work
in high concept.”
Kaire’s section about pitching covers pre-pitch-meeting research and preparation, plus the dos and don’ts—how to conduct yourself. The segment on brainstorming, which comes next, was one of my favorites. Kaire lists 10 brainstorming techniques that can be married with high concept requirements, and again illustrates them.
The seminar also covers the basics of researching and reaching producers (you want to pitch to producers, not studio executives, Kaire says) and sending queries (for those who don’t live in Los Angeles). The query section is so detailed,
he mentions exactly what information needs to be expressed in which of five paragraphs, and covers how to handle the ever popular “Do I sign a release?” question.
Kaire’s CD, “High Concept: How to Create, Pitch & Sell to Hollywood,” packs a lot of good, solid information in about 67 minutes. Not bad for $19.95. Plus, this is an excellent option for those who do not live in L.A.—or another major city—and do not have access to seminars, such as this, live.
Most of the time on the seminar is spent on the meat and potatoes—high
concept—and it should be. He wraps up the seminar by going over logistics:
protecting your ideas, how much money to expect (upfront and then how much payment
you will receive if they decide to make it) and how options work. Kaire additionally
spends time going over a writer’s options for representation: agents versus
managers versus attorneys. How to research them. Where to find them. And he
includes resource suggestions. The bottom line is, no matter whom a writer has
working for him, the writer must do some legwork and take a major role in finding
success.
To a writer who is just starting out—and looking for the right way to knock on doors—Kaire’s seminar is invaluable. This guy is the real deal. There’s nothing more important to a struggling writer than to have a Hollywood insider give him some tips on the right way to do things, so he can reach goal number one.
For more information, check out Steve Kaire’s web site: http://kaire.zambodhia.net.
ABOUT THIS AUTHOR
Deb Eckerling is a freelance writer currently writing for Venice Magazine and Latin Style. She lives in Los Angeles, CA.
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